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"Orfeo out of Care"
(2022)
The paper focuses on an example of multiple-step reception: the contribution of the classical story of Orpheus and Eurydice and the mediaeval lay Sir Orfeo to Tolkien’s work.
In the first part, I compare the lay with Virgilian and Ovidian versions of Orpheus’ myth. This comparison shows the anonymous author’s deep knowledge of the ancient texts and complex way of rewriting them through stealing and hybridization.
The lay was highly esteemed by Tolkien, who translated it and took inspiration from it while describing the Elven kingdom in The Hobbit and building the storyline of Beren and Lúthien in The Silmarillion. Through this key tale, Orpheus/Orfeo’s romance has a deep influence also on Aragorn and Arwen’s story in The Lord of the Rings. The most important element that Tolkien takes from the Sir Orfeo figuration of the ancient story is undoubtedly the insertion of political theme: the link established between the recovery of the main character’s beloved and the return to royal responsability.
The second part of the paper is, thus, dedicated to the reception of Sir Orfeo and the classical myth in Tolkien. It shows how in his work the different steps of the tradition of Orpheus’ story are co-present, creating an inextricable substrate of inspiration that nourishes his imagination.
The paper investigates Tolkien’s narratives of decline through the lens of their classical ancestry. Narratives of decline are widespread in ancient culture, in both philosophical and literary discourses. They normally posit a gradual degradation (moral and ontological) from an idealized Golden Age, which went hand-in-hand with increasing detachment of gods from mortal affairs. Narratives of decline are also at the core of Tolkien’s mythology, constituting yet another underresearched aspect of classical influence on Tolkien. Such Classical narratives reverberate e.g. in Tolkien’s division of Arda’s history into ages, from an idealized First Age filled with Joy and Light to a Third Age, described as “Twilight Age (…) the first of the broken and changed world” (Letters 131). More generally, these narratives are related to Tolkien’s notorious perception of history as a “long defeat” (Letters 195) and to that “heart-racking sense of the vanished past” which pervades Tolkien’s works – the emotion which, in his words, moved him “supremely” and which he found “small difficulty in evoking” (Letters 91). The paper analyses the reception of narratives of decline in Tolkien’s legendarium, pointing out similarities but also contrasts and differences, with the aim to discuss some key patterns of (classical) reception in Tolkien’s theory and practice (‘renewal’, ‘accommodation’, ‘focalization’).
This paper analyzes a specific section of Martial’s Apophoreta (Book 14), the ‘list’ of fourteen literary works that the poet-persona suggests to the reader as potentially suitable presents to give to friends on the occasion of the Saturnalia. It focuses strictly on the literary aspects of the poems and their underlying carnivalesque poetics. This includes an assessment of the logic of the poems’ arrangement and alleged inconsistencies. It is suggested that the section be read as a complex statement of Martial’s on various works and genres of Greek and Roman literature. The last couplet of the section (14.196), a certain Calvus’ work ‘On the use of cold water’ (De aquae frigidae usu), which is unidentifiable, receives particular attention, for previous scholarship has wasted a lot of ink on guessing what kind of work this may have been, thereby losing touch with the rich (meta-)poetics the couplet actually conveys.
Die ehemalige Brandenburg auf der Brandenburger Dominsel, der alte Fürstensitz der slawischen Heveller, gab der Mark Brandenburg ihren Namen. 1150 konnte der Markgraf der sächsischen Nordmark, Albrecht der Bär aus dem Geschlecht der am Ostharz begüterten Askanier, die Havelfeste nach dem Tod des letzten Hevellerherrschers besetzen. Zu den bis heute ungeklärten Problemen im Zusammenhang mit der Entstehung der Mark Brandenburg gehört die Frage, wann Albrecht die Burg wieder verlor, so daß er gezwungen war, sie durch eine Belagerung zum zweiten Male in seine Gewalt zu bringen, was am 11. Juni 1157 geschah. In der folgenden Untersuchung soll erneut der Frage nachgegangen werden, zu welchem Zeitpunkt dem Markgrafen die Brandenburg noch einmal entrissen worden war.
