Herrero de Jáuregui, Miguel, Hernández, Raquel Martín, Santamaría Álvarez, Marco Antonio, Torallas Tovar, Sofía, Herrero De Juregui, Miguel, Jiménez San Cristóbal, Ana Isabel, Luján Martínez, Eugenio R., Herrero de Jáuregui, Miguel, Hernández, Raquel Martín, Santamaría Álvarez, Marco Antonio, Torallas Tovar, Sofía, Herrero De Juregui, Miguel, Jiménez San Cristóbal, Ana Isabel, and Luján Martínez, Eugenio R.
There is hardly a more controversial issue in the study of ancient religion than Orphism. More than two centuries of debate have not closed the subject, since new evidence and divergent approaches have kept appearing regularly. This volume sheds light on the most relevant pieces of evidence for ancient Orphism, collected in the recent edition by Alberto Bernabé. It contains 65 short new studies on Orphic fragments by leading international scholars who comment one of the most controversial phenomena in Antiquity from a plurality of perspectives. Readers will acquire a global vision of the multiple dimensions of the Orphic tradition, as well as many new insights into particular Orphic fragments.
Working always to connect the polemical to the personal, Peter Dale Scott's political poems - from the tear gas of Berkeley protests in the 1960s to the problems of Thai forest monks in an era of drug-trafficking and deforestation - are a process of self-questioning. Self-questioning also marks his meditation poems, including a sequence on the death of his first wife. In opposition to contemporary poems of studied meaninglessness, Scott increasingly recognizes a compulsion in himself to radically reaffirm traditional rejections of the external world and turn to the refuges of poets before him, the enduring commonplaces that are more than cliches.
Erotic poetry--History and criticism, Sex in literature, American poetry--20th century--History and criticism, Homosexuality and literature--France--History--19th century, Homosexuality and literature--United States--History--20th century, and Modernism (Literature)--United States
First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
American fiction--African American authors--History and criticism, American fiction--20th century--History and criticism, Music and literature--History--20th century, African American music--History and criticism, Musical fiction--History and criticism, African American musicians in literature, African Americans in literature, and Music in literature
The legendary Greek figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American literature. The nine original essays in Black Orpheus examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women's studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction.
Sonnets to Orpheus is Rainer Maria Rilke's first and only sonnet sequence. It is an undisputed masterpiece by one of the greatest modern poets, translated here by a master of translation, David Young.Rilke revived and transformed the traditional sonnet sequence in the Sonnets. Instead of centering on love for a particular person, as has many other sonneteers, he wrote an extended love poem to the world, celebrating such diverse things as mirrors, dogs, fruit, breathing, and childhood. Many of the sonnets are addressed to two recurrent figures: the god Orpheus (prototype of the poet) and a young dancer, whose death is treated elegiacally.These ecstatic and meditative lyric poems are a kind of manual on how to approach the world – how to understand and love it. David Young's is the first most sensitive of the translations of this work, superior to other translations in sound and sense. He captures Rilke's simple, concrete, and colloquial language, writing with a precision close to the original.
Agriculture in literature and Didactic poetry, Latin--History and criticism
Presents a popular introduction to Virgil's Georgics for the general reader.Though John Dryden once called the Georgics “the best Poem of the best Poet,” and Montaigne thought it the most highly finished work in all of poetry, Virgil's song of the earth has never won as many readers as has his Aeneid, and at present it is the subject of more debate among classicists than perhaps any other poem in Latin. Using a Jungian approach, this book draws on the new commentaries in English as well as on the work of the great German Virgilians of the past, and is written in the eloquent, accessible, and personal style for which its author has become known. It outlines clearly the literary and historical background of the poem, discusses the sound of Virgil's hexameters, and treats each of the four georgics in detail, with special emphasis on the concluding myth of Orpheus. The most baffling of all Latin poems is shown in these pages to be Virgil's gift to Augustus, the most powerful man in the world as the salvational leader of the renewed Roman state, telling him what he must know about nature and about human nature if he is to rule the world well.M. Owen Lee is Professor of Classics at the University of Toronto. He is the author of Fathers and Sons in Virgil's Aeneid and Death and Rebirth in Virgil's Arcadia, both published by SUNY Press. He has also written books on Horace's Odes and Wagner's Ring, and is an internationally known commentator on the Metropolitan Opera broadcasts.
Blacks--Race identity--Brazil--Rio de Janeiro and Blacks--Race identity--Brazil--Sa~o Paulo
From recent data on disparities between Brazilian whites and non-whites in areas of health, education, and welfare, it is clear that vast racial inequalities do exist in Brazil, contrary to earlier assertions in race relations scholarship that the country is a'racial democracy.'Here Michael George Hanchard explores the implications of this increasingly evident racial inequality, highlighting Afro-Brazilian attempts at mobilizing for civil rights and the powerful efforts of white elites to neutralize such attempts. Within a neo-Gramscian framework, Hanchard shows how racial hegemony in Brazil has hampered ethnic and racial identification among non-whites by simultaneously promoting racial discrimination and false premises of racial equality. Drawing from personal archives of and interviews with participants in the Movimento Negro of Rio de Janeiro and Sao Paulo, Hanchard presents a wealth of empirical evidence about Afro-Brazilian militants, comparing their effectiveness with their counterparts in sub-Saharan Africa, the United States, and the Caribbean in the post-World War II period. He analyzes, in comprehensive detail, the extreme difficulties experienced by Afro-Brazilian activists in identifying and redressing racially specific patterns of violation and discrimination. Hanchard argues that the Afro-American struggle to subvert dominant cultural forms and practices carries the danger of being subsumed by the contradictions that these dominant forms produce.
