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1

Retelling Orpheus: Orpheus in the Renaissance

100%

Beattie L. I. H., Berlin F. U., Having graduated from the University of St Andrews with an MA Hons degree in English and Latin L. B. w. s. c. a. M. s. d. i. E. S. a. t. F. U. B. w. h. r. i. l. i. t. f. o. R. l.

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

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2014

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vol. 2

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issue 1

EN

This paper examines the importance of the Orpheus myth during the English Renaissance. The Orpheus myth was one of the most common mythic intertexts of the period due to the fact that we could see the very story of Orpheus as being imbedded within the idea of the Renaissance itself. The main ambition of the Renaissance humanist was to bring the literature of the ancients back to life via the means of education. In other words, they attempted to bring the dead back to life and Orpheus serves as an embodiment of this ambition due to his ability to bring inanimate objects to life and in his journey to the underworld to rescue Eurydice. We find many different aspects of the Orpheus myth dealt with in Renaissance writing, for example Orpheus as poet, Orpheus as lover and the death of Orpheus being some of the key focal points. This paper, however, will focus specifically on the role of Orpheus as Poet as, due to the Renaissance love for art, rhetoric and eloquence, this seems to be the most popular dimension of the Orpheus myth at that time. We will see how Renaissance writers reinterpret the story of Orpheus, as originally told by Ovid and Virgil, in the Metamorphoses and the Georgics respectively, to show Orpheus as not only as being an archetypal poet but in fact the very first poet whose art is not only responsible for the civilisation of man, but also for the creation of a “Golden Age” in Renaissance England.

2

Orpheus in the Underground

100%

Puskás D.

Acta Universitatis Sapientiae, Philologica

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2015

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vol. 7

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issue 1

45-54

EN

In my study I deal with descents to the underworld and hell in literature in the 20th century and in contemporary literature. I will focus on modem literary reinterpretations of the myth of Orpheus, starting with Rilke’s Orpheus. Eurydice. Hermes. In Seamus Heaney’s The Underground. in the Hungarian Istvan Baka’s Descending to the Underground of Moscow and in Czesław Miłosz’s Orpheus and Eurydice underworld appears as underground, similarly to the contemporary Hungarian János Térey’s play entitled Jeramiah. where underground will also be a metaphorical underworld which is populated with the ghosts of the famous deceased people of Debrecen, and finally, in Péter Kárpáti’s Everywoman the grave of the final scene of the medieval Everyman will be replaced with a contemporary underground station. I analyse how an underground station could be parallel with the underworld and I deal with the role of musicality and sounds in the literary works based on the myth of Orpheus.

3

Retelling Orpheus: Orpheus in the Renaissance

100%

Beattie L. I. H.

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

|

2014

|

vol. 2

|

issue 1

1-8

EN

This paper examines the importance of the Orpheus myth during the English Renaissance. The Orpheus myth was one of the most common mythic intertexts of the period due to the fact that we could see the very story of Orpheus as being imbedded within the idea of the Renaissance itself. The main ambition of the Renaissance humanist was to bring the literature of the ancients back to life via the means of education. In other words, they attempted to bring the dead back to life and Orpheus serves as an embodiment of this ambition due to his ability to bring inanimate objects to life and in his journey to the underworld to rescue Eurydice. We find many different aspects of the Orpheus myth dealt with in Renaissance writing, for example Orpheus as poet, Orpheus as lover and the death of Orpheus being some of the key focal points. This paper, however, will focus specifically on the role of Orpheus as Poet as, due to the Renaissance love for art, rhetoric and eloquence, this seems to be the most popular dimension of the Orpheus myth at that time. We will see how Renaissance writers reinterpret the story of Orpheus, as originally told by Ovid and Virgil, in the “Metamorphoses” and the “Georgics” respectively, to show Orpheus as not only as being an archetypal poet but in fact the very first poet whose art is not only responsible for the civilisation of man, but also for the creation of a “Golden Age” in Renaissance England.

4

"Harfa Orfeusza" - uwagi na marginesie twórczości Marii Komornickiej

88%

Ratuszna H.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2015

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issue 4/2015 O Młodej Polsce mniej znanej

35-47

EN

Maria Komornicka is the author who evokes the figure of Orpheus. In those of her works which were created towards the end of her life, the motif of journey, of search and that of collapse occur. Komornicka also announces the need for resurgence (the return);still, her biography and her corpus become the evidence of her loneliness and her being rejected. The figure of a singer, Orpheus, symbolizes poetry, dilemmas, the misgivings of the artist performing at the beginning of the XX century. One of the most significant problems is the loss of identity, which in turn leads to emptiness and melancholy. Komornicka’s corpus belongs to the current of existentialism.

