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Journal articles on the topic 'Hannibal'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

STRECHIE, Mădălina. "HANNIBALʼS STRATAGEMS." BULLETIN OF "CAROL I" NATIONAL DEFENCE UNIVERSITY 11, no. 4 (January 16, 2023): 85–90. http://dx.doi.org/10.53477/2284-9378-22-98.

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Romeʼs fiercest enemy, the one who defeated Rome on its own in the Second Punic War, Hannibalus was one of the most special warriors of all time, so we can call the Second Punic War, his war. It was through all the actions he really took his war with Rome, both after all the outstanding theories about the war, but especially by the fact that the talented Carthaginian general defeated Rome at her home, shattering the myth of her invincibility, as a city of Mars. We are not wrong when we claim that Hannibal would have defeated the god of war in this conflict as well.From the beginning of military hostilities to their end, the perfect strategist of the Puns fully controlled the theatre of operations, even being its sole director, putting his enemy, Rome, in the most disastrous situation of all time. Basically, Hannibal eliminated the echelon of command of the Roman army, but also the Roman army that is shattered in three successive battles at Trebia, Trasimenus and Cannae, ending up threatening Rome itself through the famous ante portas episode. Even though Hannibalʼs war did not result in Hannibal’s peace, the intention of the brilliant general was to eliminate Rome as an armed force and economic strength, an objective fully accomplished during the military operations. The detail that eluded him was the Roman tenacity, the one that stole his peace, but Hannibal has entirely the paternity of the second war between the Puns and the Romans, being to this day a genius of the art of war, unmatched yet.

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2

Bulić, Nada, Maria Mariola Glavan, and Daniel Nečas Hraste. "Hannibal’s Elephants and the Liburnians." Tabula, no. 17 (November 16, 2020): 47–66. http://dx.doi.org/10.32728/tab.17.2020.2.

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The second Punic war is a relatively well-known episode from Roman history. Reliable, detailed ancient sources such as Livy and Polybius, however, don’t say much on the topic of Hannibal’s provisions from his native Carthage. One of the questions related to the provisions is where Hannibal’s elephants came from after the battle of Cannae, as after traversing the Etrurian swamp Hannibal only had one elephant left (Livy XXII 2). Immediately after the victory at Cannae Hannibal sends a delegation requesting logistics and the Carthaginian senate decides to send him military aid, among which were 4000 Numidians and 40 elephants (Livy XXIII 11-13). In the meantime, Hannibal penetrates Campania already accompanied by elephants at the Siege of Casilinum (Livy XXIII 18). The authors of this paper believe that Hannibal’s path to Cannae was part of a premeditated military plan, according to which the Carthaginian army needed to pick up supplies near Cannae, with the Liburnians playing an important role in opening channels of communication and supplies. Several facts support this theory, most importantly the following: – one of the few suitable ports that Hannibal could count upon to be less guarded by the Romans than more northern ports, such as Ariminum, is found near Cannae; – an enormous amount of money from Africa is in circulation in Liburnia right at the time of the war with Hannibal; It is known that political entities on the eastern coast of the Adriatic had an anti-Roman political agenda during the time of the second Punic war, coordinating themselves with Macedonia among others, which became an ally of Hannibal and with which Rome went to war in 214 B.C, with which the two Illyrian wars right before and right after the war with Hannibal are related. The authors believe that the sources point to a sort of coalition for transport, trade and communication between Hannibal, the Liburnians and Carthage, which should be viewed in the context of the operations of the anti-Roman coalition of political entities on the eastern shores of the Adriatic

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3

Putri, Fitria Zahrina. "Perbandingan Monstrositas Kriminal dalam Red Dragon (1981) Karya Thomas Harris dan Hannibal (2015) Serial Televisi NBC." ATAVISME 21, no. 2 (December 24, 2018): 164–79. http://dx.doi.org/10.24257/atavisme.v21i2.457.164-179.

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This study aims to reveal how differences in criminal monstrosity are portrayed in Red Dragon novel (1981), with the adaptation of his television series titled Hannibal (2013). The problem discussed is the blurred norms as the form of criminal monstrosity development in Hannibal. The theory used is the criminal monstrosity developed by Alexa Wright (2013). This research uses analytical descriptive method. Data from novels and television series are described and compared to get the grand concept of criminal monstrosity. The results showed that the blurred norms in Hannibal can be seen through normalization of cannibalism by using culinary aesthetic, the role of Will Graham from FBI to Hannibal’s crime partner, and a more intimate relationship between Will and Hannibal. These blurred norms created a new monstrosity narrative: a monstrous criminal nature behind a person who looks normal and able to function properly in society.

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4

Hoyos, Dexter. "Maharbal's bon mot: authenticity and survival." Classical Quarterly 50, no. 2 (December 2000): 610–14. http://dx.doi.org/10.1093/cq/50.2.610-a.

