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Journal articles on the topic 'Anacreon'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Hullinger, David. "Chasing a Dark Horse." Mnemosyne 69, no. 5 (September 16, 2016): 729–41. http://dx.doi.org/10.1163/1568525x-12342029.

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This paper argues that the addressee of Anacreon 417 pmg, or the ‘Thracian filly’ fragment, is a virgin girl instead of a hetaira. This identification is substantiated by contextualizing the fragment within Anacreon’s corpus, by engaging in a close reading of the fragment, and by linking the fragment to the Odes of Horace. The analysis of these sources reveals an erotic chase pattern in which an experienced man pursues a youthful object of desire and suggests that this chase pattern was employed by Anacreon to compose amatory poems outside the context of the symposium.

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2

MacLachlan, Bonnie. "ANACREON AND ANACREONTEA." Classical Review 54, no. 2 (October 2004): 297–99. http://dx.doi.org/10.1093/cr/54.2.297.

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3

Pelliccia, Hayden. "Anacreon 13 (358 PMG)." Classical Philology 86, no. 1 (January 1991): 30–36. http://dx.doi.org/10.1086/367228.

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4

Abritta, Alejandro. "Observations about Anacreon, PMG 395." Circe, de clásicos y moderno 22, no. 2 (December 1, 2018): 27–35. http://dx.doi.org/10.19137/circe-2018-220202.

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5

BRUCE, WILLIAM. "A NOTE ON ANACREON 388." Classical Quarterly 61, no. 1 (May 2011): 306–9. http://dx.doi.org/10.1017/s0009838810000546.

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6

Geißler, Claudia. "Jungfrau oder Hetäre? Das ‘Thrakische Füllen’ und seine allegorische Deutung (Anacr. PMG 417 ap. Heraclit. All. 5.10-1 und [Theoc.] Id. 20.11-8)*)." Mnemosyne 64, no. 4 (2011): 541–55. http://dx.doi.org/10.1163/156852511x547712.

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AbstractIn Ps.-Theocritus 20.13 the hetaira Eunica is portrayed as µµασι λοξ βλποισα. Although it is well known that the passage imitates Anacreon’s poem on the ‘Thracian filly’ (PMG 417.1), it has until now gone unnoticed that the pseudo-Theocritean Idyll displays compelling parallels with Heraclitus’ interpretation of Anacreon’s ‘Thracian filly’ as ‘hetaira’. While this is perhaps not sufficient to hypothesize an intertextual relationship between the two authors, it nonetheless seems certain that Ps.-Theocritus and Heraclitus drew on a common source documenting this exegesis of πλος. In addition the depictions of the βο&ugr;κλος as a singer and of Eunica as a ‘hetaira’, coupled with the verbal echoes of Anacreon’s and Sappho’s poems, seem to point to a source—yet to be identified—which made use of the literary-biographical tradition concerning Sappho.

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Ustinovskaya, Alena. "ПЕРЕВОД КАК ДИАЛОГ ТРАДИЦИЙ И КУЛЬТУР («АНАКРЕОНТИЧЕСКАЯ ПЕСЕНКА» Н. С. ГУМИЛЕВА)." Проблемы исторической поэтики 18, no. 4 (November 2020): 288–305. http://dx.doi.org/10.15393/j9.art.2020.8722.

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The article is devoted to the analysis of the Anacreontic Song by Théophile Gautier, translated by N. S. Gumilev, which is examined against the background of the Russian and global Anacreontic tradition. Imitation of Anacreon is rooted in antiquity: his figure became a symbol of light lyric poetry that glorified sensual pleasures. Anacreon’s own legacy is not as extensive as pseudo-Anacreontic poetry: this tradition is present in English, French, German, Italian and Russian literature. In the process of translating Odelette anacréontique by Théophile Gautier, Gumilev enters into intercultural and inter-traditional communication: his translation is a dialogue with both the French poet and the Anacreontic and pseudo-Anacreontic genre tradition. Despite the statements N. S. Gumilev proposed in his theoretical works on translation issues, which stated that it is necessary to rely on the original text during translation, and that deviations and loose retellings are unacceptable, in some cases he still departs from the original text, deliberately building the subtext of the poem that is absent in the original. Gumilev’s translation makes Gautier’s poem “more Anacreontic” than the original: Gumilev intensifies the motives of love, pleasure, sensual pleasure that are significant for pseudo-Anacreontics, introduces the image of wine as a symbol of love that was absent in the original. Gumilev’s translation solutions considered in the article represent a kind of editing of Gautier’s text that approximated it to the complex of motives traditionally associated with the work of Anacreon.

