classical mythology

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The result of this intriguing double reading of classical myth is an extremely complex genre, which meditates on the cosmic convergence of the jocose and the serious--the insignificance or "comedy" of individual destiny in the greater scheme of things--even as genuinely tragic events may be represented on the stage.
They parodically use mythologizing and de-mythologizing devices to achieve a semantic transformation of the classical myths and employ burlesque travesty to bring about their stylistic modification.
In the Italian text, "Giganti" is capitalized, for Dante is referring to the race of Giants from classical myth, and not to large monsters in general.
When they meet in Rome, his formulation of Dorothea's imprisonment suggests how the labyrinth of classical myth becomes the imprisoning network of nineteenth-century language and beliefs: 'It is monstrous.
John Milton alludes to the classical myth of Pandora several times in his writings.
Muller and Lang both neglect the monstrous elements in classical myth, but later in the century with the work of--surprise
Although the Judeo-Christian narrative of a new beginning after the catastrophe may share some common traits with classical myth, the Christian hero's transformation through atonement and repentance assumes unique features.
Inside there are pictures by Millais, Rossetti and Birmingham's own great Pre-Raphaelite Edward Burne-Jones who adored medieval legend, classical myth, fantasy and fairytale but not the clatter and roar of the modern age.
Bristling with wit and insouciance, independent filmmaker Ann Marie Fleming's contemporary adaptation of the classical myth of Tiresias is a playful rumination on gender relations, power and sexuality.
As in the classical myth, Kennedy's couple of David (Orpheus) and Suzanne (Eurydice) are "inseparable" in their love and appreciation for each other.
This is a stimulating and provocative collection of 14 essays on the broad theme announced in the title, and the studies also encompass the broader theme of classical myth and the visual arts "writ large," as the editors state in the preface.
Although the Mythologiae was constantly cited by the learned and taken for granted as the standard reference work on classical myth during the Renaissance, many scholars still dismiss it as no more than a handy compendium of facts, and refuse to acknowledge its value as a creative source of mythology for the aspiring Renaissance poet" (1:xi).
Also important is her study of how artists have reshaped the classical myth of Electra.
95) examines the presence and influence of classical myth in erotic art, considering the ritualization of erotic art sexuality and discussing the origins of erotic sentiments and essences in both men and women.
If he alludes to a sort of silent restaging of classical myth, he does so in such a way that the drama that unfolds within the walls of the labyrinth is always new and unrepeatable.