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Did the Carthaginian cavalry general Maharbal really urge Hannibal to march on Rome after Cannae, and then comment bitterly Vincere sets, Hannibal; victoria uti nescis, when his leader refused? There are two main objections: Maharbal may not have been there, and anyway Cannae was too far away to justify such a march. The whole story has been seen as one of those well-known Roman historiographical inventions. But there may well be more to the story than that, illuminating both Hannibalic history and some Roman historiographical techniques.

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5

Gurov, O. N. "The Boundaries of the Image of Hannibal Lecter (on the Example of the Hannibal TV Series). Part 1." Art & Culture Studies, no. 3 (September 2023): 454–83. http://dx.doi.org/10.51678/2226-0072-2023-3-454-483.

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In the article, the author explores the history of creation and development of the media franchise which revolves around the life of a fictional extravagant and in his own way genius serial killer and cannibal, Hannibal Lecter. The author of the study attempts to systematize the movies and series of the Hannibal universe, with a particular focus on the Hannibal TV series (2013–2015). The focus specifically on a TV series is due to the fact that such works have become a significant form of popular culture. The popular images that are formed within the context of a TV series are based on topical and meaningful categories of culture. This makes contemporary TV series, such as Hannibal, an influential tool for forcing the viewer to reflect on important issues. In this way, TV series today are able to influence cultural dynamics. On the other hand, as the author of the article shows on the example of Hannibal, the material of such media products is also a promising source for researching the processes and transformations taking place in society and identifying topical problems and challenges. The present study aims to identify various aspects of the complex and controversial personality of Hannibal in the context of contemporary culture. To achieve this purpose, the author, on the one hand, compares the image of the main character with the real and fictional characters of popular culture, and on the other hand, analyses several key categories of culture, including power, art and others, which all together allows defining the features of Hannibal’s personality within the coordinate system of culture.

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6

Wolny, Miron. "Recepcja antycznej symboliki snu Hannibala na przykładzie dzieła malarskiego Jana Miela ‘Il Sonno di Annibale fra gl’Iberi’." Res Historica, no. 50 (December 28, 2020): 11. http://dx.doi.org/10.17951/rh.2020.50.11-33.

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<p>Zamierzeniem autora przedłożonej pracy jest zbadanie recepcji antycznego motywu snu Hannibala, zobrazowanego przez Jana Miela w pracy malarskiej ‘Il Sonno di Annibale fra gl’Iberi’, umieszczonej w ‘Sala del Consiglio’ Turyńskiego Palazzo Reale. Wykorzystując przykład tej pracy plastycznej, autor przygląda się problemowi snów w świecie antycznym. Wskazując na ich profetyczne znaczenie, usiłuje powiązać atrakcyjność tego motywu z kulturowymi pryncypiami epoki nowożytnej. Zstąpienie boskiego posłańca, który komunikuje wolę boską budzącemu się Hannibalowi było ważnym elementem konceptualizacji dzieła malarskiego, mającego za zadanie przekazać konkretny komunikat odbiorcy. Celowi temu służyła podpowiedź w formie motta dzieła: ‘Genius quo ducit eundum’, mającego zakomunikować o działaniu woli boskiej. Autor artykułu zwraca uwagę, że istotną rolę w dystrybuowaniu wątku snu Hannibala musiał odegrać poemat Syliusza Italikusa, przedstawiający dojrzałą kompozycję motywów literatury antycznej. Autor zastanawia się również z jakiego powodu bohaterem pracy został Hannibal, dochodząc w efekcie do wniosku, że Kartagińczyk ujęty w barokowym dziele to pewien czytelny symbol – antagonista pogańskiego Rzymu, z chrześcijańskiej perspektywy, będącego substytutem zła. Pomimo, że Liwiusz określał Hannibala jako człowieka wiarołomnego, ten w istocie nigdy nie złamał danej swoim bogom przysięgi – nigdy bowiem nie stał się przyjacielem Rzymian. Tym samym Hannibal staje się symbolem braku przyzwolenia na akceptację zła. Jego determinacja wyrażona poprzez dzieło Jana Miela jawi się zatem jako czynnik inspirujący i potrzebny Europie.</p>

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7

Lancel, S. "Hannibal." Encyclopédie berbère, no. 22 (January 1, 2000): 3356–60. http://dx.doi.org/10.4000/encyclopedieberbere.1653.

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8

GABBARD, GLEN O. "Hannibal." American Journal of Psychiatry 156, no. 12 (December 1, 1999): 2001. http://dx.doi.org/10.1176/ajp.156.12.2001.

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9

Bassil-Morozow, Helena. "Hannibal." International Journal of Jungian Studies 8, no. 1 (January 2, 2016): 64–66. http://dx.doi.org/10.1080/19409052.2016.1121037.

