By Theodore Ziolkowski
Minos and the Moderns considers 3 mythological complexes that loved a special surge of curiosity in early twentieth-century eu paintings and literature: Europa and the bull, the minotaur and the labyrinth, and Daedalus and Icarus. All 3 are positioned at the island of Crete and are associated by means of the determine of King Minos. Drawing examples from fiction, poetry, drama, portray, sculpture, opera, and ballet, Minos and the Moderns is the 1st e-book of its style to regard the function of the Cretan myths within the glossy mind's eye. starting with the resurgence of Crete within the smooth awareness in 1900 following the excavations of Sir Arthur Evans, Theodore Ziolkowski indicates how the story of Europa-in poetry, drama, and artwork, but additionally in cartoons, advertisements, and currency-was in the beginning seized upon as a narrative of sexual awakening, then as a automobile for social and political satire, and at last as an emblem of ecu team spirit. In contast, the minotaur supplied artists starting from Picasso to D?rrenmatt with a picture of the artist's experience of alienation, whereas the labyrinth advised to many writers the threatening sociopolitical international of the 20 th century. Ziolkowski additionally considers the jobs of such glossy figures as Marx, Nietzsche, and Freud; of tourists to Greece and Crete from Isadora Duncan to Henry Miller; and of the theorists and writers, together with T. S. Eliot and Thomas Mann, who hailed using fantasy in glossy literature. Minos and the Moderns concludes with a precis of the manners within which the commercial, aesthetic, mental, and anthropological revisions enabled accurately those myths to be taken up as a reflect of contemporary attention. The publication will attract all readers attracted to the classical culture and its carrying on with relevance and particularly to students of Classics and sleek literatures.
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Additional resources for Minos and the Moderns: Cretan Myth in Twentieth-Century Literature and Art
And the central role of the dream reminds us that the verse-drama is a product of the age newly enlightened by the insights of Sigmund Freud. Since the work ends before Europa reaches Crete and the new continent to be named for her, the theme of a uniﬁed Europe is not yet apparent in Mayer’s poem, which focuses, like Valéry’s almost contemporaneous La Jeune Parque (1917), on the awakening of a female consciousness. ”15 Kaiser (1878–1945), one of the best-known and most proliﬁc German Expressionist dramatists, had already written and published his masterpiece The Citizens of Calais (Die Bürger von Calais, 1914) as well as parodistic treatments of the biblical tale of Judith and Holofernes (Die jüdische Witwe, 1911; “The Jewish Widow”) and of Wagner’s Tristan und Isolde (König Hahnrei, 1913; “King Cuckold”).
Joyce is pursuing a method which others must pursue after him. . ”54 A few years later Hugo von Hofmannsthal reminded his audience that the “spirit of antiquity” is our very thought, the foundation of the church, 51 Amédée Ozenfant and Charles-Edouard Jeanneret, Après le cubisme (Paris: Altamira, 1999), 75. 52 Gino Severini, Du cubisme au classicisme: Esthétique du compas et du nombre (Paris: Popvolozky, 1921), 121. 53 Silver, Esprit de Corps, 372–77. 54 T. S. Eliot, “Ulysses, Order, and Myth” (1923) ﬁrst appeared in Dial; rpt.
In great discomfort, she wants only to get down from this rough hide. She would prefer the noise of oarlocks and a ship deck carrying a cargo of sheep. But, the poem ends, her mount bears her along without rudder or oar. In sum, postwar Europe appears to the poet as having lost its bearings and being unwillingly borne along by rough rulers with no sense of direction. Despite the eroticism implied subtly by Europa’s dainty hands and the bull’s desirable neck, the thrust of the poem is almost wholly political.