Inhalt: 1. Kritische Erläuterung der Bilder und Texte jeder Folge - 1. Folge: Funde der Bronzezeit (Ein Film von Uschi Demitter) - 2. Folge: Germanische Stämme (Ein Film von Uschi Demitter) - 3. Folge: Siedlung der Slawen (Ein Film von Kurt Barthel - 4. Folge: Das verschwundene Heiligtum (Ein Film von Kurt Barthel) - 5. Folge: Von der Kaiserpfalz zur Stadt (Ein Film von Uschi Demitter und Richard Krause) 2. Einordnung der historischen Details der Folgen in den Geschichtsprozeß - 1. Folge: Funde der Bronzezeit - 2. Folge: Germanische Stämme - 3. Folge: Siedlung der Slawen - 4. Folge: Das verschwundene Heiligtum - 5. Folge: Von der Kaiserpfalz zur Stadt 3. Didaktisch-methodische Empfehlungen zum Einsatz der Sendereihe 3.1 Zuordnung der Sendefolgen zu den Rahmenplänen 3.2 Hinweise für die Unterrichtsarbeit des Lehrers 4. Ergänzende Medien zu den Themenbereichen in der Sammlung des MPZ
Theocritus’ id. 4 has been considered by some scholars as an example of rural mime; the fact that the poem, a unique case in the Corpus Theocriteum, does not contain any pastoral song or contest contributes to the impression of ‘realism’. This lack could be an obstacle for the poetological approach to the bucolic genre in antiquity, which considers metapoetry as its main feature. Our reading of the idyll shows that this limitation is only apparent.
Antike Epik : zur Geschichte narrativer metrischer Großtexte in oralen und semioralen Gesellschaften
(1998)
Inhalt: 0 Einführung 0.1 Literatur 0.2 Epos 0.3 Gattung 0.4 Aufgabe der Vorlesung 1 Anfänge griechischer Epik 1.1 Homer 1.2 Das Problem 1.3 Der Text 1.4 Medienwechsel 1.4.1 Oralpoetry 1.4.2 Schriftlichkeit 1.4.3 Leistungen der Verschriftlichung 1.5 Das Publikum 1.6 Die ersten Epen 1.7 Ilias 1.7.1 Inhalt 1.7.2 Struktur 1.7.3 Charakteristika 1.7.4 Troia und die Quellenfrage 1.8 Odyssee 1.8.1 Inhalt 1.8.2 Struktur 1.9 Wirkungsgeschichte 2 Anfänge römischer Epik 2.0 Griechische Einflüsse in der vorliterarischen Epoche 2.1 Der Befund 2.2 Das Problem 2.3 Methodisches Vorgehen 2.4 Inventar und Verortung mündlicher Literatur 2.5 Ergänzungen zum Sitz im Leben 2.6 Kristallisationskerne des Verschriftlichungsprozesses 2.7 Epos 2.8 Veränderungen im Gesamtsystem literarischer Kommunikation 2.9 Die Leistung des verschriftlichten Epos 3 Entwicklungen des zweiten und ersten Jahrhunderts v. Chr 3.1 Ennius 3.1.1 Zu Person und Werk 3.1.2 Die Annales 3.1.3 Kontext 3.2 Die weitere römische Entwicklung 3.3 Hellenistische griechische Epik 3.4 Rom 4 Vergils Aeneis 4.1 Biographie 4.2 Grundentscheidungen 4.3 Inhalt 4.4 Rezeption 4.4.1 Vergil und die europäische Literaturgeschichte 4.4.2 Zeitgenössische Rezeption 4.5 Leistung 4.5.1 Hauptperson der Aeneis ist Vergil 4.5.2 Gegenstand der Aeneis ist das zeitgenössische Rom 4.5.3 Kein Götter-, sondern ein Menschenapparat in der Aeneis 4.5.4 Die Aeneis nicht Helden-, sondern Proletarierepos 5 Das antike Lehrgedicht: Lukrez 5.1 Expositorische Dichtung 5.2 Der Epikureer Lukrez 5.3 Werkübersicht 5.4 Aussage 6 Ovid 6.1 Einführung: Ovidrezeption 6.2 Zur Person 6.3 Metamorphosen: Ein erster Zugang 6.4 Augusteische Epik 6.5 Die Metamorphosen als Epos-Parodie 6.5.1 