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11	Apuleiův Zlatý osel a antická literární tradice v umění rudolfínské doby / The Golden Ass of Apuleius and the Classical Literary Tradition in the Visual Arts of the Rudolphine Period Savická, Pavla January 2018 (has links) (in English): Only one of many Ancient Roman novels that were written during antiquity has survived to this day. Apuleius' Metamorphoses could have easily been lost too as it was overlooked by the Carolingian renaissance and at one point existed only in a single copy. Luckily it was found and rediscovered for the Italian Renaissance by one of the so called bookhunters in the 14th century. After that it did not cease to inspire many works of art from literature to paintings. The story of Cupid and Psyche that comes from this book was used to decorate many representational rooms from the early Renaissance on, until at least the 19th century. It seems to have been especially popular at the court of Rudolf II and it represents one of the typical mythological themes with a strong erotic potential. We can trace its roots to Italy where the novel was brought back to the literary scene. The most important visual sources, that played at least an equally important role in the dissemination of the motive through Europe as literature, also come from Italy. Especially Rome and Raphael's frescos in villa the Farnesina influenced generations of Italian as well as foreign artists. Bartholomeus Spranger, Joseph Heintz and other future court artists of Rudolf II were no exception. The antique city and antique novel...
12	Metamorphosis of Love: Eros as Agent in Revolutionary and Post-Revolutionary France Laffick, Jennifer N 01 January 2017 (has links) This thesis chronicles the god of love, Eros, and the shifts of function and imagery associated with him. Between the French Revolution and the fall of Napoleon, Eros’s portrayals shift from the Rococo’s mischievous infant revealer of love to a beautiful adolescent in love, more specifically, in love with Psyche. In the 1790s, with Neoclassicism in full force, the literature of antiquity was widely read by the upper class. Ancient Greek texts reveal an important facet of the god of desire; the fact that he is an agent, if not the patron, for homosexual, homoerotic love. This aspect of Eros directly collided with the heteronormative principles that existed in Revolutionary and Post-Revolutionary France, leaving French Neoclassicists with the challenge to reconcile the ancient role of Eros with the moralizing, rational ideals of society. Thus, the popularization of Eros and Psyche in French Neoclassical art exemplifies this attempt to create a heteronormative ideal couple to epitomize patriarchal France. Throughout my thesis I pose the question: How do depictions of Eros and Psyche produced in the years surrounding the French Revolution reflect the antique tastes of Neoclassical artists and the heteronormative society within which these pieces were produced? Eros Cupid and Psyche Neoclassicism France Homoeroticism Arts and Humanities
13	Major conventional scenes in late sixteenth-century Italian and French pastoral drama Niccoli, Gabriel Adriano January 1983 (has links) The purpose of the present work is to analyze the function of three major conventional scenes, broadly termed topoi, in three pastoral plays: the Aminta of Tasso, Guarini's Pastor Fido and the Bergerie by Montchrestien. The initial part of this study presents the basic features of pastoral drama in the last quarter of the sixteenth century in both Italy and France. It is concerned especially with some of the theoretical dicta expressed at that time and with the manner in which they may have influenced the handling of major dramatic scenes by different playwrights. Particular attention is devoted to the acrimonious querelle that took place around the Pastor Fido. The successful defense of Guarini's tragicommedia pastorale was, in fact, of great significance in the development of the pastoral dramatic genre because it guaranteed the dignity of pastoral tragicomedy alongside the established forms of tragedy and comedy. The main part of the dissertation is a detailed textual study of three major recurring scenes in pastoral drama; namely, those involving Cupid, the Golden Age theme and the Satyr. The use of each of these famous topological structures reveals, of course, the dramatist's conception of them and, more importantly, his audience's expectations. Whether a particular topos is elaborated more decoratively than dramatically, it must have an integral function in the structure of the play. Contrary to the entrenched opinion on pastoral drama, these were plays that were written in order to be staged, an important fact which is too often forgotten and only recently, thanks to the work of such critics as Clubb, Igliozzi and Dalla Valle, has been given due emphasis. / Arts, Faculty of / English, Department of / Graduate Cupid in literature Golden age (Mythology) in literature Lust in literature
14	Proměny a adaptace mýtu o Amorovi a Psyché v literatuře / Transformation and Adaptation of the Cupid and Psyche Myth in Literature Fauknerová, Anna January 2018 (has links) Diploma thesis Bc. Anna Fauknerová (2018) Transformationand Adaptation of the Cupid and Psyche Myth in Literature Abstract This thesis deals with the myth of Cupid and Psyche. It is concerned with the version of the myth found in Apulei's novel The Golden Ass as well as in other works such as fairy tales and novels. Some of these other works refer to the myth directly while others' connections to it have not been established and they merely demonstrate similar motifs. The first part of the thesis deals with Apuleius and his text The Golden Ass, which is the oldest surviving version of the myth of Amor and Psyche. The main characteristics of the myth as well as its characters, the story and the meanings that are hidden in it are examined. The character of Psyche and the way her heroism manifests itself are examined in greater detail. The second part of the thesis compares the myth with three fairy tales and three novels based on the conclusions of the previous chapter. The greatest emphasis is placed on the development and adaptation of individual motifs, similarities and disimilarities in content and form and on the way in which the myth is reflected in literature. The third part of the thesis looks at three possible ways of interpreting the myth. Keywords: Cupid, Psyche, myth, fairy tale, motif of light...
