Circe in Literature and Art of the Renaissance Cleopatra, Queen and Sex-Symbol Marc Antony in Post-Classical Imaginary Power beyond Measure — Caligula in Pop Culture Constantia memoriae — the Reputation of Agrippina the Younger Hadrian, Antinous and the Power of Seduction Special Film Event with Live Music The session consisted of the screening of four short films related with the topic of the conference with music originally composed and live performed by two music students of the University of Bristol: The movement of the suffragettes, women organizing themselves in unions and campaigning e.
This paper will analyze the link between the two phenomena and the political implications behind it. Put more succinctly, Orientalism is an idiosyncratic means of representing Otherness. This romanticisation and eroticisation of the Orient is best played out in the myth of the harem, commonly identified as a gilded cage-cum-pleasure palace of sexual delight.
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Western cinema quickly appropriated the harem fantasy and from the mid s Hollywood created the harem stereotype adjacent to, and dependant on, the canvases of the Orientalist artists of the Victorian period. Le Roy , Alexander the Great ; dir. Rossen , Solomon and Sheba ; dir. Vidor , Esther and the King ; dir. Walsh , and Alexander ; dir Stone — use the motif of the ruler or conqueror within his harem to transmit the idea of the autocracy and sexual authority of the male protagonist.
The paper will also explore how the epic image of the harem was shared in other popular Hollywood genres, in particular musicals such as Kismet ; dir. Minnelli and The King and I ; dir. Many women of Ancient Attic Drama share as distinctive features an evil power and an ambiguous seduction, the effects of which may be observed inside the plot, especially in the relationship between the characters.
Their fascination is also exercised on the audience, as is demonstrated by their everlasting success in theatre and outside theatre, mostly in the visual arts. These women are often variously connected to a common background: Earth and Underground, Motherhood and the Uterus, seen as a refuge and a menace. They seem to hold in their hands the secrets of sex and birth, life and death, mostly symbolised by strong iconic elements: Their origin can be traced back to several female archaic figures: My paper will therefore focus on some female characters — such as Clytemnestra and the Erinyes, Antigone, Medea — who still fascinate the audiences, especially through iconic symbols.
I shall suggest a few answers, and I shall seek traces of these heroines and their heirs on contemporary stage, in pop culture and in modern mass media: Whilst the great majority of reviewers of the film saw the presence of tragedy as one of its most distinctive characteristics, many of them also found it puzzling and annoying rather than amusing. Can the parodic return by a comedy auteur to the origins of a respectable but dead or dying genre be seen as anything other than elitist, regressive and limiting?
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Can this return of cinema to theatre and of comedy to tragedy be emplotted as anything other than a formalist stratagem to be explained through a historical account of the opposition between comedy and tragedy? Instead of reading the film in the light of theories of genre and media interaction, this paper proposes to read theories of genre and media in the light of the film. The play adopts the Euripidean scene at Aulis, but creates a free composition spanning different times and cultures: Death is the character who will marry Iphigenia.
In a personal poetic composition, Coca has created a meeting between a war-loving king and his young daughter, whom he will sacrifice to his desires. The erotics of self-satisfying power and the erotics of death are subtly but cruelly represented in the dramatisation and opposed to collective expectations of life and freedom. Myth and Tragedy in Opera Staging in 21st Century. The aim of this paper is to analyse some recent opera productions, including a recently composed work and a rediscovered one, which have the common features of being inspired by or containing allusions to Antiquity and of presenting in different ways the interplay of the themes of seduction and power.
In the first case, in which Greek myth, rather than a specific literary genre or work, is the direct source, the themes of power and seduction are explored mainly in the context of individual human relationships Ariadne and Theseus, in opposition to the bestial innocence of the Minotaur. The source here being Greek tragedy, rather than myth, this opera has led the directors to a deeply ambivalent reading of the meaning of the worship of Dionysus and its relevance in a contemporary context. Nicoletta Momigliano University of Bristol: In antiquity queen Cleopatra was considered a woman of strong personality, educated and sophisticated, as demonstrated by her fluency in several languages.
Her relationships with Caesar and especially with Marc Anthony conferred to her the image of an irresistible seductress. On the basis of these representations, cinema transformed the queen of Egypt into a sex symbol, which is particularly apparent in her portrayal by Claudette Colbert Cecil B. Her main research interests are Greek religion and reception. Epigraphical documentary evidence of the Themis cult: Now let Earth be my witness and the broad heaven above, and the down flowing water of the Styx… Homer, Ilias XV, Greek oath rituals, in: A rare ensample of Friendship true: Per una storia della ricezione: He is author of e.
Philosophical Rhapsody in the Timaeus and the Critias, in G. His main research topics are the history of the Later Roman Empire with a particular attention to economical and social issues, Roman monetary history, and the reception of antiquity in modern literature, art and cinema. He is author of Eunuch und Kaiser: Il modello di ogni caduta: Pasolini, Aristotle and Freud: He also collaborates with a research group on Greek drama and its tradition University of Barcelona.
He is author of: Mestre ed , Lucian of Samosata. Greek Writer and Roman Citizen, Barcelona in press. She completed her studies at the University of Heidelberg with a dissertation on the subject Espacio en orden: Pepa Castillo is author of several papers on Roman surveying, on the treaties of the so-called gromatici veteres and on the reception of antiquity in Baroque opera. She is currently working on a monograph on the latter. Forme di comunicazione nel mondo antico e metamorfosi del mito: El altar, Argos, Atenas. After his dissertation on the subject of the States of Emergency in the Late Roman Republic Zaragoza, , he has published several papers on the political and social problems of the Late Republic.
He also works on modern historiography and has published works on cinema and Ancient Rome. In the field of classical reception he deals mainly with the links between classicism and fascism in Spain. He is author of Imperialismo defensivo y guerra justa: El cine de romanos en el siglo XXI in print. She completed her PhD Barcelona on the socio-economic role of Roman auctions and has published several works on the economic history of ancient Rome.
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A further area of her interest is the reception of Antiquity in film and in the visual arts. She is coeditor of Imagines: Cinematic Receptions of Ancient History, Literature and Myth , to which she contributed papers on the influence of Antiquity in contemporary political posters and on ancient Greeks in films situated in the Roman world. Among her current projects is the co-edition of a book on the representation of iconic ancient cities in film. Si te metes en el papel de una amazona, siendo una actriz profesional, hazlo bien.
No entres a juzgar a nadie, si es bueno o malo. Piensa que eres una amazona, que te educaron para ser una guerrera, y que no has conocido otra forma de vida. No pretende ser una insolente, pero, otras culturas la ven como una mujer insolente, una descarada. El mito de la Diosa. Claro, si hay que dar trabajo a muchas actrices, la cosas no parece interesar. Desde luego Xena, la princesa guerrera era una serie entretenida, pero muy mejorable.
Una historia que me acabo de inventar, y que me agrada mucho. Otro papel para una actriz, la de una mujer ninja, una mezcla entre ninja, y geisa japonea. Y que fueran nobles y generosas, a la par que astutas. Papeles muy interesantes para las actrices. La cara oscura de las personas. Las amazonas eran nobles guerreras, grandes luchadoras, y muy caballerosas. Actualmente, XtraMath no puede rellenar las listas de las clases mediante servicios externos como Clever, pero podemos importar clases por usted.
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92 best PELÍCULAS DE ROMANOS images on Pinterest | Movie posters, Film posters and Movie tv
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10 razones para volver a ver 'Xena: la princesa guerrera'
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