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10

Betlyon, John W. "Hannibal." History: Reviews of New Books 27, no. 4 (January 1999): 183. http://dx.doi.org/10.1080/03612759.1999.10528529.

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11

Ziomek, Ewa. "Hannibal Revived: an Aestheticized Portrayal of Hannibal Lecter in NBC’s TV Series Hannibal." Crossroads. A Journal of English Studies, no. 23(4) (2018): 46–58. http://dx.doi.org/10.15290/cr.2018.23.4.04.

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12

Bien, Peter, and Barry Unsworth. "After Hannibal." World Literature Today 72, no. 3 (1998): 618. http://dx.doi.org/10.2307/40154113.

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13

Ndalianis, Angela. "Hannibal: A Disturbing Feast for the Senses." Journal of Visual Culture 14, no. 3 (December 2015): 279–84. http://dx.doi.org/10.1177/1470412915607928.

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This article analyses the television series Hannibal (NBC, 2013-) and argues that it is one of the most powerfully affect-driven shows to ever grace the television screen. Hannibal the series not only inflicts a cacophony of sensory assaults on the characters that inhabit its dark narrative universe, but also extends these assaults to the audience that participates in the world it has to offer. Providing a close reading of the episode ‘Hutamono’ (2:6), it is argued that we become victims, both of Hannibal the character and Hannibal the television series’ masterful style and affective power.

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14

Abad-Vila, Miguel. "El banquete humano. A propósito de Hannibal Lecter y el canibalismo. El silencio de los corderos (1991) de Jonathan Demme." Revista de Medicina y Cine 20, no. 1 (March 1, 2024): 5–16. http://dx.doi.org/10.14201/rmc.16428.

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El dragón rojo (1981) de Thomas Harris es la carta de presentación del perverso psiquiatra Hannibal Lecter, un psicópata asesino que brilla singularmente en el firmamento de los homicidas más abyectos de la historia del cine. Esta colección se completó con la publicación de El silencio de los corderos (1988), Hannibal (1999) y Hannibal: El origen del mal (2006), hasta ahora su última secuela. Fuente de inspiración cinematográfica, la saga se inició con la galardonada El silencio de los corderos (1991) de Jonathan Demme, continuada por Hannibal (2001) de Ridley Scott, El dragón rojo (2002) de Brett Ratner y Hannibal: El origen del mal (2007) de Peter Webber, si bien además existe una primera adaptación de la novela El dragón rojo titulada Hunter/Cazador de hombres (1986) de Michael Mann, donde los agentes del FBI se enfrentan con el temible asesino en serie Dr. Hannibal Lecktor (Brian Cox). Asimismo, el escritor y productor estadounidense Bryan Fuller creó la serie televisiva Hannibal (2013-2015), 39 episodios en los que el actor danés Mads Mikkelsen encarna al perverso antropófago. Independiente de sus connotaciones antropológicas, morales y culturales, la mayor parte de las conductas de canibalismo están relacionadas con trastornos psicóticos, como por ejemplo la esquizofrenia paranoica, cuando estos enfermos asesinan y se comen parte de los cuerpos de sus víctimas dentro de sus cuadros delirantes patológicos.

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15

Powers, Korine. "Hannibal Lecter as Avenging War Orphan in Thomas Harris’s Hannibal Rising." Twentieth-Century Literature 66, no. 1 (March 1, 2020): 125–46. http://dx.doi.org/10.1215/0041462x-8196740.

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Beginning with Red Dragon (1981), horror icon Hannibal Lecter thrilled audiences as the ultimate unreadable reader, consuming minds and bodies behind the polished veneer of aristocratic taste and psychological expertise. Yet by the end of the twentieth century, Lecter had shifted from monster to hero. This article argues that Thomas Harris’s prequel novel, Hannibal Rising (2006), makes Lecter more palatable by portraying his serial murders as an act of vengeance against a postwar society that allowed war criminals to rejoin the consumer milieu. Hannibal Rising uses graphic depictions of the atrocities of the Second World War—including freezing, starvation, immolation, and enslavement—to mitigate Lecter’s cannibalistic classism and restore his humanity. Lecter is rendered mute by the trauma of consuming his sister, the patrician Lecter Castle becomes a Soviet orphanage, and Lecter’s eventual victims are war criminals who have reintegrated into society across the Western world. In return, Hannibal Rising’s readers are asked to project the specter of Lecter’s trauma and these war criminals’ violence onto all of Lecter’s victims. No act of cannibalism, Hannibal Rising suggests, is more monstrous than the war crimes and subsequent Allied apathy that Hannibal fights and bites against.

