Love in Paramyth

2019 ◽  
pp. 178-193
Author(s):  
Christoph Jamme
Keyword(s):  
Art And Literature ◽  
Narrative Poem

This essay discusses the Orpheus myth, its sources, and its meaning as well as its role in art and literature, in the context of current theories of myth. In particular, it considers Rilke’s reception of Orpheus in The Sonnets to Orpheus as well as in his early narrative poem from 1904 to 1905, “Orpheus. Eurydice. Hermes,” the only poem that bears Orpheus in its title. The focus of the interpretation is on Rilke’s revision of myth: the poet makes use of the Orpheus myth to exemplify his distinctive conception of love. Special attention is given to how the representation of Eurydice in “Orpheus. Eurydice. Hermes” already embodies Rilke’s view of unpossessive love that becomes central in his later works.

“Christ’s mighty shrine above His martyr’s tomb”: Byron and Liszt’s Journey to Rome

2014 ◽  
Vol 55 (1-2) ◽  
pp. 17-26
Author(s):  
Paul W. Merrick
Keyword(s):  
Literary Works ◽  
The Real ◽  
English Poet ◽  
Byronic Hero ◽  
Public Enemy ◽  
The Face ◽  
Narrative Poem ◽  
Positive Force

The influence of Byron on Liszt was enormous, as is generally acknowledged. In particular the First Book of the Années de pèlerinage shows the poet’s influence in its choice of Byron epigraphs in English for four of the set of nine pieces. In his years of travel as a virtuoso pianist Liszt often referred to “mon byronisme.” The work by Byron that most affected Liszt is the long narrative poem Childe Harold’s Pilgrimage which was translated into many languages, including French. The word “pèlerinage” that replaced “voyageur” is a Byronic identity in Liszt’s thinking. The Byronic hero as Liszt saw him and imitated him in for example Mazeppa and Tasso is a figure who represented a positive force, suffering and perhaps a revolutionary, but definitely not a public enemy. Liszt’s life, viewed as a musical pilgrimage, led of course to Rome. Is it possible that Byron even influenced him in this direction? In this paper I try to give a portrait of the real Byron that hides behind the poseur of his literary works, and suggest that what drew Liszt to the English poet was precisely the man whom he sensed behind the artistic mask. Byron was not musical, but he was religious — as emerges from his life and his letters, a life which caused scandal to his English contemporaries. But today we can see that part of the youthful genius of the rebel Byron was his boldness in the face of hypocrisy and compromise — his heroism was simply to be true. In this we can see a parallel with the Liszt who left the piano and composed Christus. What look like incompatibilities are simply the connection between action and contemplation — between the journey and the goal. Byron, in fact, can help us follow the ligne intérieure which Liszt talked about in the 1830s.

Parables of Freedom and Necessity

1996 ◽  
Vol 13 (1) ◽  
pp. 42-58
Author(s):  
Abdelwahab M. Elmessiri
Keyword(s):  
Moral Responsibility ◽  
Human Freedom ◽  
Modern Time ◽  
Literary Works ◽  
Thematic Relations ◽  
Narrative Poem

EpilogueGeoffrey Chaucer’s ‘The Frankeleyn’s Tale” and Bertold Brecht’sThe Exception and the Rule seem to have very little in common. Chaucer’smedieval narrative poem tries to follow the norms of its genre andfulfiil the reader’s expectations, whereas Brecht’s modernist experimentalplay violates many of the rules of drama laid down by Aristotle and otherclassical critics. It deliberately shocks the reader out of any facile identificationwith the characters as well as any willing suspension of disbelief.But despite their many obvious differences, this study argues that theirsimilarities are quite relevant and significant. Both works deal with thethemes of human freedom, moral responsibility, and ability to transcend.These are among the major themes of literature throughout time-butthey have acquired particular poignancy in our modern time with the riseand gradual unfolding of what I term the “Paradigmatic sequence of secularization.”Since the terms “paradigm” and “secularism” are alreadyquite problematic, and to talk of “a paradigmatic sequence of secularization”is even more so, some kind of clarification and even redefinition isin order.ParadigmsWhen a critic singles out two literary works for comparison, thechoice is not guided by some universally established objective rules, butrather dictated by a certain set of assumptions, norms, criteria, biases, andso on. When he/she engages in the critical act itself, pointing out structuraland thematic relations (of similarity and dissimilarity), he/she does ...

Datta Bhagat’s Routes and Escape Routes and Vijay Tendulkar’s Kanyadaan: Critiquing the Dalit

2021 ◽  
pp. 2455328X2199573
Author(s):  
Joydeep Bhattacharyya
Keyword(s):  
Indian Society ◽  
Critical Reading ◽  
Post Colonial ◽  
Colonial India ◽  
Large Segment ◽  
Art And Literature

This article seeks to understand Indian theatre’s take on Dalit politics of our time through a critical reading of two post-independence plays—Datta Bhagat’s Routes and Escape Routes and Vijay Tendulkar’s Kanyadaan. Politically, ‘Dalit’ becomes important only after 1947 in post-independence and post-colonial India or more specifically from the 1970s. In the post-Ambedkar phase of Dalit re/configuration, they begin to self-assert through politics, art, and literature, most effectively and convincingly, only with the rise of Dalit Panthers and in the aftermath of the implementation of Mandal Commission’s recommendation for Other Backward Classes (OBC) reservation. The article tries to examine the fresh critique of the Dalit vis-à-vis the upper caste-centric society, undertaken in this crucial context of reconfiguration and from beyond any traditional parameter of understanding, and map, through the plays, the plurality hidden within the perceived monolith of Dalit consciousness. Consequently, Dalit experiences against the backdrop of their struggle are laid bare, and unfamiliar realities come out to upset our comfortable knowledge about this large segment of Indian society.

Ästhetisch konstruierte Traditionen?

2019 ◽  
Vol 44 (2) ◽  
pp. 442-470
Author(s):  
Torsten Voß
Keyword(s):  
Discursive Practice ◽  
German Romanticism ◽  
Literary Field ◽  
Avant Garde ◽  
Art And Literature ◽  
European Tradition ◽  
Concept Of Beauty

Abstract Throughout various literary and artistic periods, artists have referred to or even converted to Catholicism as a means of conjuring a certain perception of a European tradition. In doing this, they seek to create an aesthetic of romanticism and/or an idea and concept of beauty, the artist, artwork etc. After giving a brief overview of this discursive practice in modern avant-garde movements, this article focuses on early forms of literary Catholic movements, such as the French Renouveau catholique and François-René de Chateaubriand’s Le Génie du Christianisme (The Genius of Christianity), as well as Novalis’ ‘invention’ of German romanticism in his essay Die Christenheit oder Europa (Christianity or Europe). It shows that there are a variety of parallels to be identified across these periods and places, namely, in programs, performances, rhetoric-building and group-building processes, and in cultivating an anti-bourgeois distinction, both in the texts themselves and in the positioning of the artists within the literary field. Despite accusations of being reactionary, writers and artists who elaborate a Catholic concept of art and literature aim to develop a traditionalist and anti-modern stance within (aesthetical and social) modernity.

Influence in Art and Literature

Leonardo ◽  
1977 ◽  
Vol 10 (2) ◽  
pp. 161
Author(s):  
Ellen Dissanayake ◽  
Goran Hermeren
Keyword(s):  
Art And Literature
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