Abstract The paper traces the story of King Minos of Crete in the story, "Metamorphoses" by ancient Roman author, Ovid. The paper begins from his spurning of the worshipful Scylla to his own betrayal by first his wife Pasiphae and then his daughter Ariadne and illustrates through various relationships how the filial connection is thrown off, basing the patterns of this dissolution on Freud's theories.
From the Paper "Ovid's story of the tale of Icarus is a tale unto itself but at the same time it is the climax of a broader story. Icarus? death is the final tragedy to result from the maze his father, Daedalus, built to imprison the Minotaur. Throughout the story of the Cretan labyrinth, the process of the dissolution of the Oedipal complex is central as is the manner in which the wish fulfillment connected with that process expresses itself through feelings of either totemic hostility or Oedipal guilt (depending on the gender of the child)."
An analysis of the skillful and subversive use of traditional poetry styles, such as "Epic" by Catullus to focus on his more personal interest in human emotion.
847 words (approx. 3.4 pages), 0 sources, 2004, $ 30.95
Abstract The paper explains how and to what effect Catullus subverts existing genres of poetry to his own ends. Using the examples of his poems 63 and 64, it shows how the poet portrays the emotional states of Attis and Ariadne through devices such as prayers, speeches and narrative intrusion.
From the Paper "Catullus evokes much pathos in the poem, for different reasons in different sections. Aegeus' aforementioned farewell to Theseus evokes pathos in, for example, lines 219 to 220: "cui languida nondum lumina sunt nati cara saturata figura", a method Catullus uses to depict Aegeus as a pathetic old man. In Roman times and especially in the context of epic poetry, a young man going away to battle for the first time was a glorious rite of passage, and Aegeus, who should be a proud father, is actually a tearful, feeble and pitiable old man. Pathos also features in descriptions of the dazed, ditched Ariadne, such as "tum tremuli salis adversas procurrere in undas" (line 128)."
Abstract This paper explains that Sue Jennings explores the potential and the practicality of dramatherapy in her 1998 British publication, "Introduction to Dramatherapy: Theatre and Healing: Ariadne's Ball of Thread". The paper further explains that the book is directed at a general audience and to counseling professionals and covers a range of theories that support dramatherapy. The paper points out that Jennings draws heavily from Jungian psychology and similar uses of symbolism as guiding forces in human consciousness and relates that her book illustrates the methodology of dramatherapy as a healing tool.
From the Paper "In Chapter 5, Jennings notes how we can use dramatherapy to stop playing reruns. Whenever we find ourselves dealing with the same relationship problems again and again, we are likely reenacting some key moment of the past. Instead of seeing that situation as an actor would view a new script, we rely on the reruns for what to say or do. Similarly, if we act compulsively or with addiction, we are acting unconsciously. Our life can become a series of reruns when it could be an exciting new stage production."
Tags: symbols, role playing, social situations, regular process, control
Abstract This paper reviews and discusses the works of Michelangelo da Caravaggio and Nicolas Poussin. According to the paper, Caravaggio and Poussin were not contemporaries but have been linked in art history because of the criticisms Poussin made of Caravaggio and because of the differences in approach seen in their aesthetic ideas and the works they produced following those ideas.
From the Paper "These latter two works are very different renditions of their subject, though there are similarities in the symbols used. Both figures have leaves twining around their heads. The da Cortona work shows a much younger Bacchus, a child, with bunches of grapes in hand. The Caravaggio presents an adult Bacchus drunk from the wine in the goblet he holds in his left hand, and grapes and other fruit are visible in a bowl in the foreground. The Bacchus of Caravaggio is a dissipated adult, and Caravaggio renders this scene with considerable realism. The expression on the face shows how drunk this Bacchus is and how less than ideal this makes him."
Abstract This paper discusses the development of Theseus and his myth which resulted in his becoming a founder-hero, credited with uniting the tribes of Attica to form the Athenian polis. The writer explains how the story of Theseus grew and was modified as the city he represented grew and was re-created after Athens' own ideals and in her own image. Plutarch's "Life of Theseus" already shows developments and additions as it relates variants, some conflicting, of some of Theseus' actions. Many of these changes attempt to explain certain less than heroic actions by Theseus, and others are aimed at representing Theseus as the Heracles of Attica. The writer concludes that the incorporation of Theseus in recent novels shows that the myth still posses qualities that are of interest to modern society.
From the Paper "Perhaps the most well-known and recognized adventure or deed of Theseus was his battle with the Cretan Minotaur. This event is also shown to have been added to, changed and developed as different writers have told their own story and present us with a number of different variants. Plutarch presents us first with the view in which he says "most writers agree on" . This was that tribute was given from the Athenians to the Cretans; in this the Athenians were to give seven youths and seven maidens every nine years . Without going into any great detail, Plutarch notes here that the "most dramatic" of the stories declare that these youths and maidens were destroyed by the Minotaur, which lived inside a labyrinth."