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16

Fuchs, Michael. "Cooking with Hannibal: Food, liminality and monstrosity in Hannibal." European Journal of American Culture 34, no. 2 (June 1, 2015): 97–112. http://dx.doi.org/10.1386/ejac.34.2.97_1.

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17

Crisóstomo, Raquel. "Capítulo 7. Los ecos del caníbal: homenajes estilísticos y pilares cinematográficos de Hannibal." Espejo de Monografías de Comunicación Social, no. 1 (November 19, 2018): 139–55. http://dx.doi.org/10.52495/c7.emcs.1.c37.

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En 2013 Bryan Fuller propuso a la NBC llevar a la pequeña pantalla una nueva adaptación del personaje de Thomas Harris, Hannibal, serie de televisión que recogería un gran éxito de crítica y crearía un fiel fandom. La serie destaca por su composición visual, algo acorde con el interés de Fuller por la estética de la imagen fílmica. En Hannibal se reflejan otras imágenes cinematográficas: el ambiente pesadillesco que habita en el corazón de Hannibal tiene mucho en común con el de la producción de Lynch; el tratamiento del cuerpo está influenciado por la dismorfia corporal característica de David Cronenberg; y la influencia de la plasticidad de los maestros italianos del giallo es algo que el espectador de Hannibal detecta con rapidez. En la serie laten las influencias de todos ellos, así como de Hitchcock, Dario Argento y Kubrick entre otros, tal como se desgranará en este capítulo.Palabras clave: Hannibal, Argento, Cronenberg, Lynch, cine.

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18

STRECHIE, Mădălina. "STRATAGEMELE LUI HANNIBAL." Buletinul Universității Naționale de Apărare „Carol I” 11, no. 4 (January 12, 2023): 82–87. http://dx.doi.org/10.53477/2065-8281-22-91.

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Dușmanul cel mai înverșunat al Romei, cel care a înfrânt Roma de unul singur în cel de-al doilea război punic, Hannibal a fost unul dintre cei mai speciali războinici ai tuturor timpurilor, de aceea putem numi cel de-al doilea război punic războiul lui. A fost, prin toate acțiunile întreprinse de el, cu adevărat războiul lui cu Roma atât după toate teoriile de seamă despre război, cât mai ales prin faptul că talentatul general cartaginez a învins Roma la ea acasă, spulberând mitul invincibilității ei, de cetate a lui Marte. Nu greșim atunci când afirmăm că Hannibal ar fi învins și pe zeul războiului în acest conflict.De la începutul ostilităților militare până la sfârșitul lor, strategul desăvârșit al punilor a controlat întru totul teatrul de operații, chiar a fost regizorul unic al acestuia, punând inamicul lui, Roma, în cea mai dezastruoasă situație din toate timpurile. Practic, Hannibal a eliminat eșalonul de comandă al armatei romane, dar și armata romană care a fost spulberată în trei bătălii succesive, la Trebia, Trasimenus și Cannae, ajungând să amenințe Roma însăși prin celebrul episod ante portas. Chiar dacă războiul lui Hannibal nu s-a soldat cu pacea lui Hannibal, intenția genialului general a fost de a elimina Roma, ca forță armată și ca forță economică, obiectiv pe deplin îndeplinit pe parcursul operațiilor militare. Detaliul care i-a scăpat a fost tenacitatea romană, cea care i-a furat pacea, dar Hannibal are întru totul paternitatea războiului secund dintre puni și romani, fiind, până astăzi, un geniu al artei războiului, neegalat încă.

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19

Wolny, Miron. "Silenus of Kale Akte and the propaganda process of building Hannibal’s image." Echa Przeszłości, no. XXIV/1 (August 29, 2023): 11–25. http://dx.doi.org/10.31648/ep.9293.

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The article examines the role of Greek historian Silenus in building a strategic narrative about the Second Punic War (218–201 BCE) and Hannibal’s image for the needs of political propaganda. Historical annals composed by Lucius Coelius Antipater, a Roman jurist and historian, provide an interesting framework for drawing conclusions about Silenus’ work. An analysis of formal and substantive principles in Coelius’ annals supports the identification of similarities in both authors’ works and the modifications introduced by the Roman historian. Silenus was tasked with building a historical narrative in support of Carthage, and he resorted to various literary devices to paint a positive image of the Carthaginian general. These propaganda measures incorporated religious elements, as evidenced by two events described in Cicero’s De divinatione: Hannibal’s dream at the beginning of the invasion in the Apennine Mountains, and the general’s stay in Capo Colonna towards the end of the Italian campaign. These episodes were clearly derived from Silenus’ works, which suggests that Hannibal resorted to various tools to build his political image. In addition to formal references to Hellenic literature, Hannibal’s propagandist relied also on the language of communication derived from a “hieratic” approach to glorifying own achievements and Middle Eastern traditions. The aim of these literary manipulations was to convince the readers that the worlds of gods and humans are entangled, and that political and military leaders are endowed with miraculous powers that enable them to rise to victory. Coelius introduced some modifications to Silenus’ original work, possibly with the intent of concealing his attempts at portraying Hannibal as a Carthaginian leader with divine status.

