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Journal articles on the topic 'Endymion'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Trevor, Douglas. "Endymion." Iowa Review 45, no. 2 (September 2015): 57–74. http://dx.doi.org/10.17077/0021-065x.7589.

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2

Bousseyroux, Isaure. "Endymion." L'en-je lacanien 31, no. 2 (2018): 187. http://dx.doi.org/10.3917/enje.031.0187.

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3

Byrne, Celine. "Endymion." Books Ireland, no. 204 (1997): 135. http://dx.doi.org/10.2307/20631718.

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4

King, Rosalind, David Bevington, Michael Pincombe, and John Lyly. "Endymion: John Lyly." Yearbook of English Studies 29 (1999): 294. http://dx.doi.org/10.2307/3508970.

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5

Spisak, April. "Endymion Spring (review)." Bulletin of the Center for Children's Books 60, no. 2 (2006): 94–95. http://dx.doi.org/10.1353/bcc.2006.0687.

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6

Townsend, Chris. "“The Very Music of the Name”." Nineteenth-Century Literature 75, no. 4 (March 1, 2021): 441–72. http://dx.doi.org/10.1525/ncl.2021.75.4.441.

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Chris Townsend, “‘The Very Music of the Name’: Uncertainty as Aesthetic Principle in Keats’s Endymion” (pp. 441–472) It is well known that John Keats thought that true poets were those who are capable of being in “uncertainties, Mysteries, doubts” without feeling the need to reach after solid facts. And “uncertainty” is a recurrent term in his 1818 poem Endymion and its preface. But what does it mean for the figure of Endymion to follow an “uncertain path,” and what role do experimental poetics play in that experience of not knowing? This essay reflects on three aspects of the rhythms of Endymion—the relation of line to sentence, the transformative quality of the poem’s rhymes, and the rhythmical malleability of the name “Endymion” itself—to argue that what Keats’s early critics were hostile to in his poem was precisely what he strove to produce: a poetics of uncertainty. By turning close attention to the local effects of Keats’s rhythms, and by mounting an argument about the structure of his thinking that concerns the shape of his verses, I also want to reopen a perennial question in both Formalist and New Historicist branches of Keats scholarship: whether it makes sense to think of Keats as a “political” or “ideological” poet, and of what that might mean in relation to his aesthetics.
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7

Keats, John. "Two Prefaces to Endymion." New England Review 37, no. 2 (2016): 188–92. http://dx.doi.org/10.1353/ner.2016.0051.

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8

Moctezuma, Victor, and Gonzalo Halffter. "Taxonomic revision of the Phanaeus endymion species group (Coleoptera: Scarabaeidae), with the descriptions of five new species." European Journal of Taxonomy 747 (April 28, 2021): 1–71. http://dx.doi.org/10.5852/ejt.2021.747.1333.

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The Phanaeus endymion species group is defined as a lineage of dung beetles distributed from Mexico to Ecuador. The current arrangement of the P. endymion species group includes 18 species (five newly described and three revalidated herein): P. arletteae Arnaud, 2018; P. bravoensis Moctezuma, Sánchez-Huerta & Halffter, 2017; P. chiapanecus sp. nov.; P. edmondsi Moctezuma, Deloya & Halffter, 2019; P. endymion Harold, 1863; P. funereus Balthasar, 1939 stat. rev.; P. halffterorum Edmonds, 1979; P. huichol Moctezuma, Sánchez-Huerta & Halffter, 2017; P. jackenioi sp. nov.; P. malyi Arnaud, 2002; P. olsoufieffi Balthasar, 1939 stat. rev.; P. pacificus sp. nov.; P. panamensis sp. nov.; P. porioni Arnaud, 2001 stat. rev.; P. pyrois Bates, 1887; P. rzedowskii sp. nov.; P. zapotecus Edmonds, 2006; and P. zoque Moctezuma & Halffter, 2017. Phanaeus dionysius Kohlmann, Arriaga-Jiménez & Rös, 2018 syn. nov. is considered as a new junior subjective synonymy of P. zapotecus Edmonds, 2006. Phanaeus blanchardi Olsoufieff, 1924 and P. bothrus Blackwelder, 1944 are junior objective synonyms of P. olsoufieffi Balthasar, 1939 stat. rev.
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9

EDMONDS, W. D. "A new species of Phanaeus Macleay (Coleoptera: Scarabaeidae: Scarabaeinae: Phanaeini) from Oaxaca, Mexico." Zootaxa 1171, no. 1 (April 10, 2006): 31. http://dx.doi.org/10.11646/zootaxa.1171.1.3.

