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By Richard Littlejohns, Sara Soncini

'Myths of Europe' specializes in the identification of Europe, looking to re-evaluate its cultural, literary and political traditions within the context of the twenty first century. Over 20 authors - historians, political scientists, literary students, artwork and cultural historians - from 5 international locations the following input right into a debate. How a long way are the myths in which Europe has outlined itself for hundreds of years appropriate to its position in worldwide politics after 11th of September? Can 'Old Europe' keep its conventional id now that the eu Union contains international locations formerly alleged to be on its outer edge? How has Europe dealt with relatives with the non-European different long ago and the way is it reacting now to an inflow of immigrants and asylum seekers? It turns into transparent that founding myths similar to Hamlet and St Nicholas have helped build the eu awareness but in addition that those and different eu myths have annoying Eurocentric implications. Are those myths nonetheless conceivable at the present time and, if this is the case, to what volume and for what function? This quantity sits at the interface among tradition and politics and is critical analyzing for all these drawn to the transmission of fable and in either the previous and the way forward for Europe. Contents Acknowledgments Richard LITTLEJOHNS and Sara SONCINI: creation: Myths of 'Europe', and 'Myths' of Europe Manfred PFISTER: Europa/Europe: Myths and Muddles Guido PADUANO: Electras and Hamlet Mark RAWLINSON: Myths of Europe: Ted Hughes's 'Tales from Ovid' Pierangiolo BERRETTONI: Myths of Masculinity: Adonis and Heracles Graham JONES: St Nicholas, Icon of Mercantile Virtues: Transition and Continuity of a eu delusion Elena ROSSI: Re-writing a delusion: Dryden's 'Amphitryon' and its resources Roberta FERRARI: 'A Foundling on the Crossroads': Fielding, Tradition(s) and a 'Dantesque' interpreting of 'Tom Jones' Antje STEINHOEFEL: Viewing the Moon: among delusion and Astronomy within the Age of the Enlightenment Alessandra GREGO: George Eliot's Use of Scriptural Typology: Incarnation of principles Mario CURREL

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Not unlike Electra’s long duration — which defined, albeit approximately, an eternal present — Hamlet’s blame for the hasty wedding indirectly mitigates his condemnation of what — regardless of time — should not have happened at all. Against the consolatory topic To call Hamlet’s and Electra’s woe (in Sophocles’ version) ‘inconsolable’ is not simply a rhetorical embellishment. Rather, we establish an opposition with ‘consolation’ as a structured discourse, literary and non-literary alike (Seneca has left us the three masterpieces in this genre).

And where is the centre now? In Strasbourg or Brussels? Along a German-French axis? Or further East, in what Claudio Magris and others have called Mitteleuropa — another powerful myth! — which extends along a line from Trieste to Vienna, Budapest, Prague and Berlin? Where myths invoke a totalized, transparent unity and homogeneity, reality proves to be messy, muddled, hybrid, heterogeneous. And by totalizing, myths conceal the fissures and fault lines created by divergent interests. After all, what is at stake in such questions is, as always, not a matter merely of categorization or territorial mapping but of power and hegemony, or of disempowerment and subjection.

42 Guido Paduano action. It may interest us here to note that a crucial strand of this theme will eventually flow back into the main stream of Greek myth: in Hofmannsthal’s Elektra (‘frei nach Sophokles’)12 the heroine, like many other protagonists of the Austrian poet, is a devotee of action, who satisfies her unquenchable thirst for revenge through Orestes’ hand. 13 The long time of sorrow The latent conflict between Orestes and Electra in Sophocles’ text calls attention to the functional distribution operated by the three classical tragedians: Orestes’ task is to carry out the vengeance sanctioned by the gods to punish guilt and restore order; to Electra is instead bestowed the lasting agony for the deprivation of love and moral values caused by guilt.

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