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8

Аlpatova, Т. А. "The way to understanding oneself… (image of the poet and concept of poetry in Russian lyrics of the XVIIIth century)." Literature at School, no. 1, 2020 (2020): 23–31. http://dx.doi.org/10.31862/0130-3414-2020-1-23-31.

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The purpose of the article is to analyze the early stage of forming the image of the poet and the artistic representation of poetry in Russian lyrics of the mid-18th century. On the example of the work by M.V. Lomonosov’s, the poem “Conversation with Anacreon”, the specificity of poetological declarations in the literary theory of Russian classicism is characterized. “Conversation with Anacreon” by Lomonosov is analyzed as a holistic text; the motives, that unite it, represent the concept of poet and poetry, which laid the foundation for the subsequent development of the Russian poetological lyrics.

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9

Kantzios, Ippokratis. "Marginal Voice and Erotic Discourse in Anacreon." Mnemosyne 63, no. 4 (January 1, 2010): 577–89. http://dx.doi.org/10.1163/156852511x504999.

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10

Mason, Tom. "Abraham Cowley and the Wisdom of Anacreon." Cambridge Quarterly XIX, no. 2 (1990): 103–37. http://dx.doi.org/10.1093/camqtly/xix.2.103.

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11

Miller, Peter J. "A Sympotic Self: Instruction through Inebriation in Anacreon." Mouseion 15, no. 1 (March 2018): 131–47. http://dx.doi.org/10.3138/mous.15.1.9.

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12

Davidson, J. F. "Anacreon, Homer and the Young Woman From Lesbos." Mnemosyne 40, no. 1-2 (1987): 132–37. http://dx.doi.org/10.1163/156852587x00120.

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13

Gerber, Douglas E., and Patricia A. Rosenmeyer. "The Poetics of Imitation: Anacreon and the Anacreontic Tradition." Classical World 86, no. 6 (1993): 519. http://dx.doi.org/10.2307/4351418.

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14

Urios-Aparisi, Eduardo. "Anacreon: Love and Poetry (On 358 "PMG", 13 Gent.)." Quaderni Urbinati di Cultura Classica 44, no. 2 (1993): 51. http://dx.doi.org/10.2307/20547192.

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15

Pfeijffer, Ilja Leonard. "PLAYING BALL WITH HOMER: AN INTERPRETATION OF ANACREON 358 PMG." Mnemosyne 53, no. 2 (2000): 164–84. http://dx.doi.org/10.1163/156852500510507.

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16

Palmisciano, Riccardo. "On Drinking Wine in Anacreon fr. 356 PMG (= 33 Gent.)." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 41, no. 1 (December 20, 2019): 17–30. http://dx.doi.org/10.1163/17246172-40010021.

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Abstract The A. supports with new arguments von der Mühll’s idea that in Anacreon fr. 356 PMG (=33 Gentili) Athenaeus has joined two distinct short poems. The first (fr. a) is an invitation to drink heavily in order to provoke Dionysiac enthusiasm; the second (fr. b) is an admonition against the degeneration of the symposium and a reminder of the rules of a well-ordered rite. The performance of the two poems must be placed in the same symposium at some distance of time, or, more probably, in different symposia: both could be performed whenever similar circumstances occurred. Some arguments are proposed in defence of Pauw’s amendment ἀνυβρίστως in fr. (a).

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17

Sinos, Dale, and D. A. Campbell. "Greek Lyric II: Anacreon, Anacreontea, Choral Lyric from Olympus to Alcman." Classical World 84, no. 4 (1991): 326. http://dx.doi.org/10.2307/4350838.

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18

MacLachlan, Bonnie. "To Box or Not to Box with Eros? Anacreon Fr. 396 Page." Classical World 94, no. 2 (2001): 123. http://dx.doi.org/10.2307/4352528.

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19

Wiesmann, Marc-Andre, and John O'Brien. "Anacreon redivivus: A Study of Anacreontic Translation in Mid-Sixteenth-Century France." Sixteenth Century Journal 28, no. 2 (1997): 694. http://dx.doi.org/10.2307/2543560.

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20

Peach, T., and John O'Brien. "Anacreon Redivivus: A Study of Anacreontic Translation in Mid-Sixteenth-Century France." Modern Language Review 92, no. 2 (April 1997): 465. http://dx.doi.org/10.2307/3734862.