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20

Nepos, Cornelius. "Hamilcar ve Hannibal." Belleten 54, no. 211 (December 1, 1990): 1221–32. http://dx.doi.org/10.37879/belleten.1990.1221.

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Cornelius Nepos, Catullus'un, Vergilius'un, Livius'un ve Plinius'un doğduğu topraklarda-Gallia Cisalpina-doğmuştur. Doğum yerinin Ticinum olduğu sanılmaktadır. Doğum ve ölüm tarihi kesin olarak bilinmemekle birlikte, İ.Ö. 99-24 yılları arasında yaşamış olsa gerektir. Nepos, gençliğinde Roma'ya yerleşmiş, yaşamının büyük bölümünü orada geçirmiştir. Politikaya ilgi duymamıştır. Çağının ünlü kişilerinden Cicero'yla ve onun can dostu Atticus'la yazışmıştır. Ozan Catullus'un övgüsünü kazanmıştır. Nepos'un günümüze kalan en önemli kitabı, De Excellentibus Ducibus Exterarum Gentium'dur (Yabancı Halkların Seçkin Komutanları). Bu kitap, De Viris Illustribus (Ünlü Kişiler) adlı onaltı kitaplık yapıtının bir bölümü olsa gerektir. Yazarın, De Historicis Latinis (Latin Tarihçileri) adlı yapıtından günümüze yalnızca iki yaşamöyküsü kalmıştır. Üç kitaplık bir dünya tarihi olan Chronica'dan, beş kitaplık kısa öyküleri içeren Exempla'dan, sevgi şiirlerinden, coğrafya yazılarıdan günümüze hiç bir şey kalmamıştır. Nepos'un dili yalındır, düşüncelerini genellikle kısa tümcelerle anlatmaya çalışır. Pek özgün ve başarılı bir tarih yazarı olarak tanınmayan Nepos'un yapıtları kişileri yüceltici niteliktedir. Buna karşılık, Comelius Nepos yazıları günümüze değin gelen ilk yaşamöyküsü yazarı olması açısından önemlidir. Roma'nın siyasal ve ekonomik yaşamını etkileyen Kartaca Savaşlarının iki ünlü komutanı, Hamilcar ve Hannibal'i de yazılarına konu eden Nepos'un yazıları henüz Türkçe'ye çevrilmemiştir. Hamilcar ve Hannibal'in yaşamöyküsünü çevirirken büyük ölçüde Calonne'nin kullandığı Latince metinden yararlandım. Bu çeviriyi yaparken yardımlarına başvurduğum Latin Dili ve Edebiyatı Anabilim Dalı Araştırma Görevlisi Haydar Dönmez'e teşekkürlerimi sunarım.

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21

Clarke, George Elliott. "Anti-Hannibal Elegy." Poem 2, no. 2 (January 2014): 31–36. http://dx.doi.org/10.1080/20519842.2014.11415452.

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22

Hicks, Peter. "Napoleon and Hannibal." Napoleonica La Revue N°35, no. 3 (2019): 42. http://dx.doi.org/10.3917/napo.035.0042.

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23

Lancel, S. "Hannibal (J. Desanges)." Revue historique o 604, no. 3 (March 1, 1997): 351–55. http://dx.doi.org/10.3917/rhis.g1997.604n3.0351.

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24

Zima, Dustin. "Where the Huck is Finn? The Hunt for Huckleberry Finn in Hannibal, Missouri." Pacific Coast Philology 47, no. 1 (January 1, 2012): 93–111. http://dx.doi.org/10.2307/41851036.

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ABSTRACT Missouri's Visitor's Bureau and Chamber of Commerce have dubbed the Mississippi River town to be "America's Hometown" in honor of its most famous citizen, Samuel Langhorne Clemens, better known as Mark Twain. In Hannibal, Tom Sawyer, with what are believed to be his endearing shenanigans and humorous pranks, is presented to tourists, as well as residents, as the ideal boy. Huckleberry Finn, on the other hand, is swept under the rug so as not to burden visitors and/or townspeople with Hannibal's true slaveholding past, and the racism still lingering in the present.

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Endah, Dian Nur. "SERIAL KILLER IN POPULAR LITERATURE: A FORMULA ANALYSIS OF HANNIBAL LECTER SERIES." Rubikon : Journal of Transnational American Studies 3, no. 2 (July 18, 2019): 1. http://dx.doi.org/10.22146/rubikon.v3i2.34266.

