union with her bone
describes the esca
Propertius even from
cremated Roman matron
living and the dead
Underworld. By means
macabre elements, the
the barriers of physic
s in the grave. The second
pades of Cynthia whose
and magical powers reach
afar. In the third, a newly
speaks directly to both the
from the threshold of the
of magical, otherworldly and
lovers in these poems cross
al separation and death.
MICHAEL CHEILIK, Herbert H. Lehman College, New York.
"Ancient Roman Werewolves."
The werewolf can be traced back to the paleolithic
period. One of the oldest human rituals involves
therianthropy, and in areas where wolves were
found, lycanthropy. Among ancient Indo-Europeans
the warrior caste was identified with wolves, and
in daughter cultures this tradition remained.
Thus Romulus and Remus were suckled by the
Capitoline wolf and one of the chief Spartan gods
was Apollo Lykios (lyk-wolf). During the Roman
Empire this tradition had become folklore, a
source of literary motifs. The werewolf story in
Petronius' Satyricon is not overly different from
the Hollywood werewolf epics of the 1930s and '40s.
slides illustrate Nattini's grasp of Dante's
intellectual and visual imagination, and invite
comparison with Dore and Sandro Botticelli. (Slide
Wed. 10 p. m.
1981 WHITNEY MUSEUM FILM EXHIBITION
HIDDEN TRACINGS. 1980, United States. Directed by
Barry Gerson. "... explores the dichotomy of motion
wrought by a collision between edited motion and
the natural motion of a white sheet billowing
against a stark blue sky... the Zen of motion."
EXPOSED FRAGMENTS. 1980, United States. Directed by
Barry Gerson. "An old seaside hotel porch at the
intense moment before a storm, and subsequently
during that storm, is the subject for a
transformation of time and space through the
creation of 'subtly contructed' (split screen)
images." — Barry Gerson.
CHAIR: Jo M. Turk, Florida Atlantic University.
JOHN F. MILLER, North Texas State University.
Underworld in Homer's Fantasy."
Homer's world view implies other dimensions
(astral, mental, spiritual) and other vehicles in
which consciousness inheres, as well as life
scripts for man and karma (hubris/nemesis).
Theologically, Odyyseus' entire trip into the
underworld is itself a symbol of the soul's
descent into matter and its working out of its
destiny and karma under the direction of the gods
and the individual's own immortal soul.
CARMELA PINTO, Florida International University.
"Ben Jonson's Infernal Voyage."
Through the journey of Shelton and Heyden down the
sewer of Fleet Ditch, in Jonson's "Famous Voyage,"
a mock epic, the poet indicts the Jacobean milieu:
lawyers, prisons, politicians. Readers must learn
to distinguish between the natural waste and decay
necessary for cleansing, and the diseased offal
produced by overindulgence in food, drink, or sex.
Jonson's scatological plainness demonstrates the
link between diseased spirit and foul matter.
Jonson's careful direction of readers down Fleet
Ditch teaches the perception necessary for
judgment and moral action in the world of puiblic
SAMUEL H. VASBINDER, Canton, Ohio, Art Institute.
"Amos Nattini's Lithographs for Dante's Inferno."
Nattini, an Italian artist from Parma, created his
lithographs for Dante's Divine Comedy between 1919
and 1939. They appeared in a sumptuously produced
connoisseur's edition, an elephant folio measuring
two by three feet, printed in gold ink on heavy
paper with a special art deco type face. The
PAINTING ROOM LIGHTS. 1979, United States. Directed
by David Haxton. "... about the nature of spatial
illusion in film." — David Haxton.
CIRCUS RIDERS. 1979, United States. Directed by
Martha Haslanger. Story telling involves three
elements — sound, gesture and audience. These
are the three characters: the ventriloquist, the
mime, and the deaf-mute. "They tell the story of
story-telling." — Martha Haslanger.
LUCIFER RISING. 1980, Un
Kenneth Anger. With
Cammell, Haydon Couts,
Marianne Faitfull, Lesli
wakes, Osiris (Death) an
climbs to the Place o
activates the circle i
Light) breaks through.,
what's usually called the
ited states. Directed by
Miriam Gibril, Donald
Anger, Sir Fransic Rose,
e Huggins. "Isis (Nature)
swers. Lilith (Destroyer)
f Sacrifice. The Magus
ntil Lucifer (Bringer of
a sympathetic view of
devil." — Anger.
Session III, Thursday,
Film: THE THIEF OF BAGDAD
1940, England. Produced by Alexander Korda.
Directed by Ludwig Berger, Michael Powell, and Tim
Whelan. With Sabu and Conrad Veidt. One of the
all-time great fantasies, with brilliant trick
photography; adapted from the Arabian Nights.
SOMTOW SUCHARITKUL, reading "Absent Thee From
Somtow Sucharitkul is the author and composer of