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21

González Galván, María Gloria, and Francisco Salas Salgado. "Fuentes bibliográficas en la traducción de Anacreonte y de Museo de Graciliano Afonso." FORTUNATAE. Revista Canaria de Filología, Cultura y Humanidades Clásicas 28 (July 2018): 95–108. http://dx.doi.org/10.25145/j.fortunat.2018.28.009.

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22

O'Brien, John. "Ronsard, Belleau and Renvoisy." Early Music History 13 (October 1994): 199–215. http://dx.doi.org/10.1017/s0261127900001352.

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Howard Mayer Brown's stimulating paper pays greatest attention to the centrality of Ronsard as the fons et origo for musical settings. One often has the impression, reading the paper, that there was no substantial problem of imitation in these settings: the composers simply took the words supplied by Ronsard and set them to music. In the comments which follow, I want to suggest a different approach to this question of imitation within Renaissance poetry and to ask what effect the issue of imitation itself had in the dialogue between poetry and music in mid sixteenth-century France. The focus I shall be using is the Anacreon of 1554.

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23

Ivinskiy, Alexander D. "M.N. Muravyov and Ancient Poets: Unpublished Translations." Studia Litterarum 6, no. 2 (2021): 358–85. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-358-385.

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The article is devoted to the translations of M.N. Muravyov. We present more than ten unpublished texts from his Notebook, which is preserved at the Manuscripts Department of the Russian State Library: a number of works of Horace, Virgil, Anacreon, Martial, Callimachus, Lucretius and Lucan. Secondary in this context, but no less important, is the translation of a fragment from the famous poem Jerusalem Delivered by T. Tasso. These texts do not exhaust the subject (many of Muravyov’s translations still remain unpublished), but, along with others, may become the basis for the reconstruction of Muravyov’s literary position, which can already be characterized as oriented towards European “classicism.”

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24

Ivinskiy, Alexander D. "M.N. Muravyov and Ancient Poets: Unpublished Translations." Studia Litterarum 6, no. 2 (2021): 358–85. http://dx.doi.org/10.22455/2500-4247-2021-6-2-358-385.

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The article is devoted to the translations of M.N. Muravyov. We present more than ten unpublished texts from his Notebook, which is preserved at the Manuscripts Department of the Russian State Library: a number of works of Horace, Virgil, Anacreon, Martial, Callimachus, Lucretius and Lucan. Secondary in this context, but no less important, is the translation of a fragment from the famous poem Jerusalem Delivered by T. Tasso. These texts do not exhaust the subject (many of Muravyov’s translations still remain unpublished), but, along with others, may become the basis for the reconstruction of Muravyov’s literary position, which can already be characterized as oriented towards European “classicism.”

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25

Martlew, Ian C. "The significance of ΥΓΡΟΝ ΥΔΩΡ in Anacreontic 33.22." Classical Quarterly 44, no. 1 (May 1994): 277–78. http://dx.doi.org/10.1017/s0009838800017377.

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The phrase ὑγρòν ὓδωρ in Anacreontic 33.22 requires more explanation than has until now been offered: the parallel passages cited by M. L. West in his edition (Carmina Anacreontea, Leipzig, 1984), namely Ovid, Ars Am. 3.224, ‘nuda Venus madidas exprimit imbre comas’ and Her. 18.104, ‘madidam…imbre comam’, present the same image, but with quite a different vocabulary, whilst Patricia A. Rosenmeyer (The Poetics of Imitation: Anacreon and the Anacreontic Tradition, Cambridge, 1992, p. 80) regards it only as an example of tautology characteristic of the Anacreontic corpus. But it is by no means unique, and, both for this reason and in the context of the nature of the whole poem, it is capable of further elucidation.

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26

Salova, S. A. "“PRITCHY” BY A. P. SUMAROKOV (1762): THE CONTINUATION OF THE RUSSIAN “DISCUSSION ABOUT ANACREON”." Rossiiskii Gumanitarnyi Zhurnal 2, no. 3 (2013): 262. http://dx.doi.org/10.15643/libartrus-2013.3.5.

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27

Harrison, S. J., and S. J. Heyworth. "Notes on the text and interpretation of Catullus." Proceedings of the Cambridge Philological Society 44 (1999): 85–109. http://dx.doi.org/10.1017/s0068673500002224.

