By Richard Littlejohns, Sara Soncini
'Myths of Europe' specializes in the identification of Europe, trying to re-evaluate its cultural, literary and political traditions within the context of the twenty first century. Over 20 authors - historians, political scientists, literary students, artwork and cultural historians - from 5 nations the following input right into a debate. How some distance are the myths during which Europe has outlined itself for hundreds of years proper to its position in worldwide politics after September 11? Can 'Old Europe' continue its conventional identification now that the ecu Union comprises nations formerly speculated to be on its outer edge? How has Europe dealt with family members with the non-European different long ago and the way is it reacting now to an inflow of immigrants and asylum seekers? It turns into transparent that founding myths equivalent to Hamlet and St Nicholas have helped build the eu attention but additionally that those and different ecu myths have stressful Eurocentric implications. Are those myths nonetheless workable this day and, if that is so, to what volume and for what goal? This quantity sits at the interface among tradition and politics and is critical examining for all these drawn to the transmission of fantasy and in either the prior and the way forward for Europe. Contents Acknowledgments Richard LITTLEJOHNS and Sara SONCINI: creation: Myths of 'Europe', and 'Myths' of Europe Manfred PFISTER: Europa/Europe: Myths and Muddles Guido PADUANO: Electras and Hamlet Mark RAWLINSON: Myths of Europe: Ted Hughes's 'Tales from Ovid' Pierangiolo BERRETTONI: Myths of Masculinity: Adonis and Heracles Graham JONES: St Nicholas, Icon of Mercantile Virtues: Transition and Continuity of a eu fantasy Elena ROSSI: Re-writing a fantasy: Dryden's 'Amphitryon' and its resources Roberta FERRARI: 'A Foundling on the Crossroads': Fielding, Tradition(s) and a 'Dantesque' interpreting of 'Tom Jones' Antje STEINHOEFEL: Viewing the Moon: among fable and Astronomy within the Age of the Enlightenment Alessandra GREGO: George Eliot's Use of Scriptural Typology: Incarnation of principles Mario CURREL
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The most striking correspondences between texts are not always caused by genetic relations, that is, by a full awareness of the models and the explicit acceptance of their influence. This does not mean, however, that whatever cannot be described as programmatic rewriting should be relegated to the bizarre domain of casualness. On the contrary, I believe that a sort of poetic necessity brings about similar results out of shared premises — but, at the same time, thematic, or even textual parallelism does not rule out 4 As Steiner does: see The Death of Tragedy (London: Faber and Faber, 1961), pp.
22 See Henry John Franklin Jones, On Aristotle and Greek Tragedy (London: Chatto & Windus, 1962), pp. 148-51. 24 Granted the visible difference between the sobriety — even dryness, one might say — of Greek drama, and the grandeur of the baroque, this speech is not too dissimilar from Hamlet’s violent reprimand against Such an act That blurs the grace and blush of modesty, Calls virtue hypocrite, takes off the rose From the fair forehead of an innocent love And sets a blister there, make marriage vows As false as dicers’ oaths!
References to this text will henceforth be given in the form TO plus page number. TO, 182. Compare Ovid: Metapmorphoses V-VIII, ed. E. Hill (Warminster: Aris and Phillips, 1992), p. 43: ‘she sprinkled her with the juices of Hecatean herbs,/ and immediately on being touched by the grim drug/ her hair dropped off, and with it both nose and ears;/ her head became very small, and indeed her whole body was small,/ to her flank slender fingers were stuck instead of legs, the rest of her was belly’. Ted Hughes’s Tales from Ovid 53 Styptic, in the sense of astringent or acid, implies the power to contract organic tissue.