Metamorphosen 6.5.2 Großepos 6.5.3 Systematisierung 6.5.4 Handlungsführung 6.5.5 Ovid und seine Vorgänger 6.5.6 Erzählen im Epos 6.5.7 Einzelmotive 6.5.8 Gelebte Parodie 7 Historische Epik der Prinzipatszeit 7.1 Allgemeines 7.2 Lukan 7.3 Die Pharsalia 7.3.1 Titel und Quellen 7.3.2 Inhalt 7.3.3 Gehalt 7.4 Silius Italicus 7.5 Ausblick 8 Mythologische Epik 8.1 Einführung 8.2 Valerius Flaccus 8.3 Statius 8.3.1 Zur Person 8.3.2 Thebais: Inhalt 8.3.3 Komposition 8.3.4 Einheitlichkeit 8.4 Manierismus 9 Die spätantike Epik 9.1 Überblick 9.1.1 Historischer Überblick 9.1.2 Der literaturgeschichtliche Einschnitt 9.1.3 Präzisierung 1: Christentum 9.1.4 Präzisierung 2: Ausnahmen 9.1.5 Präzisierung 3: Griechische Epik 9.1.6 Entwicklungsstränge 9.2 Panegyrisch-historische Dichtung 9.2.1 Allgemeines 9.2.2 Claudius Claudianus 9.3 Christliche Dichtung 9.3.1 Anfangsphase 9.3.2 Hauptphase 10 Epilog
From the fluid dresses woven from precious materials evoking the iconic statues of Antiquity to the revival of Spartan shoes, two emblematic fashion trends will help us study the place of Greek Antiquity in contemporary women’s fashion collections. Ordinary as well as extraordinary, what do these reminiscences tell? Can they permit to understand the boundaries that structure and govern the fashion’s worlds? Numerous and diverse, the differences and the similarities of the ways in which classical references are used allow us to study the relations of power in which the specificities of haute couture and ready-to-wear are defined. The values, the entry criteria, the operating hierarchies as well as the very acceptance of the word “fashion” are different from one environment to another. From the catwalks of big fashion houses on Avenue Montaigne such as Chanel to the youngest brands, the differentiated readings and uses of Antiquity raise the question of the symbolic value of classics in fashion.
Epistula 46 is an invitation, written under the name of Paula and Eustochium, for Marcella to go to Bethlehem, by all means with the aim to stimulate positive interest in the Holy Land for a wider public and to inspire the urge to travel and sojourn. The narrative defines pilgrimage not only through biblical references but also familiarizes it through references to ancient pagan practices and pagan literature and makes it compatible with the lifestyle of Rome’s urban elites. While biblical references predominantly propagate Palestine’s spiritual appeal as a site of centuries-long salvation events, references to the classics – often combined with the expression or the stimulation of emotions – put the region’s social and intellectual appeal to the fore. The use of pagan literature, in which the traditions of educational travel of a cosmopolitan elite, the social utopia of aristocratic recessus, and not least the pleasure of otium aestheticised through literature are prefigurated, shapes Palestine in particular fashion as a place of longing. Especially the appeal of Bethlehem thus only forms through the combination of spiritual-intellectual visio and emotionally attractive social utopia, through conjunction of spelunca Christi and bucolic idyll.