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Phanaeus zapotecus Edmonds, new species, is described. This species occurs in the vicinity of Sola de Vega in the Sierra Madre del Sur of Oaxaca (Mexico), where it was collected from mushrooms in pine-oak forest. It is illustrated and compared with the closely related Mexican species Phanaeus endymion Harold and Phanaeus halffterorum Edmonds.Resumen: Se describe Phanaeus zapotecus Edmonds, especie nueva, especie micetófaga que habita en los bosques pino-encino de la Sierra Madre del Sur en los alrededores de Sola de Vega, Oaxaca (México). Se compara con sus parientes, las especies mexicanas Phanaeus endymion Harold y Phanaeus halffterorum Edmonds.
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10

SUNDHARARAJAN, Mr P., and Dr R. MAYILRAJ. "Critical inquiry of the Greek myths in Endymion Book II of John Keats." Think India 22, no. 3 (September 26, 2019): 647–60. http://dx.doi.org/10.26643/think-india.v22i3.8350.

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The purpose of this document is to read and analyze one of the major works of John Keats, the poem Endymion, carefully. Due to the use of classical [primarily Greek ] tales and mythology, this poem is regarded an outstanding work. The primary aim of this article is therefore to demonstrate how Greek stories, heroes and symbols of ancient Greek gods help form the plot, mood and significance of the poem's second novel ' The Underworld. 'Endymion is being likened as a lengthy narrative story portrayed in impressive passages and contrasted with the ancient myths it uses. It would also like to point out Keats ' attempt to authentically make these classical allusions and myths his by a re-creation authority. Perhaps it will be hard for modern readers to find out the valuable significance of Keats ' splendid verses complete of gods, thoughts and wisdom no longer common names, but this poem was a mandatory element of higher education for John Keats and his generation. Then let the beautiful shepherd Endymion look through the eyes into the imaginative world of the poet and find out if the main goal of this paper is being fulfilled.
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11

Neufeld, C. M. "Lyly's Chimerical Vision: Witchcraft in Endymion." Forum for Modern Language Studies 43, no. 4 (October 1, 2007): 351–69. http://dx.doi.org/10.1093/fmls/cqm060.

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12

Edwards, W. "Keats’s ‘Endymion’ and Elizabethan Minor Epic." Swiss Papers in English Language and Literature 2023, no. 43 (2023): 169–79. http://dx.doi.org/10.33675/spell/2023/43/14.

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13

Freebury-Jones, Darren. "Exploring Verbal Relations between <i>Arden of Faversham</i> and John Lyly’s <i>Endymion</i>." Renaissance and Reformation 41, no. 4 (April 1, 2019): 93–108. http://dx.doi.org/10.33137/rr.v41i4.32451.

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Several scholars, utilizing traditional reading-based methods, have highlighted intertextual links between the anonymous domestic tragedy Arden of Faversham (1590) and John Lyly’s comedy Endymion, The Man in the Moon (1588). The authorship of Arden of Faversham is fiercely contested: Brian Vickers and the present writer have argued for Thomas Kyd’s sole authorship, whereas MacDonald P. Jackson and his New Oxford Shakespeare colleagues have contended for Shakespeare’s part authorship. This article draws upon electronic corpora in order to highlight matching utterances between the Kentish tragedy and Lyly’s comedy, and suggests that the quantity of rare and/or unique verbal parallels with Endymion is indicative of a single author’s acquisitive practices. The article proceeds to explore these matches in context in order to broaden our understanding of the relations between these plays, and the composition of Arden of Faversham as a whole.
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14

Edgecombe, Rodney Stenning. "Inverted Christian Images in ENDYMION, book 3." Explicator 68, no. 2 (March 31, 2010): 96–100. http://dx.doi.org/10.1080/00144941003723758.

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15

Müller, Stefan. "Anne-Louis Girodet-Trioson: Der schlafende Endymion." Schlaf 07, no. 03 (October 2018): 162. http://dx.doi.org/10.1055/s-0038-1675301.

