Articles by Laura Rietveld
The Legacy of Antiquity: New Perspectives in the Reception of the Classical World, 2013
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Hermeneus. Tijdschrift voor antieke cultuur, 82-1, 2010
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Incontri. Rivista europea di studi italiani, 22/2, 2007
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Italia e Europa: alla cultura nazionale all'interculturalismo, Atti del XVI Congresso dell'A.I.P.I. a Cracovia, 26-29 agosto 2004, 2006
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Amore Romae. Bulletin voor de Vrienden van het Nederlands Instituut in Rome, VII, 2004
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Incontri. Rivista europea di studi italiani, 18/2, 2003
Vaak wordt gezegd dat mythologische figuren na de oudheid in vergetelheid raakten en pas in de Re... more Vaak wordt gezegd dat mythologische figuren na de oudheid in vergetelheid raakten en pas in de Renaissance herontdekt werden. Seznec heeft echter aangetoond dat zij ook in de Middeleeuwen voortleefden, zij het vaak in veranderde vorm. Dit artikel analyseert de receptie van Hercules in het werk van Dante, Petrarca en Boccaccio, drie schrijvers op de grens tussen Middeleeuwen en Renaissance.
Bij Dante ligt de nadruk vooral op de door Hercules verslagen monsterlijke tegenstanders. Zij symboliseren het kwaad of de verschillende zonden die door Christus werden uitgewist. Hierdoor komt Hercules op subtiele wijze naar voren als prefiguratie van Christus. Petrarca geeft blijk van een dualistische visie op Hercules: enerzijds berschrijft hij de roemrijke daden van de sterke held, maar anderzijds keurt hij deze af en benadrukt hij zijn deugd en vriendschap. Voortdurend ziet men in Petrarca's benadering van Hercules het innerlijke conflict tussen zijn christelijke geloof en zijn bewondering voor de oudheid, waarin roem een belangrijke plaats innam. Bij Boccaccio springt de aandacht voor de liefdesavonturen van Hercules het meest in het oog. Door deze belangstelling voor het aardse betoont Hercules zich een echte Renaissanceheld.
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Books by Laura Rietveld
The myth of Orpheus, the ancient hero who could enchant nature with his music and tried to bring... more The myth of Orpheus, the ancient hero who could enchant nature with his music and tried to bring back his beloved Eurydice from Hades, consists of many different elements. There is no single original Orpheus myth, but the story gradually developed in Antiquity, over time absorbing new elements and new turns. These elements often occur separately in texts and the visual arts, but are sometimes combined in a story as well. Thus Orpheus has
become a complex figure with many aspects. This versatility is an important feature of his character, that causes his reception not to be uniform, but to take many different forms. Orpheus appears in many different types of texts, but also in the visual arts, and especially in plays and operas.
Writers, visual artists and musicians often have views on the figure of Orpheus that differ strongly and often conflict with one another. These different and conflicting views are inherent to the diversity of the figure of Orpheus. People who use Orpheus in their works, often choose between the many stories about him.
On the one hand this choice is often determined by the knowledge available: many a time a stereotipical view is copied
from predecessors in the same genre. On the other hand, some artists are familiar with more aspects of Orpheus, but appear to deliberately select only those aspects that are appropriate for their argumentation. Orpheus is often seen and presented either as a positive character or as a negative character. Amongst his positive aspects are mainly reckoned his musical and poetical qualities and his ability to tame the beasts (i.e. to civilize
human kind) with his song (eloquence). Besides, his participation in the voyage of the Argonauts and his status as a poet-theologian or philosopher are judged in a positive
manner. Amongst his negative aspects are reckoned his love of wordly goods (Eurydice) and his looking back at these things, his homosexuality and his horrible death. The attempt to unite these conflicting images of Orpheus runs through his reception in Italy between 1300 and 1600 like a continuous thread. For example,
authors tend to ignore his negative aspects or express their astonishment about the irreconcilability of the different
characterizations of Orpheus; in some extreme cases they adjust the outcome of the myth.
Except for the change of outcome, there are no major adjustments to the myth, like a complete change of characters, of the action or of the setting of the story in time and
space. Most changes to the image of Orpheus stem from the
possibilities which the myth as a whole offers. Many representations of Orpheus are inherent to the character itself. An author or an artist chooses from the existing possibilities and thus manipulates his own version of the myth.
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Book Reviews by Laura Rietveld
The Burlington Magazine, no. 1244, vol. CXLVIII, Nov 2006
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Papers by Laura Rietveld
Vaak wordt gezegd dat mythologische figuren na de oudheid in vergetelheid raakten en pas in de Re... more Vaak wordt gezegd dat mythologische figuren na de oudheid in vergetelheid raakten en pas in de Renaissance herontdekt werden. Seznec heeft echter aangetoond dat zij ook in de Middeleeuwen voortleefden, zij het vaak in veranderde vorm. Dit artikel analyseert de receptie van Hercules in het werk van Dante, Petrarca en Boccaccio, drie schrijvers op de grens tussen Middeleeuwen en Renaissance. Bij Dante ligt de nadruk vooral op de door Hercules verslagen monsterlijke tegenstanders. Zij symboliseren het kwaad of de verschillende zonden die door Christus werden uitgewist. Hierdoor komt Hercules op subtiele wijze naar voren als prefiguratie van Christus. Petrarca geeft blijk van een dualistische visie op Hercules: enerzijds berschrijft hij de roemrijke daden van de sterke held, maar anderzijds keurt hij deze af en benadrukt hij zijn deugd en vriendschap. Voortdurend ziet men in Petrarca's benadering van Hercules het innerlijke conflict tussen zijn christelijke geloof en zijn bewondering voor de oudheid, waarin roem een belangrijke plaats innam. Bij Boccaccio springt de aandacht voor de liefdesavonturen van Hercules het meest in het oog. Door deze belangstelling voor het aardse betoont Hercules zich een echte Renaissanceheld.
