Search results

You are looking at 1 - 10 of 478 items for :

  • Refine by access: All content x
Clear All
Oenone and Paris
Katherine Heavey

On 17 May 1594, an anonymous poem entitled Oenone and Paris was entered in the Stationers’ Register. The poem, bearing a preface signed by T. H., has long been attributed to Thomas Heywood. Joseph Quincy Adams cites various evidence in support of the ‘fair probability’ that T. H. is Heywood, including the obvious classical learning of the two authors, their common admiration for Ovid and Lucian as well as Shakespeare, their interest in the Troy story in particular and the various echoes of Oenone and Paris in Heywood’s later works. 1 An epyllion set after

in Thomas Heywood and the classical tradition
Abstract only
A Recombinant Pygmalion for the Twenty-First Century
Kathleen McConnell

As a gothic iteration of Ovid‘s Pygmalion myth, the television show ‘Dark Angel’ demonstrates how anxiety over the laboratory creation of people persists in popular culture. The paper looks through the lenses of media representation of cloning, complexity theory‘s trope of iteration, and gothic literary criticism, first to analyze Dark Angels heroine as a gothic version of Pygmalion‘s statue. It goes on to explore some of the implications of rewriting sculptor/lover Pygmalion into Dark Angels Donald Lydecker and Logan Cale, before examining the first season in its entirety. The analysis ends on a short exploration of some interactions between the show and the popular culture that produces and consumes it.

Gothic Studies

This book sets the scene for the reinterpretations and explorations of the ways William Shakespeare and his contemporaries worked mythological material on their looms. In Ovid, each text leaves a trace in the others, introducing an enriching leaven that expands the text. Reading Holinshed's efforts to place Samothes or Brutus on England's family tree, one feels sorry for those chroniclers who had to reconcile a variety of founding tales and defend mutable causes. Founding myths need a renowned ancestor; warlike feats; identification with a territory, continuity, purity of blood; and someone to tell the story: fame must be recorded by pen if it is to survive marble monuments. The book discusses the Trojan matter of King John, which powerfully structures and textures the scenes of the siege of Angiers and, more specifically, the tragic fates of Constance and Arthur. It also considers some metamorphoses of Shakespeare and Ovid. The book reiterates imaginative association, influence, historically diachronic descent study, as evidenced in that kind of critical work that finds in a keyword an attractive pretext for projecting an author's particular interest or, a critic's. Yves Peyré's work opens perspectives on post-Shakespeare reworkings and Shakespearian myths that were also explored during the ESRA conference and inspired a separate collection of essays, Mythologising Shakespeare: A European Perspective.

Emulation, adaptation, and anachronism
M. L. Stapleton

Current adaptation theory devoted to poststructuralist Shakespeare, film, and popular culture could be applied to Thomas Heywood’s translation of Ovid’s Ars amatoria , sometimes known as Loves Schoole ( c . 1599–1620). Thomas Cartelli’s definition of the key term might obtain here: an author ‘adjusting or accommodating the original work to the tastes and expectations’ of his or her readers. 1 However, in this case, the interrelated concepts of imitatio and aemulatio as they were understood in the sixteenth century, which anticipated these newer ways of

in Thomas Heywood and the classical tradition
Yulia Ryzhik

How can Ovid help us think about the relationship of Spenser and Donne? How did Ovid help Spenser and Donne to think about their own tumultuous era? About the durable conundrums of change and continuity, division and connection? And about the place of poetry in a perishable and perilous world? I would like to consider here the Ovidian heritage in three poems published in the late, declining years of Elizabethan rule. Prosopopoia: or Mother Hubberds Tale looks backward to the beast fables of medieval Europe and forward to the rhymed

in Spenser and Donne
Metaphor and relation in the poetry of Ted Hughes and Sylvia Plath
Charles Mundye

incest narratives from Ovid’s Metamorphoses as starting points, I trace dialogic exchange across texts by Hughes and Plath, extending the spirit of Eavan Boland’s injunction to revel in their mid-century conversation by listening to the voice in Hughes’s late works: ‘It is a joy to speculate at the end of this century on that mid-century dialogue – how across continents, traditions and sex they spoke

in Incest in contemporary literature
Barbara Arciszewska

.indb 294 31/07/2018 14:35 The role of ancient remains in early modern Poland Ovid’s tomb My last example concerns another funerary monument: the tomb of Ovid (born 43 BCE), the great poet who in 8 CE was exiled for an unknown indiscretion to Tomis on Pontus Euxinus (the Black Sea), where he died around 17 CE.66 The exact spot of his burial was not recorded, but this omission did not prevent later generations of scholars from speculating. What made their search more interesting was the fact that prior to the late nineteenth century the exact location of Tomis (now

in Local antiquities, local identities
Europa, between consent and rape
Gaëlle Ginestet

find any hint of violence in the myth of Europa, while Jonathan Bate, in his discussion of Jupiter’s ‘divine rapes’, argues that ‘Ovid is the locus classicus for the motif of dissembling in sexual pursuit’. 6 The myth of Europa is often referred to as ‘the rape of Europa’. Etymologically, it should be more accurately ‘the rapes of Europa’, implying both ‘abduction’ and

in Interweaving myths in Shakespeare and his contemporaries
Mythographic complexities in 1 Iron Age
Charlotte Coffin

reading Homer and Ovid – which he did, ‘fine classicist’ that he was 5 – or does it imply a chain made of multiple intermediary links, any of which Heywood may have drawn on? I shall turn to both mythological scholarship and literary historiography as I discuss the not-so-classical tradition. Then I shall focus on Recuyell ’s influence upon 1 Iron Age , to argue that Heywood picked up its medieval, retrospective, pessimistic viewpoint on Troy and translated it into the play’s obsession with predictions and posterity. Finally, I shall study how Heywood handled the

in Thomas Heywood and the classical tradition
Instead of a conclusion
Ruth Morse

From Shakespeare’s odd use of one figure in one myth (taken apparently out of context), this final chapter will consider some metamorphoses of Shakespeare and of Ovid; it has general points to reiterate about imaginative association, influence, historically diachronic descent study, as evidenced in that kind of critical work that finds in a keyword an attractive pretext for

in Interweaving myths in Shakespeare and his contemporaries