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Aphrodite's Charm
Author:
Aphrodite’s famous ribbon known as the cestus, the irresistible love charm that she loaned to Hera in the Iliad, was, thanks to a fruitful early misreading, transformed by ancient, medieval, and Renaissance authors into a symbol of honorable feminine chastity: in Maurice Scève’s 1560 Microcosme, an epic rewriting of Genesis, Eve first appears before an astonished Adam wearing the virginal cestus as a symbolic guarantee of her sexual innocence. This book traces the history of this curious development from Homer to the end of the sixteenth century in France. Through analyses of both famous and little-known texts, it illustrates the complexity and fecund liberty of Homeric reception.
Aphrodite's Charm
Author:
Aphrodite’s famous ribbon known as the cestus, the irresistible love charm that she loaned to Hera in the Iliad, was, thanks to a fruitful early misreading, transformed by ancient, medieval, and Renaissance authors into a symbol of honorable feminine chastity: in Maurice Scève’s 1560 Microcosme, an epic rewriting of Genesis, Eve first appears before an astonished Adam wearing the virginal cestus as a symbolic guarantee of her sexual innocence. This book traces the history of this curious development from Homer to the end of the sixteenth century in France. Through analyses of both famous and little-known texts, it illustrates the complexity and fecund liberty of Homeric reception.
Volume Editor:
Early modern culture was multilingual, and so were many of the works produced across Europe and beyond its borders. The contributors to this volume draw new interrelations between different humanistic traditions and multilingual and translational writing practices using a wide range of primary sources—documents produced in Norwich, scientific treatises by Galileo and Stevin, travel accounts and dictionaries by James Howell, translations an retranslations of Antoine de Nervèze’s moral letters, Aljamiado documents and short comic plays in Spain, Jesuit pedagogical theater in New France, grammars, dictionaries and historiographical accounts in missionary contexts, and a mining law code in South Central Europe—that highlight the significance of polyglossia in early modern cultural production and transmission. Covering a wide range of languages, including Latin, Nahuatl and Turkish, their analysis invites comparison with today’s polyglot practices in a globalized world, as we also adapt to new technologies and ever-changing realities.
Volume Editor:
Early modern culture was multilingual, and so were many of the works produced across Europe and beyond its borders. The contributors to this volume draw new interrelations between different humanistic traditions and multilingual and translational writing practices using a wide range of primary sources—documents produced in Norwich, scientific treatises by Galileo and Stevin, travel accounts and dictionaries by James Howell, translations an retranslations of Antoine de Nervèze’s moral letters, Aljamiado documents and short comic plays in Spain, Jesuit pedagogical theater in New France, grammars, dictionaries and historiographical accounts in missionary contexts, and a mining law code in South Central Europe—that highlight the significance of polyglossia in early modern cultural production and transmission. Covering a wide range of languages, including Latin, Nahuatl and Turkish, their analysis invites comparison with today’s polyglot practices in a globalized world, as we also adapt to new technologies and ever-changing realities.
Rooted in a range of approaches to the reception of classical drama, the chapters in this book reflect, in one way or another, that Greek and Roman drama in performance is an ongoing dialogue between the culture(s) of the original and the target culture of its translation/adaptation/performance. The individual case studies highlight the various ways in which the tradition of Greek and Roman plays in performance has been extremely productive, but also the ways in which it has engaged, at times dangerously, in political and social discourse.
Series:
Metaforms, Volume: 27
Rooted in a range of approaches to the reception of classical drama, the chapters in this book reflect, in one way or another, that Greek and Roman drama in performance is an ongoing dialogue between the culture(s) of the original and the target culture of its translation/adaptation/performance. The individual case studies highlight the various ways in which the tradition of Greek and Roman plays in performance has been extremely productive, but also the ways in which it has engaged, at times dangerously, in political and social discourse.
Cosmology, Music, Medicine, and Architecture from Antiquity to the Seventeenth Century
Plato’s Timaeus inspired a uniquely enduring interest across disciplines. In the centuries between its composition and the seventeenth century, scholars looked to this dialogue for answers to questions about the structure of the universe and how to live a healthy and happy life. They saw cosmology as vital to medicine and ethics; and, for them, harmony in music and architecture facilitated balance in the human soul. The Legacy of Plato’s Timaeus explores how the dialogue transformed the disciplines of cosmology, music, medicine, and architecture, and how new intellectual and cultural developments in turn shaped and re-contextualized interpretations of Plato’s ideas.
Cosmology, Music, Medicine, and Architecture from Antiquity to the Seventeenth Century
Plato’s Timaeus inspired a uniquely enduring interest across disciplines. In the centuries between its composition and the seventeenth century, scholars looked to this dialogue for answers to questions about the structure of the universe and how to live a healthy and happy life. They saw cosmology as vital to medicine and ethics; and, for them, harmony in music and architecture facilitated balance in the human soul. The Legacy of Plato’s Timaeus explores how the dialogue transformed the disciplines of cosmology, music, medicine, and architecture, and how new intellectual and cultural developments in turn shaped and re-contextualized interpretations of Plato’s ideas.