5

The myth of Orpheus in the second postwar decade in Italy and Poland

75%

Ciccarini M., Ciccarini M.

Kwartalnik Neofilologiczny

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2019

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issue 2

6

Glosa do orfeistów (na marginesie wiersza Rośliny Kazimierza Wierzyńskiego)

75%

Osiński J.

Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia

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2018

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vol. 36

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issue 2

EN

The article is devoted to the poem Rośliny [Plants] from the volume of poems Korzec maku [The Poppy Seed Flower] (1951) by Kazimierz Wierzyński (1894–1969). In this poem, the author tries to present a new way of using the motive of Orpheus and Eurydice. He analyzes the poem and takes into account its structure and biographical, historical and literary contexts. These analyses confirmed that among the works by Wierzyński, in which the author refers to Orpheus and Eurydice, the poem has its own place and, at the same time, it reflects an important stage in the development of post-war poetry of the author.

PL

Artykuł został poświęcony interpretacji wiersza Kazimierza Wierzyńskiego (1894–1969) pt. Rośliny z tomu Korzec maku (1951). Autor starał się ukazać inny sposób wykorzystania przez poetę mitu orfickiego niż te dotychczas omówione przez badaczy. W tym celu przeprowadził dokładną analizę utworu, w której uwzględnił budowę wiersza oraz konteksty biograficzne, historyczne i literackie. Rozważania potwierdziły, że wśród utworów Wierzyńskiego zawierających motywy orfickie Rośliny zajmują miejsce osobne, a przy tym odzwierciedlają ważne stadium rozwoju powojennej twórczości poetyckiej tego autora.

7

Czy to śpiewa Orfeo, czy to drzewa tak szumią?

63%

Pitrus A.

Kwartalnik Filmowy

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2014

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issue 87-88

232-239

PL

Artykuł jest poświęcony inscenizacji „Orfeusza i Eurydyki” Glucka dokonanej przez wybitnego reżysera włoskiego teatru Romea Castellucciego. Andrzej Pitrus dokonuje aspektowej analizy oraz interpretacji utworu, w którym w sposób niezwykle nowatorski i oryginalny wykorzystano medium wideo. Reżyser wprowadził na scenie przekaz na żywo realizowany poza sceną, a nawet budynkiem opery. Nie tylko osiągnął w ten sposób rozszerzenie przestrzeni teatralnej, ale wprowadził poruszający wątek egzystencjalny. Opowieść o mitycznych kochankach została zderzona z losami dwóch współczesnych Eurydyk – młodych kobiet cierpiących na „syndrom zamknięcia”.

EN

The article is devoted to the analysis of the staging of Gluck’s “Orpheus and Eurydice” made by the famous theatre director Romeo Castellucci. Andrzej Pitrus carries out a multifaceted analysis and interpretation of the play, in which in an extremely innovative and original way the medium of video is used. The director introduced a life transmission of scenes taking place away from the stage or even the building of the opera. Not only did he manage to widen the space of the theatre in this manner, but introduced a moving existential theme. The story of the mythical lovers was confronted with the fate of two contemporary Eurydici – young women suffering from the “locked in syndrome”.

8

Orfeusz i Eurydyka Czesława Miłosza: katabaza jako figura żałoby

51%

Jaworki M.

Przegląd Humanistyczny

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2016

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vol. 60(2 (453))

175-186

PL

The article is a proposal for a new interpretation of Czesław Miłosz’s poem. The author presents that Orpheus’s catabasis in the poem and in the myth itself – which is revealed while its reading – is a figure of mourning, ending with the second death of Eurydice and coming out to the surface. Interpretation of descent to Hades is inspired by the poet's self-commentary and observations of Freud, and Croce and di Nola on mourning. Such reading also explains the meaning of troublesome for interpreters changes, which Miłosz made in the story of the myth compared to traditional versions by Virgil, Ovid, Rilke.

9

Orfeusz i Eurydyka w Marienbadzie

51%

Kościelski K.