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Using textual analysis, this research attempts to find out the formula of Hannibal Lecter novels. These formula is analyzed and studied to acquire convention and invention in Hannibal Lecter characterization compared to other serial killer fictions. These two aspects are the foremost things that enable Hannibal Lecter novel series become acceptable and popular in American society. The result of this research is that there are some aspects in Hannibal Lecter characterization that are defined as convention of serial killer genre; 1) depiction of serial killer as white male, 2) depiction of serial killer as being highly intelligent and strong. Meanwhile, aspects that show invention of serial killer characerization are; 1) Depiction of serial killer as person who commits killing to bad people, 2) Performing cannibalism practice as civilized action, 3) Being woman lover, not misogynist, and 4) Being sociable man.Keywords: serial killer, formula, convention, invention, crimes

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26

Souza, Julio César Weiss de, Nicole Costa de Oliveira, and Julio César Pinto de Souza. "Hannibal Lecter: o glamour de um psicopata pelas lentes do cinema." Research, Society and Development 11, no. 14 (November 7, 2022): e598111436515. http://dx.doi.org/10.33448/rsd-v11i14.36515.

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Este artigo traz uma análise do Transtorno de personalidade antissocial existente no personagem Hannibal Lecter, da série de televisão Hannibal, lançada pela NBC. O trabalho apresenta uma análise crítica do transtorno e como este é distorcido pela indústria cinematográfica que romantiza as ações e posicionamentos do personagem Hannibal. Este artigo teve como objetivo geral apresentar uma análise crítica da romantização cinematográfica construída para o psicopata Hannibal Lecter, na série Hannibal. Esta pesquisa foi um trabalho de análise de caso, de procedimento bibliográfico e abordagem qualitativa. Utilizou-se de uma série de televisão como caso a ser estudado. Os resultados apontam que a romantização e glamorização dos atos do personagem com Transtorno de Personalidade Antissocial levou a indústria cinematográfica a realizar diversas adaptações do transtorno e a do personagem de expressar os sintomas típicos da patologia. Verificou-se ainda que essa distorção da patologia do personagem visa atender a uma demanda comercial de entretenimento em massa, levando o telespectador a “glamorizar” os comportamentos de um psicopata. Em vista disso realizou-se uma crítica a demonstração fantasiosa dos transtornos mentais apontados dentro da série em questão, informando o que é ficção e o que é realidade a partir de análises e estudos dentro da psicologia.

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Krawczyk-Łaskarzewska, Anna. "“See My Heart”: Art and Alchemical Reasoning, or Character Transformation in Bryan Fuller’s Hannibal." Open Cultural Studies 1, no. 1 (November 27, 2017): 304–18. http://dx.doi.org/10.1515/culture-2017-0027.

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Abstract Works of art seem to be used more and more frequently in scripted TV shows nowadays. Most often, they constitute a symbolic point of reference, an intertextual “interlude,” or merely a convenient plot device. However, Bryan Fuller’s 2013 TV series Hannibal goes beyond the stereotypical functions of art, using it as a sort of intermediary between literary and televisual fantasies and elevating its narrative status. It can even be argued that works of art in Hannibal constitute the key element to understanding character development and transmutation in the three seasons of the show. This article focuses on the ramifications of making Sandro Botticelli’s ever-elusive Primavera a striking aspect of Hannibal’s third season. Fuller foregrounds the painting’s motif of becoming in order to repurpose the literary franchise and its cinematic offshoots. As a result, a more in-depth portrayal of its principal characters is offered, together with their unending, but ultimately incomplete alchemical cycle of purification, “fiery love,” rebirth and death: stages representing the “enlightenment and perfection” (Gillies, Botticelli’s Primavera 133) of human souls. Alongside other masterpieces displayed in the series, Primavera helps destabilise the confines of the televisual medium and of the horror genre, while at the same time demonstrating the complexity of transmedial connections and influences.

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Woodring, Carl. "Road Building: Turner's "Hannibal"." Studies in Romanticism 30, no. 1 (1991): 19. http://dx.doi.org/10.2307/25600878.

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Prevas, John. "Hannibal: Rome’s greatest enemy." Historian 83, no. 4 (October 2, 2021): 496–99. http://dx.doi.org/10.1080/00182370.2021.2077005.

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Marsac, Eleanor C. "Hannibal and the elephants." Elephant 2, no. 4 (January 1, 2000): 76. http://dx.doi.org/10.22237/elephant/1521732256.

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SHEPHERD, ROBERT. "How Hannibal conquered geology." Geology Today 9, no. 3 (May 1993): 102–6. http://dx.doi.org/10.1111/j.1365-2451.1993.tb01108.x.

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Krings, Véronique. "Giovanni Brizzi, Moi, Hannibal…" Anabases, no. 9 (March 1, 2009): 316–18. http://dx.doi.org/10.4000/anabases.560.

