Here, Levitz demonstrates how a group of collaboratoring artists - Igor Stravinsky, Ida Rubenstein, Jacques Copeau, André Gide and others - used the myth of Perséphone to perform and articulate their most deeply held beliefs about four topics significant to modernism: religion, sexuality, death, and historical memory in art.

Here, Levitz demonstrates how a group of collaboratoring artists - Igor Stravinsky, Ida Rubenstein, Jacques Copeau, AndreÌ Gide and others - used the myth of PerseÌ phone to perform and articulate their most deeply held beliefs about four topics significant to modernism: religion, sexuality, death, and historical memory in art.

For more than one thousand years, people from every corner of the Greco-Roman world sought the hope for a blessed afterlife through initiation into the Mysteries of Demeter and Kore at Eleusis. In antiquity itself and in our memory of antiquity, the Eleusinian Mysteries stand out as the oldest and most venerable mystery cult. Despite the tremendous popularity of the Eleusinian Mysteries, their origins are unknown. Because they are lost in an era without written records, they can only be reconstructed with the help of archaeology. This book provides a much-needed synthesis of the archaeology of Eleusis during the Bronze Age and reconstructs the formation and early development of the Eleusinian Mysteries. The discussion of the origins of the Eleusinian Mysteries is complemented with discussions of the theology of Demeter and an update on the state of research in the archaeology of Eleusis from the Bronze Age to the end of antiquity.

Great Britain is changing, and so is Europe. The aim of this book, therefore, is to reflect upon the processes of (re)creation of art and literature within and against the backdrop of the shifting paradigms of the world as we know it. At a time when the political relations between Great Britain, Europe and the rest of the world are being redefined, this book examines the (de)construction of modern identities through the (de)codification of classical and contemporary mythologies.

Saving Abstraction: Morton Feldman, the de Menils, and the Rothko Chapel tells the story of the 1972 premier of Morton Feldman's music for the Rothko Chapel in Houston. Built in 1971 for "people of all faiths or none," the chapel houses 14 monumental paintings by famed abstract expressionist Mark Rothko, who had committed suicide only one year earlier. Upon its opening, visitors' responses to the chapel ranged from spiritual succor to abject tragedy--the latter being closest to Rothko's intentions. However the chapel's founders--art collectors and philanthropists Dominique and John de Menil--opened the space to provide an ecumenically and spiritually affirming environment that spoke to their avant-garde approach to Catholicism. A year after the chapel opened, Morton Feldman's musical work Rothko Chapel proved essential to correcting the unintentionally grave atmosphere of the de Menil's chapel, translating Rothko's existential dread into sacred ecumenism for visitors. Author Ryan Dohoney reconstructs the network of artists, musicians, and patrons who collaborated on the premier of Feldman's music for the space, and documents the ways collaborators struggled over fundamental questions about the emotional efficacy of art and its potential translation into religious feeling. Rather than frame the debate as a conflict of art versus religion, Dohoney argues that the popular claim of modernism's autonomy from religion has been overstated and that the two have been continually intertwined in an agonistic tension that animates many 20th-century artistic collaborations.

Araujo masterfully guides readers through one of Pound's most densely allusive texts, demonstrating its centrality to his poetic theory and practice.

Stravinsky in Context offers an alternative to chronological biography. Thirty-five short, specially commissioned essays explore the eventful life-tapestry from which Stravinsky's compositions emerged. The opening chapters draw on new research into the composer's childhood in St. Petersburg. Stravinsky's early, often traumatic upbringing is examined in depth, particularly in the context of his brother Roman's death, and religious sensibilities within the family. Further essays consider Stravinsky's years in exile at the centre of dynamic and ever-evolving cultural environments, the composer constantly refining his idiom and re-defining his aesthetics against a backdrop of world events and personal tragedy. The closing chapters review new material regarding Stravinsky's complicated relationship with the Soviet Union, whilst also anticipating his legacy from the varied perspectives of publishing, research and even - in the iconic example of The Rite of Spring - space exploration. The book includes previously unpublished images of the composer and his family.