Kwartalnik Filmowy

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2014

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issue 86

76-91

PL

Na opinii, jakoby „Zeszłego roku w Marienbadzie“ było jednym z najbardziej eksperymentalnych filmów w historii kina, zaważyła niewątpliwie nietypowa narracja dzieła Alaina Resnais. Konstrukcja utworu nie stanowi jednak jedynego zagadkowego aspektu obrazu. Osobliwy nastrój świata Marienbadu wraz z pewnymi zabiegami inscenizacyjnymi przemawiają za przypomnieniem odczytania Georges’a Sadoula interpretującego film przez pryzmat mitu o Orfeuszu. Omówienie eksponowanego w utworze motywu zwierciadła oraz refleksja na temat twórczości Lewisa Carrolla pozwalają ukazać „Zeszłego roku w Marienbadzie“ na tle tradycji filmowej i literackiej. Sposób funkcjonowania symboliki lustra u Resnais można odnieść zarówno do „Orfeusza“ Jeana Cocteau, jak i do niskobudżetowych horrorów czy filmu „Donnie Darko“ Richarda Kelly’ego. Wszelkie konteksty służą uzupełnieniu odczytania Sadoula, które ma ogromne znaczenie dla natury czasu panującego w świecie Marienbadu – kluczowego zagadnienia całego artykułu.

EN

The opinion that „Last Year at Marienbad“ is one of the most experimental films in the history of the cinema is no doubt influenced by the unusual narrative of the work by Alain Resnais. The construction of the work is not the only intriguing aspect of the picture. The peculiar atmosphere of Marienbad, together with certain elements of staging, remind one of Georges Sadoul’s interpretation of the film through the prism of the myth of Orpheus. Analysis of the motif of the mirror and reflection on the work of Lewis Carroll allow one to show „Last Year at Marienbad“ in relation to literary and film traditions. The way the symbolism of the mirror functions in the work of Resnais might be compared to Jean Cocteau’s „Orpheus“, low budget horrors and Richard Kelly’s „Donnie Darko“. All these contexts serve to add to Sadoul’s interpretation, which is of great importance to the meaning of the nature of time that reigns in the world of Marienbad – the key problem of the whole article.

10

Przełamując spojrzenie Orfeusza. Praca (anty)archiwalna Brachy L. Ettinger

51%

Kisiel A.

ER(R)GO: Teoria – Literatura – Kultura

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2020

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issue 41

97-110

EN

Bracha L. Ettinger’s artistic series, Eurydice, is grounded upon a historical photograph from the liquidation of the Mizoch ghetto on 14 October 1942, depicting naked women and children waiting to be executed. The artist treats this picture as a basis of her artworks and covers it with layers of paint. It is, however, difficult to identify this art as archival. By means of her artistic procedures, Ettinger endeavours to free her paintings from the bounds of representation; what she does is – as I claim – (anti-)archival work. This article aims at studying the relation between Ettinger’s oeuvre and the photographic archive. First, I try to point out the insufficiency of the archive and to identify Ettingerian attempts to work it through. Second, I discuss the notion of the gaze in the matrixial psychoanalysis. Just as the look of Orpheus sends Eurydice back to the Underworld, the spectator’s gaze may kill the women from Mizoch again; this is the impasse Ettinger strives to break.

PL

Seria malarska Brachy L. Ettinger Eurydice w dużej mierze opiera się na historycznym zdjęciu z likwidacji getta w Mizoczu dnia 14 października 1942. Fotografia ta, przedstawiająca nagie kobiety i dzieci czekające na egzekucję, staje się dla Ettinger bazą, na którą artystka nakłada kolejne warstwy farby. Trudno jednak określić tę sztukę mianem archiwalnej. Swoimi działaniami artystycznymi Ettinger próbuje uwolnić się z oków reprezentacji, wykonując tym samym, jak staram się pokazać, pracę (anty)archiwalną. Szkic ten bada związki twórczości Ettinger z archiwum fotograficznym. Po pierwsze, staram się wykazać niewystarczalność archiwum i zidentyfikować Ettingeriańskie próby jego przepracowania. Po drugie, przybliżam termin spojrzenia w psychoanalitycznej teorii macierzy. Spojrzenie widza – niczym wzrok Orfeusza, odsyłający Eurydykę do zaświatów – może ponownie uśmiercić kobiety z Mizocza; Ettinger stara się przełamać ten impas.

11

Hudební narativita a mytologické reference Picassiády Karla Kupky

51%

Kozel D.

