By Kit Pyne-Jaeger, Cornell University
Using Anne Carson's characterization of classical "eros as lack" in Eros the Bittersweet, this paper will explore the queer resonance of depictions of eros directed at an inaccessible or unresponsive love object in Wilde and Housman's poetics, focusing specifically on the positioning of death as a component of, rather than an obstacle to, eros.
Read MoreBy Emily Ward, University of Notre Dame
Are freedom and fate mutually exclusive concepts? What is the value in making a choice if we are condemned to a predetermined destiny? These are the questions Sophocles attempts to answer through his works Oedipus Rex and Antigone.
Read MoreBy Jack Wolfram, Emory University
Recently finishing its forty-fifth season, NBC’s live television variety show Saturday Night Live (SNL) has developed a reputation for disregarding the comedic boundary “lines” that are rarely crossed when discussing certain issues concerning the sociopolitical world, current events, and pop culture. Over the past several years, SNL casts predominately focus the majority of their satirical skits and sketches on the inherent character of powerful, high-profile entities. Due to the live broadcast nature of the show, SNL actors are notorious for taking full advantage of this unique comedic platform where very little dialogue is censored. These comics’ performances every Saturday night resonate far beyond the simple guffaws of entertainment.
Read MoreBy Maggie Lu, University of British Columbia
As one of the most preeminent composers of the early eighteenth-century, Johann Sebastian Bach is associated most strongly with the height of the Baroque Era. Intricate polyphony and harmonic complexity remained defining characteristics of his style even toward the end of his life – features that were at times the subject of criticism from his own contemporaries. However, despite the view that Bach remained committed to the musical styles of the past during the emergence of the style galant, opuses from the composer’s mid-to-late career suggest that he was both capable and willing to adopt elements of the new fashion into select compositions.
Read MoreGrant K. Schatzman
The metaphor of living artwork is interestingly appropriate to the history of Ovid’s Metamorphoses. The explosion of translation in the Renaissance turned the dusty tomes of Greece and Rome face up once more, but it is for very good reason that the movement is called a “rebirth” rather than a “rediscovery.” It is no surprise that Renaissance writers “rebirthed” Pygmalion with a new interpretation for every cultural criticism and moralization.
Read MoreBy Victor Zou
Beowulf is a classic and ancient Anglo-Saxon hero’s tale. The various monstrosities he faces define his story and character. His defeat of Grendel, his atrocious mother, and the dragon all reflect his prowess and courage as a heroic champion. But these victories also encourage the growth of ill-fated attitudes. As J. Leyerle describes, he is a hero that “follows a code that exalts indomitable will and valor in the individual.”[1] In fact, the more Beowulf grows as a heroic warrior the more independent and prideful he becomes. And yet, in the midst of this he is pushed towards taking on the role of a king, which is a role he is woefully unfit to take. To lead a people-group requires a willingness to cooperate and a humility that a Beowulfian hero is simply disinclined to have. This disconnect between both ideals is the crux of Beowulf’s journey. While Beowulf assumes both positions, there is a clear distinction between the characteristics of a successful hero and a successful king. Thus, the tale acts as a critique of a heroic culture that values pride and independence by showing the dangerous tendencies that this encourages, and what can happen when a hero is given power and responsibility.
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By Rachael Isom
Hilda Doolittle, more commonly known by the initials H.D., merges classical mythology with personal perception in "Helen," a poetic portrait of the infamous Helen of Troy.
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