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16

Skroch, W. A., S. L. Warren, and A. A. De Hertogh. "Phytotoxicity of Herbicides to Spring Flowering Bulbs." Journal of Environmental Horticulture 6, no. 4 (December 1, 1988): 109–13. http://dx.doi.org/10.24266/0738-2898-6.4.109.

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Biennial application for two years of nine commonly used turf and ornamental herbicides were evaluated for phytotoxicity to fourteen species of spring flowering bulbs. OH 2 significantly damaged foliage of Anemone ‘Rosea’, Crocus ‘Cream Beauty’, Endymion ‘Blue’, Hyacinthus ‘Ostara’, Iris reticulata ‘Harmony’, Muscari armeniacum, Narcissus ‘Geranium’, Ornithogalum umbellatum, Scilla ‘Spring Beauty’, Triteleia ‘Queen Fabiola’, and the Tulipa ‘Golden Apeldoorn’, ‘Purissima’, and ‘Paul Richter’. Ronstar damaged the foliage of Crocus ‘Cream Beauty’, Crocus ‘Remembrance’, Endymion ‘Blue’, Hyacinthus ‘Ostara’, Iris ‘Harmony’, Muscari armeniacum, Narcissus ‘Geranium’, Ornithogalum umbellatum, Scilla ‘Spring Beauty’, Trietleia ‘Queen Fabiola’, and the Tulipa ‘Golden Apeldoorn’, ‘Purissima’, and ‘Paul Richter’. Muscari foliage was damaged by Balan, Dacthal, Devrinol, Fusilade and Poast. Hyacinthus ‘Ostara’ foliage was damaged by Balan. Anemone ‘Rosea’ foliage was injured by Betasan and Pennant. Tulipa ‘Paul Richter’ foliage was deformed by Devrinol and Fusilade damaged Endymion. No flower injury was noted from use of Balan, Betasan, Dacthal, Devrinol, Pennant, Fusilade or Poast for two seasons on the 14 bulb species. OH 2 and Ronstardamaged flowers of Crocus ‘Remembrance’, Hyacinthus ‘Ostara’, Iris germanica and I. reticulata ‘Harmony’, Narcissus ‘Unsurpassable’, Ornithogalum umbellatum, Scilla ‘Spring Beauty’, Triteleia ‘Queen Fabiola’, and Tulipa ‘Purissima’ and ‘Paul Richter’. OH 2 damaged the flowers of Crocus ‘Cream Beauty’, Hyacinthus ‘Ostara’, Iris germanica, Iris reticulata ‘Harmony’, Muscari armeniacum, Narcissus ‘Unsurpassable’, Ornithogalum umbellatum, Scilla ‘Spring Beauty’, Triteleia ‘Queen Fabiola’, and Tulipa ‘Golden Apeldoorn’, ‘Purissima’, and ‘Paul Richter’. Bulb numbers harvested after two years were unaffected by Balan, Betasan, Devrinol, Pennant or Fusilade. Poast and Dacthal reduced bulb numbers of Muscari armeniacum. OH 2 reduced bulb numbers of Crocus ‘Cream Beauty’, Crocus ‘Remembrance’, Hyacinthus ‘Ostara’, Iris reticulata ‘Harmony’, Muscari armeniacum, Triteleia ‘Queen Fabiola’, and ‘Paul Richter’ and ‘Purissima’ tulips. Ronstar reduced the number of bulbs harvested of Crocus ‘Cream Beauty’ and Crocus ‘Remembrance’, Hyacinthus ‘Ostara’, Iris reticulata ‘Harmony’, and Triteleia ‘Queen Fabiola’.
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17

Kasnowo Kasnowo, Doni Uji Windiatmoko, and M. Syamsul Hidayat. "Pemberdayaan UKM Kaos “Ndlodok” Berbasis Puspakata di Endymion Screen Printing." NUSANTARA Jurnal Pengabdian Kepada Masyarakat 3, no. 1 (January 17, 2023): 78–87. http://dx.doi.org/10.55606/nusantara.v3i1.774.