15	Aiming to Please: Antoine-Denis Chaudet's <i>Cupid Playing with a Butterfly</i> and the Issues of Iconography and Patronage Nystrom, Karen JoAnn Bangsund 15 July 2009 (has links) No description available. Art History Antoine-Denis Chaudet Chaudet A-D Chaudet Denis-Antoine Chaudet Cupid Eros Anteros love cameo gemstone jewelry cut stone Neoclassicism Neoclassical Neoclassical sculpture sculpture Josephine Jos&233 phine Josephine Bonaparte empress A
16	Myths on the Move: A Critical Pluralist Approach to the Study of Classical Mythology in Post-Classical Works Delbar, David Carter 01 June 2019 (has links) The Classical Tradition, now more commonly known as Classical Reception, is a growing sub-discipline in Classics which seeks to trace the influence of Greco-Roman culture in post-classical works. While scholars have already done much to analyze specific texts, and many of these analyses are theoretically complex, there has yet to be a review of the theories these scholars employ. The purpose of this study is to provide researchers with a theoretical tool kit which allows them greater scope and nuance when analyzing usages of classical mythology. It examines five different approaches scholars have used: adaptation, allusion, intertextuality, reception, and typology. Each theory is followed by an example from Spanish literature or film: Apollo and Daphne in Calderón's El laurel de Apolo, Orpheus in Unamuno's Niebla, Dionysus in Unamuno's San Manuel Bueno, mártir, Persephone in del Torro's El laberinto del fauno, and the werewolf in Naschy's Waldemar Daninsky films. This thesis argues that a critical pluralist approach best captures the nuance and variety of usages of classical mythology. This allows for both objective and subjective readings of texts as well as explicit and implicit connections to classical mythology. classical tradition reception adaptation allusion intertextuality typology Pedro Calderón de la Barca Miguel de Unamuno Guillermo del Toro Paul Naschy Friedrich Nietzsche Euripides Publius Ovidius Naso El laurel de Apolo Niebla San Manuel Bueno mártir Bacchae Apollo Cupid Dionysus Orpheus Persephone werewolf Arts and Humanities Comparative Literature
17	Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve Langdell, Sebastian James January 2014 (has links) This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition. 821
18	Diadem och identitet : En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem / Diadem and Identity : A Study on Identities in Empress Josephine's Pearl and Cameo Diadem af Klinteberg, Kristina January 2020 (has links) This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris. To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study. When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus. A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809. Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit. Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I. Empress Josephine Emperor Napoleon Malmaison Nitot et Fils Chaumet Queen Hortense Queen Josefina Queen Silvia King Carl XVI Gustaf Crown Princess Victoria Bernadotte L Thomasset Ferdinand-Paul-Louis Quaglia Guiseppe Girometti Louis-Bertin Parent Andrea Appiani Venus Mars Cupid pearl and cameo diadem diadem iconography coronation coronation diadem Napoleon III kejsarinnan Josefine kejsare Napoleon Malmaison Nitot et Fils Chaumet drottning Hortense drottning Josefina drottning Silvia kung Carl XVI Gustaf kronprinsessan Victoria Bernadotte L Thomasset Ferdinand-Paul-Louis Quaglia Guiseppe Girometti Louis- Bertin Parent Andrea Appiani Venus Mars Amor Napoleon III pärl- och kamédiadem kamédiadem diadem kungligt bröllop ikonografi kröning kröningsdiadem Art History Konstvetenskap

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