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Cicerone I

The power of Love and all that

Math Osseforth • Boek • paperback

  • Samenvatting
    Math Osseforth has been a storyteller all his life. As a teacher and public speaker he likes to entertain as well as to make people think and wonder about things known and unknown and about all the connections in between. In 2017 he got his Ph.D. in the humanities.
    In 2010 his wife, Annelies, and he founded De Cicero Compagnie/The Cicero Company as a platform for talks, lectures, presentations as well as guided tours along the major cultural sites of European and world history. The couple live in Hendrik Ido Ambacht, The Netherlands.

    The Cicerone publications are collections of essays on a variety of topics embedded in history, politics, religion, arts and popular culture, all according to The Cicero Company’s motto: omnia omnibus haerent: everything is connected to everything else.
  • Productinformatie
    Binding : Paperback
    Distributievorm : Boek (print, druk)
    Formaat : 140mm x 210mm
    Aantal pagina's : 90
    Uitgeverij : De Cicero Compagnie
    ISBN : 9789464062151
    Datum publicatie : 07-2020
  • Inhoudsopgave
    Introduction 5

    I Poetry 9
    II Good and Bad 19
    III The Monster 34
    IV The Middle of the Road 43
    V Friendship 78

    Further reading and viewing 90
  • Reviews (9 uit 1 reviews)

    Boek bevat een aantal essays over de antieke oudheid met raakvlakken in het heden. Het is toegankeljk, toepasselijk, actueel en vaak humoristisch, met een vette knipoog naar het het heden. Het is rijkelijk voorzien van noten, die het begrip van de tekst zeer ten goede komen. Kortom, een aanradertje.

       Toegankelijk, humoristisch
       Toepasselijk, actueel

    Geplaatst door uit Amsterdam , leeftijd 50-59
    Waardeert het boek met een 9 uit 10

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Mary, finally, read them her story: Frankenstein; or, The Modern Prometheus. The monster of Frankenstein, just as Polidori’s vampire, the eventual Dracula, has entered the realm of popular mythology, with countless adaptations in literature, plays, and movies. Iconic would be Boris Karloff as the monster in black and white. The monster has assumed many shapes since it first saw the light of day on the banks of Lake Geneva, from the cockney flower girl Eliza Doolittle all the way to the robot Andrew Martin in Isaac Asimov’s Bicentennial Man; the ‘monster’ has become a metaphor for creating the new out of the old, creating life where there was none, making beautiful what was ugly, the ultimate metamorphosis, shapeshifting, an ability peculiar to the gods.
But we should not forget that in the original story the emphasis was not on the monster as such, but on its creator, Doctor Victor Frankenstein, as the title says: the modern Prometheus. In the previous essay we saw that Prometheus had stolen the fire of the gods from heaven, presented it as a gift to mankind, and had been harshly punished for it. In this respect he was the secular Lucifer, the fallen angel who turned into the devil incarnate. In Greek mythology, Prometheus had also, originally, assisted Zeus/Jupiter in creating the first men. Thus, Mary identifies her Frankenstein as a modern-day Prometheus who draws the fire from heaven down into his laboratory, Zeus’s/Jupiter’s lightning, to spark life where before there was only death. Her Frankenstein presumes to be equal to the gods in this act of creation and is duly punished by seeing his glorious new man, eventually, turning against his creator. ×