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Permasalahan yang dihadapi Endymion Screen Printing pada pemasaran, yaitu pemesanan berdasarkan by order sekolah, komunitas atau organisasi swasta maupun negeri. Pelayanan terhadap pesanan by order untuk meminimalisir kerugian, karena dapat dipastikan dalam pelayanan pesanan by order akan dibayar. Kondisi pandemic Covid 19 cukup memukul usaha sablon, terlihat sekolah-sekolah dari tingkat Play Group, TK, SD, SMP, SMA dan tingkat Sarjana menggunakan system daring sehingga pesanan sablon dari sekolah-sekolah tidak ada. Solusi yang ditawarkan kepada mitra sasaran yaitu menyusun formulasi Kaos “Ndlodok” berbasis puspakata dengan ciri khas dialek Mojokerto dengan harapan dapat mebuka pasar baru yang tidak terbatas pada sekolah, komunitas atau organisasi. Menyusun formulasi desain Kaos “Ndlodok” berbasis puspakata melalui program pelatihan dan pendampingan yang intensif, sehingga dapat menghasilkan kalimat-kalimat ndlodok penuh guyonan yang akan menghibur pembaca dalam desain kaos tersebut. Pada akhirnya Endymion Screen Printing menjadi pelopor Kaos “Ndlodok” di Mojokerto yang produknya tidak hanya by order lagi namun produknya akan menjadi cindera mata yang dicari konsumen ketika berkunjung ke Mojokerto bahkan tidak berkunjung ke Mojokerto pun “Kaos Ndlodok” akan dicari melalui pesanan online.
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18

Edgecombe, Rodney Stenning. "An Allusion to Endymion in Beddoes's ‘Phantom-Wooer’." Notes and Queries 55, no. 4 (October 7, 2008): 440–41. http://dx.doi.org/10.1093/notesj/gjn137.

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19

Sánchez Calvo, Arsenio. "La naturaleza en Alastor, Childe Harold y Endymion." Revista Alicantina de Estudios Ingleses, no. 2 (1989): 143–55. http://dx.doi.org/10.14198/raei.1989.2.13.

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20

Lendon, Jon E. "BATTLE DESCRIPTION IN THE ANCIENT HISTORIANS, PART I: STRUCTURE, ARRAY, AND FIGHTING." Greece and Rome 64, no. 1 (March 14, 2017): 39–64. http://dx.doi.org/10.1017/s0017383516000231.

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When Endymion, king of the Moon, devised war upon Phaethon, king of the Sun, he decreed that a race of spiders as big as the Cyclades should weave a web between Venus and his lunar dominion, to serve as the battlefield for their regal rumble. And in that region of the heavens he arrayed his army: the king himself led his elite Hippo-vultures in the clouds on the right wing, 80,000 strong; his other cavalry, mounted on giant birds with wings like lettuce leaves, held the left. The Moon's stalwart infantry held the centre, posted on the spider web: Millet-launchers and Garlic-fighters, and his light-armed Flea-archers and Wind-runners, whose long tunics carried them about like sailboats in the fierce winds of the celestial realm. To Endymion's Hippo-vultures, Phaethon opposed the Sun's Hippo-ants (and near two hundred feet long were the insects that bore these cavalry). On the opposite flank of the solar array came the Air-mosquitoes and the formidable radish-flinging Air-dancers. The spears of Phaethon's phalanx, in the centre, were stalks of asparagus, and their round shields were mushrooms. Phaethon's allies, the Cloud-centaurs, expected at any moment from the Milky Way, had not arrived in time for battle.
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Krsmanovic, Ivana. "All the women of 'Endymion': From blues to bliss." Nasledje, Kragujevac 14, no. 36 (2017): 213–23. http://dx.doi.org/10.5937/naslkg1736213k.

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Vural, Kübra. "John Lyly’nin Endymion, Ay’daki Adam Adlı Oyununda Çatışmaların Uzlaştırılması." Uludağ Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi 18, no. 32 (January 31, 2017): 1. http://dx.doi.org/10.21550/sosbilder.298171.

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23

Cappeluti, Jo-Anne. "The Failed Reader: Keats’s “Brain-Sick” Endymion." Philosophy and Literature 36, no. 1 (2012): 96–110. http://dx.doi.org/10.1353/phl.2012.0015.

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24

Bevington, David. "Lyly's Endymion and Midas: The Catholic Question in England." Comparative Drama 32, no. 1 (1998): 26–46. http://dx.doi.org/10.1353/cdr.1998.0003.

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Thomas, Troy. "Poussin, Gombauld, and the Creation of Diana and Endymion." Art History 33, no. 4 (August 13, 2010): 620–41. http://dx.doi.org/10.1111/j.1467-8365.2010.00778.x.