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2 Passer, deliciae meae puellae,quicum ludere, quem in sinu tenere,cui primum digitum dare appetentiet acris solet incitare morsus,cum desiderio meo nitenti 5carum nescio quid lubet iocari,et solaciolum sui doloris,credo ut tum grauis acquiescat ardor;tecum ludere sicut ipsa possem,et tristis animi leuare curas! 10***2b tam gratum est mihi quam ferunt puellaepernici aureolum fuisse malum,quod zonam soluit diu ligatam.Robin Nisbet, whose masterly article on the text of Catullus it is a particular pleasure to be able to salute in a piece appearing in the same journal twenty years later, adduced an important parallel for verse 5, πόθωι στίλβων (Anacreon,PMG444), and thus demonstrated that the probable sense is ‘the woman shining with longing for me’.

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28

MOSS, J. A. "Review. 'Anacreon redivivus': A Study of Anacreontic Translation in Mid-Sixteenth-Century France. O'Brien, John." French Studies 51, no. 4 (October 1, 1997): 455. http://dx.doi.org/10.1093/fs/51.4.455-a.

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29

Mund-Dopchie, Monique. "O’Brien, John. 1995. Anacreon redivivus: A Study of Anacreontic Translation in Mid-Sixteenth-Century France." Target. International Journal of Translation Studies 10, no. 2 (January 1, 1998): 400–402. http://dx.doi.org/10.1075/target.10.2.22mun.

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30

Clark, Katelyn. "To Anacreon in Heaven: observations on gender and the performance practice of London’s Anacreontic Society song (c.1773)." Early Music 46, no. 4 (November 2018): 675–81. http://dx.doi.org/10.1093/em/cay070.

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31

Capra, Andrea. "THE EROTIC FRAGMENTS OF ANACREON - (G.M.) Leo (ed., trans.) Anacreonte: i frammenti erotici. Testo, commento e traduzione. (Quaderni 18.) Pp. viii + 239. Rome: Edizioni Quasar, 2015. Paper, €31. ISBN: 978-88-7140-603-9." Classical Review 67, no. 2 (April 25, 2017): 327–28. http://dx.doi.org/10.1017/s0009840x17000567.

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32

Fantuzzi, Marco. "Anakreons Grab - Patricia A. Rosenmeyer: The Poetics of Imitation: Anacreon and the Anacreontic Tradition. Pp. xii + 285. Cambridge: Cambridge University Press, 1992. £40." Classical Review 44, no. 1 (April 1994): 9–11. http://dx.doi.org/10.1017/s0009840x00290148.

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33

Vardi, Amiel D. "An anthology of early Latin epigrams? A ghost reconsidered." Classical Quarterly 50, no. 1 (May 2000): 147–58. http://dx.doi.org/10.1093/cq/50.1.147.

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In Book 19, chapter 9 of the Nodes Atticae Gellius describes the birthday party of a young Greek of equestrian rank at which a group of professional singers entertained the guests by performing poems by Anacreon, Sappho, ‘et poetarum quoque recentium ⋯λεγεῖα quaedam erotica’ (4). After the singing, Gellius goes on, some of the Greek συμπόται present challenged Roman achievements in erotic poetry, excepting only Catullus and Calvus, and criticized in particular Laevius, Hortensius, Cinna, and Memmius. Rising to meet this charge, Gellius’ teacher of rhetoric, Antonius Julianus, admits the superiority of the Greeks in what he calls ‘cantilenarum mollitiae’ in general (8), but to show that the Romans too have some good erotic poets, he recites four early Latin love epigrams, by Valerius Aedituus (frs. 1 and 2), Porcius Licinus (fr. 6), and Lutatius Catulus (fr. I). The same three poets are listed in the same order in Apuleius’ Apology in a list of amatory poets which he provides in order to establish precedents and thus invalidate his prosecutors’ referral to his erotic poems in their accusation (Apul. Apol. 9). Catulus is also enumerated in Pliny's list of Roman dignitaries who composed ‘uersiculos seueros parum’ like his own (Ep. 5.3.5), and an amatory epigram of his is cited by Cicero in De Natura Deorum 1.79 (fr. 2). We possess no further evidence connecting the other two with the composition of either erotic or, more generally, ‘light’ verse, but a poem by Porcius Licinus on Roman literary history is attested by several sources including Varro, Suetonius, and Gellius himself.

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34

Allaire, Joseph L. "John O'Brien. Anacreon Redivivus: A Study of Anacreontic Translation in Mid-Sixteenth Century France. Ann Arbor: University of Michigan Press, 1995. x + 276 pp. $44.50." Renaissance Quarterly 50, no. 2 (1997): 628–29. http://dx.doi.org/10.2307/3039225.

