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This article addresses a little known poem by Goethe, Planetentanz (Dance of the Planets) and analyses it’s content referring to mythology, astronomy and dramaturgy. Goethe’s planets are defined by the character of their namesake gods and goddesses as well as by the physical characters of the rocky or gaseous heavenly bodies known today with their characteristics explored by Goethe’s contemporaries. It has been shown that Goethe corresponded with some of the most influential astronomers of his time.
This paper presents a case study on the relationship between inhabitants of a South Moravian village and the local swamp/wetland. Two different approaches were identified for this particular locality; one was called “everyday” approach and the second “environmental” approach. The disparity of these approaches is documented in the way the individual participants construct, by means of various symbols and meanings, a symbolic system relating to this locality. Environmental experts speak about the “wetland”, whose dominant purpose is life, and they undertake measures for its protection. On the other hand, from the point of view of the everyday approach, the “swamp” is perceived as wilderness, represented by the myth that death is playing its key role. This approach, based on traditional concepts of mythology, is far removed from the environmental approach, which is based on the sign system of science. This disparity then presents a source of misunderstanding and possible conflicts between the individual parties.
as Dracula, the poem also reflects on how facts lose truth
over time, and how many stories about real people have become
mythologised whether this was intentional or not.
Keywords: Myra Hindley; Moors Murders; mythology; murder; crime;
dehumanisation; sexism; victim
The plotting Queen,
an adopter of the masculine role of adulterer.
Transgressive like the sadomasochistic tendencies,
like the relationships
she engaged in incarcerated.
The weapon drips.
The bath water is turning red.
over Agamemnon’s body
Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poetic form of the ancient tragedies signed by Euripides, Aeschylus and Sophocles. Significant Romanian musical works written in the avant-garde period of 1960 to 1980 – Doru Popovici’s opera Prometeu, Aurel Stroe’s Oedipus at Colonus, Oresteia I – Agamemnon, Oresteia II – The Choephori, Oresteia III – The Eumenides, Pascal Bentoiu’s The Sacrifice of Iphigenia – to which titles of the contemporary art of the stage are added – Cornel Ţăranu’s Oreste & Oedip – propose new philosophical and artistic interpretations of the original myths. At the same time, the mentioned works represent reference points of the multiple and radical transformation of the opera genre in Romanian culture. Emphasising the epic character, a heightened chamber dimension and the alternative extrapolation of the elements in the syncretic complex, developing new modes of performance, of sonic and video transmission – are features of the new style of opera associated to the powerful and simple subject-matter of ancient tragedy. In this sense, radio opera The Sacrifice of Iphigenia (1968) is a significant step in the metamorphosis of the genre, its novel artistic value being confirmed by an important international distinction offered to composer Pascal Bentoiu – Prix Italia of the Italian Radio and Television Broadcasting Company in Rome. The poetic quality of the text quoted from the masterpiece of ancient theatre, Euripides’ Iphigenia in Aulis, the hymnic-oratory character of the music, the economy and expressive capacity of the compositional means configured in the relationship between voice, organ, percussion, electro-acoustic means – can be associated in interpreting the universal major theme: the necessity of virgin sacrifice in the process of durable construction.
The purpose of this paper is to reflect upon the ways the same animals depicted in Lucian Blaga’s poetry and Vasile Voiculescu’s respectively are shaped based on comparison. On the one hand, the animals in Blaga’s works get a metaphorical pattern, while, on the other hand, those in Voiculescu’s poetry keep the ordinary meaning. While in Voiculescu’s case animals are part of the traditional setting, Blaga gives them symbolic and transcendental meanings.
The Pentathlon is a combined athletic discipline of the ancient Olympic Games. A detailed exploration of the ancient Olympic competitions in general and of the pentathlon, in particular, allow us to discover1200 years of sport history. The spectacle of the pentathlon contest, the method of determining a winner, the order of the five disciplines is simply fascinating. The modern Olympic Games redefined the pentathlon among the Olympic disciplines. Under the name of the modern pentathlon, it gradually regained its fame won in antiquity. The military pentathlon is a variant of the modern pentathlon deployed within the military organization and is considered the king of military sports. The evolution of the modern battlefield, strongly influenced by the modern combat technique, will surely change the pentathlon contest register. Even if respect for the Olympic spirit is desired, the pentathlon must take into account the evolution of the contemporary society to keep its attractiveness.