Hudební věda (Musicology)

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2024

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vol. 61

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issue 1

42-72

EN

The study analyses the orchestral piece Picassiáda (1958) by Ostrava-based composer Karel Kupka (1927–1985), focussing on the part Smrt Orfeova (in English: The Death of Orpheus). Kupka uses the method of editing assembly, causing a specific excited expression. An important moment of the piece is the inspiration by Pablo Picasso’s illustrations accompanying the edition of Ovid’s Metamorphoses. The analysis looks for elements of musical narrative, which create a unique narrative programme by means of references to the artistic and mythological component. Pieces inspired by ancient themes represent an important part of Kupka’s work. Picassiáda is his most famous piece. The editing assembly method is used throughout Picassiáda; it has a form-creating function within the layout of the piece’s various forms. The inspiration by Picasso’s illustrations is rather free, reflecting the world of ancient culture and mythology with a symbolic background in a modern way. The parallel of both artists’ musical and artistic expression demonstrates itself in Kupka’s work in the form of contrasting cuts of musical surfaces, and in Picasso’s work by the contrast of his monumental and lyrical paintings. Both Kupka’s and Picasso’s work captures the dramatic and ambiguous death of the mythical Orpheus. The narrative analysis of the piece is carried out with a modified methodology of narrative analysis according to Eero Tarasti, who perceives musical narrative as a specific succession of musical events and the creation of tension among binary musical elements. The organising narrative principle of music is isotopy. The articulation of the musical narrative of Picassiáda takes part at three levels of spatiality, temporality and actoriality. The music is modalised through the relationship of the musical structure to myth and artistic inspiration. The narrative analysis of Picassiáda points to a specific, meaningforming alternation of contrasting isotopies, following the narrative structure of the Orpheus myth. The method of editing assembly is the narrative element in music. Modalisation of music through a myth is a supporting method of its interpretation; it points to the deep meaning-related interconnection of the musical and mythological components of the analysed work.

CS

Studie analyzuje orchestrální skladbu Picassiáda (1958) ostravského skladatele Karla Kupky (1927–1985) se zaměřením na část Smrt Orfeova. Kupka používá metodu střihové montáže, zapříčiňující specificky vzrušený výraz. Důležitým momentem je inspirace skladby ilustracemi Pabla Picassa k vydání Ovidiových Metamorfóz. Analýza hledá prvky hudební narativity, které prostřednictvím referencí k výtvarné a mytologické složce vytvářejí jedinečný narativní program. Významné místo v Kupkově tvorbě představují skladby na antické náměty. Picassiáda je jeho nejznámější skladbou. V celé Picassiádě je užita metoda střihové montáže s formotvornou funkcí na půdorysu různého formového řešení skladby. Inspirace Picassovými ilustracemi je spíše volná, reflektující moderně cítěný svět antické kultury a mytologie se symbolickým pozadím. Paralela hudebního a uměleckého vyjadřování obou umělců se u Kupky projevuje kontrastními střihy hudebních ploch a kontrastem monumentální a lyrické kresby u Picassa. Kupkovo i Picassovo dílo zachycuje dramatickou a významově víceznačnou smrt mytického Orfea. Narativní analýza skladby je provedena modifikovanou metodologií narativní analýzy dle Eera Tarastiho, který hudební narativitu chápe jako specifickou sukcesivnost hudebních událostí a vytváření tenze mezi binárními hudebními prvky. Organizujícím narativním principem hudby je izotopie. Artikulace hudební narativity Picassiády proběhla na třech úrovních spaciality, temporality a aktoriality. Hudba byla modalizována skrze vztah hudební struktury k mýtu a výtvarné inspiraci. Narativní analýza Picassiády poukázala na specifické významotvorné střídání kontrastních izotopií, sledující narativní strukturu mýtu o Orfeovi. V hudbě narativně figuruje metoda střihové montáže. Modalizace hudby pomocí mýtu je podpůrným způsobem její interpretace, poukázala na hluboké významové propojení hudební a mytologické složky analyzovaného díla.

Refine search results

Retelling Orpheus: Orpheus in the Renaissance

Orpheus in the Underground

Retelling Orpheus: Orpheus in the Renaissance

"Harfa Orfeusza" - uwagi na marginesie twórczości Marii Komornickiej

The myth of Orpheus in the second postwar decade in Italy and Poland

Glosa do orfeistów (na marginesie wiersza Rośliny Kazimierza Wierzyńskiego)

Czy to śpiewa Orfeo, czy to drzewa tak szumią?

Orfeusz i Eurydyka Czesława Miłosza: katabaza jako figura żałoby

Orfeusz i Eurydyka w Marienbadzie

Przełamując spojrzenie Orfeusza. Praca (anty)archiwalna Brachy L. Ettinger

Hudební narativita a mytologické reference Picassiády Karla Kupky