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Lafont, Agnès. "Shakespeare et les amours de Diane : Endymion, Hippolyte et Adonis." Itinéraires, no. 2010-4 (December 1, 2010): 83–99. http://dx.doi.org/10.4000/itineraires.1718.

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27

Simpson, John. "Cashel Boyle O’Connor Fitzmaurice Tisdall Farrell (Endymion): The Back-Story." Dublin James Joyce Journal 4, no. 1 (2011): 87–106. http://dx.doi.org/10.1353/djj.2011.0002.

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Wettlauffer, Alexandra K. "Girodet/Endymion/Balzac: representation and rivalry in post-revolutionary France." Word & Image 17, no. 4 (October 2001): 401–11. http://dx.doi.org/10.1080/02666286.2001.10435729.

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DEBRECZENI, Attila. "TANTALOSZ, ENDÜMION ÉS MELINDA." Tanulmányok, no. 2 (March 12, 2020): 3–10. http://dx.doi.org/10.19090/tm.2019.2.3-10.

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A jelen tanulmány a Bánk bán egy szöveghelyével foglalkozik Nádasdy Ádám új fordításához kapcsolódva. Nádasdy Ádám fordítása jelentős filológiai teljesítmény, a Bánk bán-kiadások fontos darabja, amely megoldásaival jelentős mértékben inspirálja a szövegértelmezést. A tanulmány a drámaszöveget összeolvassa Katona József költeményeinek párhuzamos helyeivel, elsősorban a közös mitológiai utalások felfejtése céljából. A Tantalosz-mítosz Bánkhoz, Endymion Ottóhoz kötődik, s mindkettő együttesen Melindához, aki a Hold-alteregót magára öltve őrült beszédében hitvesként való újjászületését szeretné megélni. A mitikus vonulat a mű filozofikus jelentésrétegeihez vezetheti az értelmezést.
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Freebury-Jones, Darren. "Exploring Verbal Relations between Arden of Faversham and John Lyly’s Endymion." Renaissance and Reformation 41, no. 4 (2018): 93. http://dx.doi.org/10.7202/1061915ar.

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Lee Eun-A. "The Truth of Idealization in John Keats’s Endymion: A Poetic Romance." New Korean Journal of English Lnaguage & Literature 56, no. 4 (November 2014): 97–117. http://dx.doi.org/10.25151/nkje.2014.56.4.006.

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Vanhoutte, Jacqueline. "Age in Lust: Lyly's Endymion and the Court of Elizabeth I." Explorations in Renaissance Culture 37, no. 1 (December 2, 2011): 51–70. http://dx.doi.org/10.1163/23526963-90000401.

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Janiszewski, Pawel. "Spuma lunaris. Bringing the Moon Down to Earth, Extraction of ‘Moon Foam’ and Its Use in Ancient Magic." Palamedes 12 (December 10, 2019): 37–59. http://dx.doi.org/10.5913/pal.2017.25220655.

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The article is devoted to the ancient ritual of bringing the moon down to the earth. The author has compiled all sources in which you can read about it and discuss in detail how to obtain the so-called ‘Moon foam’ (spuma lunaris), focusing on its use in ancient magic. In addition, the article suggests that in the stories of the seduction of Selene by the god Pan and the hero Endymion may be elements of some aitiological myth explaining the genesis and phenomenon of bringing the moon to the ground. The annex to this article shows a similar ritual in Maroccan magic of the 19th and 20th centuries.
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Weiler, Larissa. "‘For an assured freende is the medicine of life’." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 70, no. 1 (November 16, 2020): 214–39. http://dx.doi.org/10.1163/22145966-07001010.

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During his time in England as the lead court artist, Anthony van Dyck came into contact with the English Virtuosi, their discourses and their practical research into nature. This article examines the connection between English virtuosity and ideal ideas of friendship and the role that the artist played in this. Argueing that Van Dyck was part of a friendly circle of said Virtuosi and reconstructing that circle on a small scale, it discusses the famous double portrait of Van Dyck and Endymion Porter as a portrait of friendship as well as a product of the symbiotic culture of friendship and English virtuosity and the making of knowledge that springs from it.
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Lee Eun-A. "The Process of Subjectivity in John Keats’s Endymion: From Melancholy to Mourning." New Korean Journal of English Lnaguage & Literature 55, no. 3 (August 2013): 65–82. http://dx.doi.org/10.25151/nkje.2013.55.3.004.