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Ngo, Hoa. "Hannibal (review)." Missouri Review 22, no. 3 (1999): 218. http://dx.doi.org/10.1353/mis.1999.0137.

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Kalandadze, Merab. "Dimitri Uznadze about Hannibal." Scientia, no. 2 (2021): 208–46. http://dx.doi.org/10.51364/26679604.jcpr.2021.v02i02.009.

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Śnieżewski, Stanisław. "The Poetic Structure of Silius Italicus' Punica (Books I-V)." Classica Cracoviensia 22 (October 29, 2020): 91–118. http://dx.doi.org/10.12797/cc.20.2019.22.04.

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The Poetic Structure of Silius Italicus' Punica (Books I-V) As concerns their poetic structure, the first five books of Silius’ Punica are very differentiated and complicated. However, all the events of the represented world concentrate around Hannibal and his improba virtus. Historical and mythological ekphrases are connected with Hannibal’s deeds. Aetiological stories seem to be invented by Silius himself. The panegyrical elements refer mainly to Domitian. Prolepses especially deserve to be noticed. Silius is influenced by learned Hellenistic poets, as well as Roman authors, mainly Ennius, Vergil, Lucan, Valerius Flaccus. In fact the author of the Punica can be described as poeta doctus.

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Gea, Sry Mai Linda. "POST TRAUMATIC STRESS DISORDER IN THOMAS HARRIS’ HANIBAL RAISING." LINGUA LITERA : journal of english linguistics and literature 3, no. 1 (June 2, 2018): 66–76. http://dx.doi.org/10.55345/stba1.v3i1.12.

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This research aims to analyze the Hannibal Lecter‟s PTSD in Thomas Harris‟ Hannibal Rising novel. It describes that the main character has psychological problem. He suffers from Post Traumatic Stress Disorder. There are two questions that appear to discuss i.e. the causes and the symptoms of Post Traumatic Stress Disorder perceived by Hannibal Lecter the main character. This research uses theory of Post Traumatic Stress Disorder by Glenn R. Schiraldi. There are some concepts of the theory i.e. symptoms and causes of Post Traumatic Stress Disorder. This concept helps this research to describe the causes and the symptoms of Post Traumatic Stress Disorder that are perceived by Hannibal Lecter in the novel. The result of this research shows that war situation is one of thecauses of Post Traumatic Stress Disorder.Hannibal Lecter‟s life changed after he experienced war situation such as witnessing the death of parent and witnessing the murder of siter Mischa in the war.Then, he also showsthe symptoms of Post Traumatic Stress Disorder after experiencing the war. Those are flashback, troubled sleep, irritability of anger, trouble remembering, and feeling detached from others.

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Baldwin, Barry. "Alexander, Hannibal, and Scipio in Lucian." Emerita 58, no. 1 (June 30, 1990): 51–60. http://dx.doi.org/10.3989/emerita.1990.v58.i1.551.

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Koprowicz, Agata. "Przymus przemiany. Serial „Hannibal” jako krytyka kultury terapeutycznej." Literatura i Kultura Popularna 26 (September 17, 2021): 287–303. http://dx.doi.org/10.19195/0867-7441.26.21.

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The article is an analysis of the Hannibal series (2013–2015) made by Bryan Fuller with reference to therapeutic culture. Hannibal is presented as a manifestation of the critique of contemporary culture, which focuses on the relationship of subject and power in therapeutic culture in Western liberal societies. The main thread that has been analysed is the relationship between the main characters: Will Graham and Hannibal Lecter. The article presents the origin of therapeutic culture and the category of “psychological man” (P. Rieff). The relationship between Will and Hannibal is not a meta-image of contemporary therapeutic culture in general, but its dark face. The series shows the culture of therapy brought to its limits, where norms are not so much exceeded, but subverting. Hannibal Lecter is presented as the “ideal self” of liberal societies, an entity free from cultural norms in an absolute way. Will is opposed to him. His personality does not allow classification, just as a modern subject does not want to be classified, because it would mean pinning him to one place and making it impossible for him to develop. An important problem in the article is “coercion of change”. The “right to change” legitimised by the liberal system changes into “coercion of change” in the series. The requirement of “full life” means that standing in a place is something undesirable, live in a real way is to experience of something new, to change — even if it means a transformation into a murderer. In the end it is argued that “being yourself” is an effect of power in therapeutic culture.

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Stadler, Jane. "The Empath and the Psychopath: Ethics, Imagination, and Intercorporeality in Bryan Fuller'sHannibal." Film-Philosophy 21, no. 3 (October 2017): 410–27. http://dx.doi.org/10.3366/film.2017.0058.

