"The Ones Who Bloom in the Bitter Snow": Hadestown and the Queer Afterlives of Orpheus.
The mythological figure of Orpheus haunts the margins of queer history. Appearances of Orpheus within musical performance going back to the Renaissance have already been explored in previous scholarship, but the queer dimension of Orpheus' character has not previously been considered in concert with...
| Publicado en: | Classical Philology Vol. 119; no. 2; pp. 253 - 271 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
University of Chicago Press
Apr2024
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=176912085&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 176912085 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0009837X CPL jtl: Classical Philology issn: 0009837X maglogo: N pubinfo: dt: Apr2024 vid: 119 iid: 2 pid: 415 pub: University of Chicago Press artinfo: ui: 176912085 10.1086/729287 ppf: 253 ppct: 18 formats: fmt: – @attributes: type: T – @attributes: type: P size: 124KB tig: atl: "The Ones Who Bloom in the Bitter Snow": Hadestown and the Queer Afterlives of Orpheus. aug: au: Stutz, Kathryn H. affil: Johns Hopkins University su: Orpheus (Greek mythological character) Musical performance Renaissance Intertextuality Psychological vulnerability sug: subj: Orpheus (Greek mythological character) Musical performance Renaissance Intertextuality Psychological vulnerability ab: The mythological figure of Orpheus haunts the margins of queer history. Appearances of Orpheus within musical performance going back to the Renaissance have already been explored in previous scholarship, but the queer dimension of Orpheus' character has not previously been considered in concert with Anaïs Mitchell's 2019 musical Hadestown. Through both a philological analysis of the lyrics of Hadestown and an examination of the intertextuality between the musical and its ancient Latin sources—namely, Ovid's Metamorphoses and Vergil's Georgics —this paper provides a queer reading of Hadestown 's Orpheus as an embodiment of vulnerability, community, and ultimately, queer history itself. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Classical Philology is the property of University of Chicago Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Classical Philology holder: University of Chicago Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
|---|