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35

Murgatroyd, P. "Sappho 110aLP: a Footnote." Classical Quarterly 37, no. 1 (May 1987): 224. http://dx.doi.org/10.1017/s0009838800031803.

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Critics comment on the simplicity of the jest here, not without reason.1 But the levity also has some sophistication, of a literary kind. For a start,andare aptly long and are carefully left to the end of their clauses and lines for maximum effect. In addition, these striking words, which appear for the first (and last) time in Sappho, may well have been deliberate adaptations of two adjectives which had previously occurred only in Homer,2 and they would in any case have called to mind the Homeric ones, because of their close similarity and because there are no other variants of these compounds in surviving literature down to the time of the j poetess.3 At Odyssey11.312 the poet had said of Otus and Ephialtes and at Iliad 7.220, 222, 245, 266 and 11.545 he had described the shield of Ajax asSo, given the epic flavour of Sappho′s epithets, it was amusing of her to include them at all in such a light and frivolous context. There is also pawkiness in the poetess′s application of these terms I with their Homeric tinge to quite different and very mundane objects; and the humour is increased when one takes into account the associations that these words had (in connection with the feet of a human she uses an adjective that recalls the extent of the whole bodies of two Giants; and with reference to the sandals of an ordinary man she uses one which conjures up the huge shield of a hero).This strikes me as an early instance of witty adaptation of epic diction such as is found in Anacreon 358 and 417 PMG.4

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36

Neri, Camillo. "Anacreonte Erotico." Rivista di Filologia e di Istruzione Classica 144, no. 2 (July 2016): 420–30. http://dx.doi.org/10.1484/j.rfic.5.123408.

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37

West, M. L. "Greek Lyric 2 - David A. Campbell (ed., tr.): Greek Lyric, vol. 2. Anacreon, Anacreontea, Choral Lyric from Olympus to Alcman. (Loeb Classical Library.) Pp. viii + 547. Cambridge, Mass.: Harvard University Press; London: Heinemann, 1988. £9.95." Classical Review 40, no. 2 (October 1990): 214–16. http://dx.doi.org/10.1017/s0009840x00253316.

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38

Fantuzzi, Marco. "On the metre of Anacreont. 19W." Classical Quarterly 44, no. 2 (December 1994): 540–42. http://dx.doi.org/10.1017/s0009838800044013.

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Redondo Reyes, Pedro. "Francisco de Quevedo, Anacreón castellano. Edición crítica y anotada de Elena Gallego Moya y J. David Castro de Castro (Anexo 11 de la revista Janus), A Coruña, SIELAE, 2018, 561 páginas ISBN: 978-84-09-07700-7. Disponible en https://www. janusdigital.es/." Minerva. Revista de Filología Clásica, no. 33 (November 26, 2020): 307–11. http://dx.doi.org/10.24197/mrfc.33.2020.307-311.

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Reseña de Francisco de Quevedo, Anacreón castellano. Edición crítica y anotada de Elena Gallego Moya y J. David Castro de Castro (Anexo 11 de la revista Janus), A Coruña, SIELAE, 2018, 561 páginas ISBN: 978-84-09-07700-7. Disponible en https://www. janusdigital.es/anexo.htm?id=15 (fecha de consulta 28.07.2020)

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40

Molina Ayala, José. "Anacreonte, Poemas y fragmentos: [reseña]." Estudios: filosofía, historia, letras 8, no. 94 (2010): 231. http://dx.doi.org/10.5347/01856383.0094.000174967.

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41

García Sánchez, Lúa. "Las citas del Pseudo-Focílides en el Anacreón castellano de Quevedo." Minerva. Revista de Filología Clásica, no. 33 (November 24, 2020): 103–21. http://dx.doi.org/10.24197/mrfc.33.2020.103-121.

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En 1609 Quevedo tradujo las Sentencias del Pseudo-Focílides, que también cita en su Anacreón castellano a través de dos fragmentos con una traducción ligeramente variante. El cotejo de estas diferentes versiones en español de la obra atribuida al poeta griego revela posibles motivos estilísticos y un propósito de adaptación al contexto en que se insertan. Asimismo, este análisis corrobora la tendencia de Quevedo a reescribir y citar de manera libre los textos clásicos.

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42

García Sánchez, Lúa. "Estilo y paráfrasis en el Anacreón castellano de Quevedo: el uso del tropo y la figura." JANUS. Estudios sobre el Siglo de Oro, no. 10 (May 17, 2021): 350–78. http://dx.doi.org/10.51472/jeso20211019.