Computer Science - Distributed, Parallel, and Cluster Computing, Computer Science - Computer Vision and Pattern Recognition, Computer Science - Machine Learning, Computer Science - Performance, and Statistics - Machine Learning
Optimising deep learning inference across edge devices and optimisation targets such as inference time, memory footprint and power consumption is a key challenge due to the ubiquity of neural networks. Today, production deep learning frameworks provide useful abstractions to aid machine learning engineers and systems researchers. However, in exchange they can suffer from compatibility challenges (especially on constrained platforms), inaccessible code complexity, or design choices that otherwise limit research from a systems perspective. This paper presents Orpheus, a new deep learning framework for easy prototyping, deployment and evaluation of inference optimisations. Orpheus features a small codebase, minimal dependencies, and a simple process for integrating other third party systems. We present some preliminary evaluation results. Comment: To be published as a poster in 2020 IEEE International Symposium on Performance Analysis of Systems and Software
Popular music--History and criticism and Music--Religious aspects--Christianity
The myth of Orpheus articulates what social theorists have known since Plato: music matters. It is uniquely able to move us, to guide the imagination, to evoke memories, and to create spaces within which meaning is made. Popular music occupies a place of particular social and cultural significance. Christopher Partridge explores this significance, analyzing its complex relationships with the values and norms, texts and discourses, rituals and symbols, and codes and narratives of modern Western cultures. He shows how popular music's power to move, to agitate, to control listeners, to shape their identities, and to structure their everyday lives is central to constructions of the sacred and the profane. In particular, he argues that popular music can be important'edgework,'challenging dominant constructions of the sacred in modern societies. Drawing on a wide range of musicians and musical genres, as well as a number of theoretical approaches from critical musicology, cultural theory, sociology, theology, and the study of religion, The Lyre of Orpheus reveals the significance and the progressive potential of popular music.
Winner of the ASCAP Nicolas Slonimsky Award for Outstanding Musical Biography The musical landscape of New York City and the United States of America would look quite different had it not been for William Schuman. Orpheus in Manhattan, a fully objective and comprehensive biography of Schuman, portrays a man who had a profound influence upon the artistic and political institutions of his day and beyond. Steve Swayne draws heavily upon Schuman's letters, writings, and manuscripts as well as unprecedented access to archival recordings and previously unknown correspondence. The winner of the first Pulitzer Prize in Music, Schuman composed music that is rhythmically febrile, harmonically pungent, melodically long-breathed, and timbrally brilliant, and Swayne offers an astute analysis of his work, including many unpublished music scores. Swayne also describes Schuman's role as president of the Juilliard School of Music and of Lincoln Center, tracing how he both expanded the boundaries of music education and championed the performing arts. Filled with new discoveries and revisions of the received historical narrative, Orpheus in Manhattan confirms Schuman as a major figure in America's musical life.
Finance, Personal--Italy--Florence--History--17th century, Composers--Italy--Florence--Economic conditions--16th century, Composers--Italy--Biography, Finance, Personal--Italy--Florence--History--16th century, and Composers--Italy--Florence--Economic conditions--17th century
The Florentine musician Jacopo Peri (1561-1633) is known as the composer of the first operas--they include the earliest to survive complete, Euridice (1600), in which Peri sang the role of Orpheus. The recent discovery of a large number of private account books belonging to him and his family allows for a greater exploration of Peri's professional and personal life. Richard Goldthwaite, an economic historian, and Tim Carter, a musicologist, have done more, however, than write a biography: their investigation exposes the value of such financial documents as a primary source for an entire period. This record of Peri's wide-ranging investments and activities in the marketplace enables the first detailed account of the Florentine economy in the late sixteenth and early seventeenth centuries, and opens a new perspective on one of Europe's principal centers of capitalism. His economic circumstances reflect continuities and transformations in Florentine society, and the strategies for negotiating them, under the Medici grand dukes. They also allow a reevaluation of Peri the singer and composer that elucidates the cultural life of a major artistic center even in changing times, providing a quite different view of what it meant to be a musician in late Renaissance Italy.
Orpheus, Black Orpheus, antiquity, colonialism, film, Brazil, Anthropology, and GN1-890
The paper deals with two film adaptations of the myth of Orpheus that were made in Brazil in 1959 and 1999. In view of the fact that in both films Orpheus appears as Afro-Brazilian, these two versions of the myth may be related to Sartre’s concept of Black Orpheus, and the movement of Negritude that appeared in Paris in the 1930s as an answer of the black francophone intellectuals to racial myths and colonial stereotypes. Regarding the fact that the European attitude towards ancient Greece is also characteristic of another kind of colonialism that is cultural, based on the claim of exclusive right to this past, the ancient myth that often appears only as a mirror of this relationship, functions in these films as a space for subversion and resistance to different types of colonial power. The films that are the focus of this paper are Black Orpheus (1959) directed by Marcel Camus, which is a French-Italian-Brazilian co-production, and Orpheus (1999) by Carlos Diegues, an entirely Brazilian production. Both films were inspired by the theatrical play written by Vinícius de Moraes, Orfeu da Conceição (1953). Although he himself participated in the production of Camus’s Black Orpheus, in the end he refused to be credited because in the film, the main idea of his drama was lost, which was to show Afro-Brazilians as the main protagonists of the Greek myth pointing out injustices and difficulties of Afro-Brazilian people in social reality, but also in the context of cultural and racial hegemony that clearly claimed the ancient Greek myth to be the heritage of European white men. Similarly, disappointed, Carlos Diegues decided to make another film together with Vinícius de Moraes. However, the plan was interrupted by Moraes death in 1980, but Diegues succeeded in filming it in 1999. The paper compares the two films focusing on the question to which extent these films challenge or confirm European cultural elitism, racial stereotypes and class inequalities.