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Di Penta, Miriam. "Guercino's Endymion, Hercules and Artemisia for Alessandro Argoli." Journal of the Warburg and Courtauld Institutes 67, no. 1 (January 1, 2004): 233–54. http://dx.doi.org/10.1086/jwci40026031.

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Al-Abdullah, Mufeed. "Characters and characterization in John Lyly’s Endymion: The Man in the Moone." International Journal of English Literature and Social Sciences 6, no. 3 (2021): 273–83. http://dx.doi.org/10.22161/ijels.63.37.

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Bos, A. P. "Is the "Greek King" in Eudemus Fr. 11 (Ross) Endymion of Elis?" Modern Schoolman 65, no. 2 (1988): 79–96. http://dx.doi.org/10.5840/schoolman198865213.

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Moctezuma, Victor, José Luis Sánchez-Huerta, and Gonzalo Halffter. "Two new species of the Phanaeus endymion species group (Coleoptera, Scarabaeidae, Scarabaeinae)." ZooKeys 702 (September 25, 2017): 113–35. http://dx.doi.org/10.3897/zookeys.702.14728.

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40

Currie, R. I. "Introduction: early investigations in the Rockall Channel." Proceedings of the Royal Society of Edinburgh. Section B. Biological Sciences 88 (1986): 1–3. http://dx.doi.org/10.1017/s0269727000004425.

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It seems probable that the existence of Rockall has been known for a very long time but the first recorded landing we have is of a party from H.M.S. Endymion, with Lt Basil Hall, in 1811 (Fisher 1956). Records at that time of good fishing in its vicinity are frequent but the true extent of Rockall Bank was not known until 1831 when it was surveyed by Captain Alexander Thomas Emeric Vidal on H.M.S. Pike (Wigley 1831). The tiny prominence of rock bore little relation to the enormous extent of the shallow bank from which it protruded above the waves, more often than not, because of its white cap, mistaken for a ship under sail.
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RODRÍGUEZ LÓPEZ, Alexander. "Una propuesta legislativa para modernizar las oposiciones. Ediciones Endymion, 2020. VILLAMERIEL PRESENCIO, L.P." RVGP 19, no. 19 (December 30, 2020): 151–54. http://dx.doi.org/10.47623/ivap-rvgp.19.2020.10.

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Balcells, José María. "Eugenio de Nora. No he de callar--(cantos civiles, 1944-1951). Endymion, 1997." Estudios Humanísticos. Filología, no. 20 (December 15, 1998): 285. http://dx.doi.org/10.18002/ehf.v0i20.4662.

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43

Baer, Cynthia M. "“Lofty hopes of divine liberty”: The myth of the androgyne inAlastor, Endymion,andManfred." Romanticism Past and Present 9, no. 2 (June 1985): 25–49. http://dx.doi.org/10.1080/08905498508583235.

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Bozio, Andrew. "The Contemplative Cosmos: John Lyly’s Endymion and the Shape of Early Modern Space." Studies in Philology 113, no. 1 (2016): 55–81. http://dx.doi.org/10.1353/sip.2016.0008.

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45

Price, Dana. "A phylogenetic analysis of the dung beetle genus Phanaeus (Coleoptera: Scarabaeidae) based on morphological data." Insect Systematics & Evolution 38, no. 1 (2007): 1–18. http://dx.doi.org/10.1163/187631207788784058.

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The genus Phanaeus (Scarabaeidae: Scarabaeinae) forms an important part of the dung beetle fauna in much of the Western Hemisphere. Here a phylogeny for Phanaeus , including 49 Phanaeus sp., and 12 outgroup taxa, is proposed. Parsimony analysis of 67 morphological characters, and one biogeographical character produced 629 equally parsimonious trees of 276 steps. Oxysternon , the putative sister taxon is nested well within the subgenus Notiophanaeus , implying that Oxysternon might ultimately need to be synonymized with Phanaeus . Species groups of Edmonds (1994) recovered as monophyletic are paleano , endymion, chalcomelas , tridens , triangularis , and quadridens . An 'unscaled' equal weighting analysis yielded 57,149 equally parsimonious trees of 372 steps. The strict consensus of these trees yielded a monophyletic Phanaeus with the inclusion of Oxysternon . Bootstrap values are relatively low and some clades are unresolved.
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46

Murphy, Eira. "Portraits, Puppets, Trees: Versions of the Body in John Lyly's Plays." Shakespeare Bulletin 42, no. 1 (March 2024): 27–49. http://dx.doi.org/10.1353/shb.2024.a928403.

