Love’s Labor’s Lost . . . and Found

Karen Conner

doi:10.1037/a0003233

Love's Labor's Lost and Found: A Meditation on Fluxus, Family, and Somethings Else

Art Journal ◽

10.1080/00043249.2010.10791371 ◽

2010 ◽

Vol 69 (1-2) ◽

pp. 8-22 ◽

Cited By ~ 1

Author(s):

Hannah B Higgins

Keyword(s):

Lost And Found ◽

Love's Labor's Lost

Download Full-text

Psychoanalytic books: Reviews and discussions. Sexualities lost and found: Lesbians, psychoanalysis, and culture

PsycEXTRA Dataset ◽

10.1037/e302352005-032 ◽

2002 ◽

Author(s):

Nina Williams

Keyword(s):

Lost And Found

Download Full-text

Lesse Greeke? Homer in Jonson and Shakespeare

Ben Jonson Journal ◽

10.3366/bjj.2016.0154 ◽

2016 ◽

Vol 23 (1) ◽

pp. 101-126 ◽

Cited By ~ 1

Author(s):

Robert S. Miola

Keyword(s):

William Shakespeare ◽

Free Will ◽

Ben Jonson ◽

Dark Side ◽

Julius Caesar ◽

Troilus And Cressida ◽

English Translations ◽

Love's Labor's Lost ◽

And Function

Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.

Download Full-text

John Cranko's Antigone (1959): A Ballet Lost and Found

Dance Research ◽

10.3366/drs.2015.0120 ◽

2015 ◽

Vol 33 (1) ◽

pp. 1-15

Author(s):

Henrietta Bannerman

Keyword(s):

World War Ii ◽

Jean Racine ◽

World War ◽

Martha Graham ◽

Detailed Consideration ◽

Lost And Found ◽

The Many ◽

Tragic Drama ◽

The Relationship

John Cranko's dramatic and theatrically powerful Antigone (1959) disappeared from the ballet repertory in 1966 and this essay calls for a reappraisal and restaging of the work for 21st century audiences. Created in a post-World War II environment, and in the wake of appearances in London by the Martha Graham Company and Jerome Robbins’ Ballets USA, I point to American influences in Cranko's choreography. However, the discussion of the Greek-themed Antigone involves detailed consideration of the relationship between the ballet and the ancient dramas which inspired it, especially as the programme notes accompanying performances emphasised its Sophoclean source but failed to recognise that Cranko mainly based his ballet on an early play by Jean Racine. As Antigone derives from tragic drama, the essay investigates catharsis, one of the many principles that Aristotle delineated in the Poetics. This well-known effect is produced by Greek tragedies but the critics of the era complained about its lack in Cranko's ballet – views which I challenge. There is also an investigation of the role of Antigone, both in the play and in the ballet, and since Cranko created the role for Svetlana Beriosova, I reflect on memories of Beriosova's interpretation supported by more recent viewings of Edmée Wood's 1959 film.

Download Full-text