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The Art Book, 2006
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Articles by Laura Rietveld
Bij Dante ligt de nadruk vooral op de door Hercules verslagen monsterlijke tegenstanders. Zij symboliseren het kwaad of de verschillende zonden die door Christus werden uitgewist. Hierdoor komt Hercules op subtiele wijze naar voren als prefiguratie van Christus. Petrarca geeft blijk van een dualistische visie op Hercules: enerzijds berschrijft hij de roemrijke daden van de sterke held, maar anderzijds keurt hij deze af en benadrukt hij zijn deugd en vriendschap. Voortdurend ziet men in Petrarca's benadering van Hercules het innerlijke conflict tussen zijn christelijke geloof en zijn bewondering voor de oudheid, waarin roem een belangrijke plaats innam. Bij Boccaccio springt de aandacht voor de liefdesavonturen van Hercules het meest in het oog. Door deze belangstelling voor het aardse betoont Hercules zich een echte Renaissanceheld.
Books by Laura Rietveld
become a complex figure with many aspects. This versatility is an important feature of his character, that causes his reception not to be uniform, but to take many different forms. Orpheus appears in many different types of texts, but also in the visual arts, and especially in plays and operas.
Writers, visual artists and musicians often have views on the figure of Orpheus that differ strongly and often conflict with one another. These different and conflicting views are inherent to the diversity of the figure of Orpheus. People who use Orpheus in their works, often choose between the many stories about him.
On the one hand this choice is often determined by the knowledge available: many a time a stereotipical view is copied
from predecessors in the same genre. On the other hand, some artists are familiar with more aspects of Orpheus, but appear to deliberately select only those aspects that are appropriate for their argumentation. Orpheus is often seen and presented either as a positive character or as a negative character. Amongst his positive aspects are mainly reckoned his musical and poetical qualities and his ability to tame the beasts (i.e. to civilize
human kind) with his song (eloquence). Besides, his participation in the voyage of the Argonauts and his status as a poet-theologian or philosopher are judged in a positive
manner. Amongst his negative aspects are reckoned his love of wordly goods (Eurydice) and his looking back at these things, his homosexuality and his horrible death. The attempt to unite these conflicting images of Orpheus runs through his reception in Italy between 1300 and 1600 like a continuous thread. For example,
authors tend to ignore his negative aspects or express their astonishment about the irreconcilability of the different
characterizations of Orpheus; in some extreme cases they adjust the outcome of the myth.
Except for the change of outcome, there are no major adjustments to the myth, like a complete change of characters, of the action or of the setting of the story in time and
space. Most changes to the image of Orpheus stem from the
possibilities which the myth as a whole offers. Many representations of Orpheus are inherent to the character itself. An author or an artist chooses from the existing possibilities and thus manipulates his own version of the myth.
Book Reviews by Laura Rietveld
Papers by Laura Rietveld
Bij Dante ligt de nadruk vooral op de door Hercules verslagen monsterlijke tegenstanders. Zij symboliseren het kwaad of de verschillende zonden die door Christus werden uitgewist. Hierdoor komt Hercules op subtiele wijze naar voren als prefiguratie van Christus. Petrarca geeft blijk van een dualistische visie op Hercules: enerzijds berschrijft hij de roemrijke daden van de sterke held, maar anderzijds keurt hij deze af en benadrukt hij zijn deugd en vriendschap. Voortdurend ziet men in Petrarca's benadering van Hercules het innerlijke conflict tussen zijn christelijke geloof en zijn bewondering voor de oudheid, waarin roem een belangrijke plaats innam. Bij Boccaccio springt de aandacht voor de liefdesavonturen van Hercules het meest in het oog. Door deze belangstelling voor het aardse betoont Hercules zich een echte Renaissanceheld.
become a complex figure with many aspects. This versatility is an important feature of his character, that causes his reception not to be uniform, but to take many different forms. Orpheus appears in many different types of texts, but also in the visual arts, and especially in plays and operas.
Writers, visual artists and musicians often have views on the figure of Orpheus that differ strongly and often conflict with one another. These different and conflicting views are inherent to the diversity of the figure of Orpheus. People who use Orpheus in their works, often choose between the many stories about him.
On the one hand this choice is often determined by the knowledge available: many a time a stereotipical view is copied
from predecessors in the same genre. On the other hand, some artists are familiar with more aspects of Orpheus, but appear to deliberately select only those aspects that are appropriate for their argumentation. Orpheus is often seen and presented either as a positive character or as a negative character. Amongst his positive aspects are mainly reckoned his musical and poetical qualities and his ability to tame the beasts (i.e. to civilize
human kind) with his song (eloquence). Besides, his participation in the voyage of the Argonauts and his status as a poet-theologian or philosopher are judged in a positive
manner. Amongst his negative aspects are reckoned his love of wordly goods (Eurydice) and his looking back at these things, his homosexuality and his horrible death. The attempt to unite these conflicting images of Orpheus runs through his reception in Italy between 1300 and 1600 like a continuous thread. For example,
authors tend to ignore his negative aspects or express their astonishment about the irreconcilability of the different
characterizations of Orpheus; in some extreme cases they adjust the outcome of the myth.
Except for the change of outcome, there are no major adjustments to the myth, like a complete change of characters, of the action or of the setting of the story in time and
space. Most changes to the image of Orpheus stem from the
possibilities which the myth as a whole offers. Many representations of Orpheus are inherent to the character itself. An author or an artist chooses from the existing possibilities and thus manipulates his own version of the myth.