LEADER 02360nam 2200469 450 001 9910828714303321 005 20230803043733.0 010 $a3-8467-5604-0 024 7 $a10.30965/9783846756041 035 $a(CKB)4920000000125556 035 $a(OCoLC)1017041881 035 $a(nllekb)BRILL9783846756041 035 $a(MiAaPQ)EBC6517358 035 $a(Au-PeEL)EBL6517358 035 $a(OCoLC)1243545240 035 $a(EXLCZ)994920000000125556 100 $a20211009d2013 uy 0 101 0 $aeng 135 $aurun| uuuua 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $2rdacarrier 200 14$aThe envy of Daedalus $eessay on the artist as murderer /$fMarcello Barbanera 210 1$aPaderborn :$cVerlag Wilhelm Fink,$d[2013] 210 4$dİ2013 215 $a1 online resource 225 1 $aMorphomata Lectures Cologne ;$v4 311 $a3-7705-5604-6 327 $aPreliminary Material -- Daedalus as Object of Myth-Making -- Variations on the Myth of Daedalus in Ovid?s Metamorphoses: The Fall of Icarus and the Killing of Perdix -- Zelotupia O Phthonos? Instruments to Define a Passion in Greek Society -- The Artist as a Murderer, Three Variations on a Theme: Competition, Mimesis and Crime -- References -- Photo Credits -- Plates. 330 $aWhy the myth of Daedalus, the protos euretes, is connected with envy and murder? The author takes as his starting point Ovid?s Metamorphoses, where Daedalus? envy drives him to murder his pupil and nephew Perdix. He also considers the passage of Seneca the Elder, about the painter Parrhasius and the citizen from Olynthus, that he had tortured in order to paint the agony of Prometheus. The first case is a topos of the artist?s biography which implies, that the craft of the artisan was held as a guarded secret; the second is related to mimesis. The author questions what role the topos of the artist as murderer plays in text and imagery, from the Middle Ages to modern literature. 410 0$aMorphomata Lectures Cologne ;$v4. 606 $aMurder in art 615 0$aMurder in art. 676 $a704.0396 700 $aBarbanera$b Marcello$086063 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910828714303321 996 $aThe envy of Daedalus$94036731 997 $aUNINA