Transmutations of Love in Mary Zimmermans Metamorphoses RD5

Abstract: https://academic.oup.com/crj/article-abstract/doi/10.1093/crj/clx005/4065117/Looking-back-reception-as-creative-Sparagmos-Oskar

PUBLISHED BY THE CAMBRIDGE PHILOLOGICAL SOCIETY CAMBRIDGE 1999 © CAMBRIDGE PHILOLOGICAL SOCIETY ISBN 0 906014 22 0 CAMBRIDGE PHILOLOGICAL SOCIETY Supplementary Volume no. 23

Olivier Ducastel and Jacques Martineau’s 2016 film Théo et Hugo dans le même bateau (Paris 05:59: Théo & Hugo) concludes on an Orphic note, inviting a consideration of the entire film as based on the myth of Orpheus and Eurydice. The film appropriates but also radically transforms elements of the foundational myth—including especially Orpheus’s turn to pederasty in Ovid’s Latin version—crafting a queer love story based on potentiality out of the tragedy of the heterosexual love story. In so doing, the film channels Herbert Marcuse’s idea of Orphic refusal in Eros and Civilization, opening up the myth to reconfigure Orphic constructs of gender and sexuality for utopian ends.

UCL MSc Dissertation, 2016

This paper examines the psychoanalytic concepts of regression, castration anxiety, and primary narcissism as demonstrated in a work of classical literature. It utilises the broad technique of psychoanalytic interpretation through which to make inferences, in a way not far removed from the method of interpretation I use in my own clinical practice, and thus can also be read as an incidental demonstration of psychoanalytic methods of interpretation. The paper also touches on the archetypal basis of creative fiction, and its relation to the unconscious and will strongly imply therefore that collective unconscious 'laws' exist, and are thus not in fact merely socially constructed, as they can be identified in works of ancient fiction. Lastly, this the paper also combines aspects of Kleinian object relations with more classical Freudian psychoanalytic theory.

1992

... take it, for passion) by her "soft Zephyrs"; for the identification with Aphrodite-Arsinoe at Zephyrium, see the commentary of Gow-Page. On Aphrodite Ourania as patroness of marriage, see Lewis R. Farnell, The Cults of the Greek States II (Oxford, 1896) 656-57; Martin P. Nilsson ...

inter-disciplinary.net

In Classical Mythology: Images and Insights, Stephen L. Harris and Gloria Platzner astutely note: "Precisely because they have lasted so long, myths, in whatever form they have been transmitted, can be extremely useful tools for students of cultural history. For example, because so many myths continue to be adapted and reinterpreted, historians can study the various revisions as barometers of social change" (990). For centuries the story of Orpheus and Eurydice has been subject to interpretation and reinterpretation through the arts such as: opera, literature, theatre and film. In each retelling often different aspects of the narrative or points of view are emphasized; nevertheless the central motif of death remains a constant presence within the tale. While theses various treatments of the story have been constantly re-assessed and examined, few studies have researched the cultural implications of the myth, from the journey to the Underworld to the search for beauty and identity in the mortal world, within modern society.