Abstract
This paper traces the tradition of the myth of Orpheus and Eurydice from Ovid and Vergil through Poliziano to late Renaissance, Baroque, early classical, and early twentieth-century opera as antecedents to Cocteau's Orphee and a number of contemporary films, including Imagining Argentina, Slumdog Millionaire, The City of Your Final Destination, Rabbit Hole, Remember Me, and The Book of Life. Because tragic and non-tragic endings are not reliable identifiers in the Orpheus tradition, the paper focuses on such narrative signatures as retrieval from death, playing a stringed instrument in the face of death, and dying twice.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