The Myth of Hercules and Omphale in the Visual Arts, 1500–1800
Series:
Intersections, Volume: 91
Author:
The book examines the myth of Hercules and Omphale/Iole which became an important topic in the visual arts, 1500–1800. It offers an analysis of the iconography from the perspective of the history of emotions, classical and Neo-Latin philology, reception and gender studies. The early modern inventions of the myth excel in a skilful display of mixed and compound emotions, such as the male character's psychopathology, and of the theatrical performance of emotions by the female character.
The Myth of Hercules and Omphale in the Visual Arts, 1500–1800
Series:
Intersections, Volume: 91
Author:
The book examines the myth of Hercules and Omphale/Iole which became an important topic in the visual arts, 1500–1800. It offers an analysis of the iconography from the perspective of the history of emotions, classical and Neo-Latin philology, reception and gender studies. The early modern inventions of the myth excel in a skilful display of mixed and compound emotions, such as the male character's psychopathology, and of the theatrical performance of emotions by the female character.
Series:
Metaforms, Volume: 26
Volume Editor:
Does the story of Lucius, a curious and lustful young man who is magically transformed into an ass, have anything to teach us today? Does it have a serious, philosophical and religious meaning, or is it just a form of literary play, full of adventures, magic, sex, violence, and religion? This volume studies the reception of the novel in the last hundred years, showing also the most promising and diverse research perspectives for the future. Apuleius claimed that a philosopher must possess a mirror; perhaps, his novel is a mirror for us to look into.
Series:
Metaforms, Volume: 26
Volume Editor:
Does the story of Lucius, a curious and lustful young man who is magically transformed into an ass, have anything to teach us today? Does it have a serious, philosophical and religious meaning, or is it just a form of literary play, full of adventures, magic, sex, violence, and religion? This volume studies the reception of the novel in the last hundred years, showing also the most promising and diverse research perspectives for the future. Apuleius claimed that a philosopher must possess a mirror; perhaps, his novel is a mirror for us to look into.
The Hero on Stage from the Enlightenment to the Early Twenty-First Century
Series:
Metaforms, Volume: 25
Volume Editor:
Hercules Performed explores the reception of the ancient Greek hero Herakles – the Roman Hercules – on the western stage from the sixteenth century to the present day, focusing on live theatre, including tragedy, comedy and musical drama. Each chapter considers a particular work or theme in detail, exploring the interplay between classical models and a wide variety of modern performance contexts. The volume is one of four to be published in the Metaforms series examining the extraordinarily persistent figuring of Herakles-Hercules in western culture, drawing together scholars from a range of disciplines to offer a unique insight into the hero’s perennial appeal.
The Hero on Stage from the Enlightenment to the Early Twenty-First Century
Series:
Metaforms, Volume: 25
Volume Editor:
Hercules Performed explores the reception of the ancient Greek hero Herakles – the Roman Hercules – on the western stage from the sixteenth century to the present day, focusing on live theatre, including tragedy, comedy and musical drama. Each chapter considers a particular work or theme in detail, exploring the interplay between classical models and a wide variety of modern performance contexts. The volume is one of four to be published in the Metaforms series examining the extraordinarily persistent figuring of Herakles-Hercules in western culture, drawing together scholars from a range of disciplines to offer a unique insight into the hero’s perennial appeal.
Author:
Abstract
In Euripides’ Heracles the chorus has a fundamental role in defending Hercules’ status as a demi-god, yet the old men of Thebes are strangely a lot closer to Amphitryon than to the hero and cannot bear the violence of the madness and retreat in the second half of the play. In this modern version, the violence of the madness is moderated, but the problems related to the status of the hero are no less important. And once again the chorus has a fundamental role, not only by describing the new scenarios of each labour, much like the original chorus, but by poking around and questioning the identity of the hero time and again. As true celebrity journalists the chorus are not by anyone’s side, Hercules ignores them, yet they will have their role until the very end. And, as easily as they were ready to destroy the hero, they will be the ones to announce his true nature. This chapter examines how the chorus is fundamental to the dramatic structure and how it helps the audience to focus on the essential question (both of this play and the Euripides’ original): what is the true nature of the hero?
Author:
Abstract
This chapter focuses on Luigi Riccoboni’s Ercole/Hercule, first staged in Paris in 1717. A peculiar tragicomical rewriting of the events surrounding the death and apotheosis of Hercules, the play stands at the crossroads between different theatrical genres and traditions. The article examines the redevelopment and combining of Classical models (the Senecan tragedies Hercules Furens and Hercules Oetaeus, and Ovid’s Metamorphoses and Heroides) and the blending of themes, characters and dramaturgical solutions inspired by the tradition of commedia dell’arte.
Author:
Abstract
This chapter will explore Rodosthenous’ 2010 adaptation of Women of Trachis called The Wife of Heracles which was performed at stage@leeds, University of Leeds. Heracles was reimagined as an international footballer superstar while Dianeira was re-envisioned as a hairdressing salon owner. The production took direct inspiration from the 2010 footballer sex scandals which were then contextualised and presented on stage as part of the updated action. Crimp’s Cruel and Tender also shaped some of the language and style of the adaptation. The author will discuss his directorial and adaptation techniques to explore how he used musicalisation, symmetries and improvisation to create a modern world for a contemporary audience.