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Abstract: This essay explores the constitutive role of a set of key objects—portrait, puppet, and tree—in conceiving ideas of the boy actor's body in the plays of John Lyly. Drawing on materialist theory, the essay argues that across Campaspe, The Woman in the Moon, Endymion , and Love's Metamorphosis , these three objects provide a particularly generative point of reference for Lyly's explorations of the relationship between his authorial control, the body of the boy actor, and the material resources of his playhouse. As I read these three moments in which the child actor and prop interact to create an ambiguous, unfixed object-body, I think through how the potentially rebellious nature of Lyly's materialist stage might serve as a catalyst for his meditations on the particular conditions of his own early modern authorship and his acts of authorial creation more broadly.
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47

Kałużny, Józef Cezary. "Phoenix and Delphinus Salvator: The History of the Forgotten Images of Early Christian Iconography." Perspektywy Kultury 30, no. 3 (December 20, 2020): 9–26. http://dx.doi.org/10.35765/pk.2020.3003.03.

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Art in the 3rd and 4th centuries underwent transformations and adapted cer­tain representations which were typical of ancient iconography to the new needs and tasks of Christian art. Among the abundant examples of this pro­cess, many continue to be popular and recognizable, such as the representation of Hermes Kriophoros, which evolved to become Christ the Good Shepherd, or the sleeping Endymion, which became part of the “Jonah cycle.” The adaptation of patterns from antiquity for the purposes of Christian iconography was both popular and quite common, but only a fraction of the representations developed in that period survive today. This paper discusses the representa­tions that have been forgotten. Relying on the examples of the phoenix and the dolphin-rescuer, the paper analyzes factors that affected the partial (phoenix) or complete (delphinus salvator) disappearance of images which were typical of early Christian art and which relied on ancient imagery.
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48

Knoll, Gillian. "How To Make Love to the Moon: Intimacy and Erotic Distance in John Lyly’s Endymion." Shakespeare Quarterly 65, no. 2 (2014): 164–79. http://dx.doi.org/10.1353/shq.2014.0017.

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49

Al-Jumaili, Yasir A. "Representations of Nothingness as a Place in Keats’s Poetry." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 18, 2020): 59–62. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp59-62.

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This paper addresses the theme of Keats and place in which I explore the problem of Keats and no place. The existence of “no place” is a key element in the poetry of John Keats. One of the obvious manifestations of “no place” is the use of nothingness which occupies a particular symbolic significance in his works. In my paper, I argue that Keats’s poems show evidence that the poet featured nothingness as a place which is characterized by emptiness and void where things fall and disappear forever. The abstract state of nothingness is represented as a hateful and undesired destination that the poet does not want to be placed in. The paper focuses on the representations of nothingness in three selected poems: “Sleep and Poetry,” “Endymion,” and “When I Have Fears,” respectively. In these poems, Keats constructs nothingness as a “locus” which is associated with negativity and passivity. My paper suggests another possible reading of Keats’s poems in relation to the themes of place and space.
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50

Hoeveler, Diane Long. "Decapitating Romance: Class, Fetish, and Ideology in Keats's Isabella." Nineteenth-Century Literature 49, no. 3 (December 1, 1994): 321–38. http://dx.doi.org/10.2307/2933819.

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Critics of Keats's Isabella; or, The Pot of Basil (1818) traditionally focus on the poem's "transitional" status between the early Endymion and the later and much greater odes. This article reads the poem as a shocking and angry poem by interrogating the meanings of the decapitated head that lies at the core of the text. By interrogating the head I read the work as an expression of Keats's attempt to bury his grief for his parents' deaths, to repudiate his middle-class origins, and to deny his attraction to "Romance," the popular Gothic ballad tradition of his day. The text explores Keats's very personal need to elide pain with words, the linguistic conventions of Romance. The fact that he could not bury the body of his pain, the fact that the body comes back to haunt and consume the living-these are the central issues Keats could not resolve in Isabella. The hungry heart one always senses while reading Keats becomes in this poem the mouth that devours, the voice in his own head that would not die, that would not stop repeating the tale of his pain, anger, doubt, and grief.
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