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RESUMEN: El propósito de este artículo consiste en estudiar las modificaciones que lleva a cabo Francisco de Quevedo en su paráfrasis Anacreón castellano (1609), las cuales suponen la introducción de elementos elocutivos ajenos a las Anacreónticas griegas. Para ello se han identificado y analizado aquellas expresiones de los cincuenta y siete poemas en castellano que no cuentan con un antecedente en el original ni en las demás fuentes que empleó Quevedo. La inspiración hallada en estos poemas griegos y sus procedimientos estilísticos, modificados por Quevedo en su traducción castellana por medio de nuevos tropos y figuras, pudo influir también en cierta medida, como las abundantes fuentes que manejó, en su creación literaria posterior. ABSTRACT: The aim of this paper is to study Quevedo’s modifications in his paraphrase Anacreón castellano (1609), which involve the introduction of style features alien to the Greek Anacreontics. They have been identified and analysed the expressions of the fifty-seven Spanish poems that do not have any correspondence in the original neither in the other sources used by Quevedo. The inspiration found in these Greek poems and their stylistic devices, modified by Quevedo in his Spanish translation through new tropes and figures, could have influenced also to a certain extent, as well as the abundant sources that he read, in his later literary creation.

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43

Antunes, Carlos Leonardo Bonturim. "Problemas de tradução poética em Anacreonte." Cadernos de Tradução 38, no. 2 (May 11, 2018): 78–96. http://dx.doi.org/10.5007/2175-7968.2018v38n2p78.

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Neste artigo, apresento uma série de fragmentos estruturalmente complexos de Anacreonte. Em sua maioria, trata-se de versos com alguma dificuldade métrica, para os quais ofereço comentários e propostas de tradução.

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44

Díaz-Regañón López, José María. "Anacreonte : notas críticas a sus fragmentos." Cuadernos de Investigación Filológica 6 (June 6, 2013): 63. http://dx.doi.org/10.18172/cif.1440.

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45

Ragusa, Giuliana. "Entre imagens de prazer e de amizade: Afrodite na elegia grega arcaica." Classica - Revista Brasileira de Estudos Clássicos 21, no. 1 (July 30, 2008): 52–70. http://dx.doi.org/10.14195/2176-6436_21-1_4.

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Este artigo concentra-se na representação de Afrodite na poesia elegíaca grega arcaica. O corpus aqui traduzido e estudado é, lamentavelmente, pequeno, uma vez que a presença da deusa se atesta seguramente apenas em quatro poemas e três poetas – mais precisamente, em quatro fragmentos elegíacos: Mimnermo, Fr. 1 W; Sólon, Frs. 19 e 26 W; Anacreonte, Fr. 2 W2. Conforme pretendem mostrar estas páginas, a imagem de Afrodite nesse corpus não é uma e sempre a mesma, mas de múltiplas faces, integrando contextos elaborados pelas ideias de amizade (φιλία) e prazer (ἡδονή), combinadas, como é o caso dos fragmentos simposiásticos de Sólon (26 W) e Anacreonte, ou não – a ideia de prazer prevalecendo no fragmento gnômico de Mimnermo, e a de amizade na elegia de despedida de Sólon (19 W).

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Prodi, Enrico Emanuele. "Da Apollo a Batillo (e da Batillo ad Apollo): Anacreont. 17 West." Rivista di Filologia e di Istruzione Classica 146, no. 2 (July 2018): 285–94. http://dx.doi.org/10.1484/j.rfic.5.123528.

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Jesus, Carlos A. Martins de. "Castilho, tradutor ou poeta anacreôntico?: a Lyrica de Anacreonte, 1866." Humanitas 63 (2011): 585–603. http://dx.doi.org/10.14195/2183-1718_63_33.

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Gangutia Elícegui, Elvira. "Anacreonte 2 PMG y la canción sefardí «La mar está en fortuna»." Emerita 55, no. 2 (December 30, 1987): 247–51. http://dx.doi.org/10.3989/emerita.1987.v55.i2.619.

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Müller, Alexander. "Giovanni Maria Leo: Anacreonte: I frammenti erotici. Testo, commento e traduzione." Gnomon 90, no. 3 (2018): 193–95. http://dx.doi.org/10.17104/0017-1417-2018-3-193.

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Lear, Andrew. "Anacreon's "Self": An Alternative Role Model for the Archaic Elite Male?" American Journal of Philology 129, no. 1 (2008): 47–76. http://dx.doi.org/10.1353/ajp.2008.0022.

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