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The long-form television drama series Hannibal (Fuller 2013–2015) thematises the embodied imagination and the elicitation of empathy and ethical understanding at the level of narrative and characterisation as well as through character engagement and screen aesthetics. Using Hannibal as a case study, this research investigates how stylistic choices frame the experiences of screen characters and engender forms of intersubjectivity based on corporeal and cognitive routes to empathy; in particular, it examines the capacity for screen media to facilitate what neuroscientist Vittorio Gallese terms intercorporeality. As a constitutive aspect of intersubjectivity and social understanding that works through embodied simulation, intercorporeality invites a reconceptualisation of empathy and its association with ethical motivation and insight. Hannibal also introduces cannibalism as a dark metaphor for the incorporation of another into oneself, reflecting on empathy's ill-understood potential for negative affect and unethical consequences.

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GREENFIELD, TYLER. "The authorship of the name of the megatooth shark Carcharocles (Lamniformes, Otodontidae)." Bionomina 20, no. 1 (December 31, 2020): 55–56. http://dx.doi.org/10.11646/bionomina.20.1.5.

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The megatooth sharks, family Otodontidae, have a complicated taxonomic history. The latest debate concerns the genera Otodus Agassiz, 1838 and Carcharocles Jordan & Hannibal in Jordan, 1923. It is argued either to use Otodus for the whole obliquus-megalodon anagenetic lineage (Shimada et al. 2017) or to split it into Otodus and Carcharocles based on the absence or presence of tooth serrations, respectively (Perez et al. 2018). Although referring to an important taxon, the authorship of the nomen Carcharocles has been consistently cited from the wrong publication. Recent authors (e.g., Cappetta 2012; Pimiento et al. 2013; Ehret & Ebersole 2014; Carrillo-Briceño et al. 2015; Boessenecker 2016; Perez et al. 2018) have attributed it to Jordan & Hannibal (1923). However, the paper by Jordan & Hannibal (1923) was published after the book by Jordan (1923), which contains the actual naming of Carcharocles.

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Ruiz Martínez, José Manuel. "Hannibal Lecter como ejemplo de personaje transmedia: un estudio de caso." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 28 (August 1, 2017): 42–59. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017282056.

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Desde su aparición como personaje secundario, Hannibal Lecter ha protagonizado una saga de novelas, varias películas y una serie de televisión, y su figura ha crecido hasta convertirse en la de uno de los personajes más icónicos, incluso míticos, de las últimas décadas en el imaginario colectivo. En este artículo discutiremos si el mundo ficcional de Hannibal Lecter puede considerarse una narración transmedia o no. Esto nos permitirá observar los límites y complejidades del transmedia storytelling y su relación con otras prácticas como la adaptación. Asimismo, plantearemos la importancia del transmedia fundamentado en personajes, y el uso de los paratextos para dar consistencia y coherencia a un mundo de ficción. From his first apparition as a secondary character, Hannibal Lecter has starring a novel saga, several films, and a TV series, and his figure has been growing to become one of the most iconic, (even mythical) and recognizable figures of last decades. In this article, we discuss whether the fictional world of Hannibal Lecter can be considered transmedia or not. This will enable us to glimpse at the limits and complexities of the transmedia storytelling, and its relations to other media practices such as adaptation. We also show the importance of character-based transmedia storytelling, and the use of paratexts in order to put together and give consistency to a fictional world.

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García, Alberto N. "‘Tell me, what are you becoming?’ Hannibal and the inescapable presence of the grotesque." Horror Studies 11, no. 1 (April 1, 2020): 83–100. http://dx.doi.org/10.1386/host_00012_1.

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Aesthetics philosopher Noël Carroll affirms that grotesque forms ‘are all violations of our standing categories or concepts; they are subversions of our common expectations of the natural and ontological order’. In breaking structural boundaries, consequently, the grotesque appears as deformations, aberrations, exaggerations, metamorphosis or startling portmanteaus. Given both its nightmarish texture and the evil ingenuity of Dr Lecter’s murders, Hannibal (NBC, 2013‐15) ploughs fertile ground in putting together conceptually distant and even contradictory elements. Hence, this article explores how the aesthetic and philosophical principles of the grotesque are a pervasive presence throughout the entire Hannibal TV series, defining its style, characters’ personality and metaphorical themes. Putting art theory in dialogue with the Hannibal televised text, this article demonstrates how the grotesque ‐ one of the key concepts in Gothic horror ‐ permeates every level of the show, from the opening credits to the protagonist’s inner transformation, converting the narrative into a comprehensive and cohesive liminal artistic ecosystem.

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Salmi, Hannu. ""Meillehän Hannibal ei olekaan 'ryssä'..."." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 6, no. 3-4 (December 1, 1993): 69–77. http://dx.doi.org/10.23994/lk.116686.

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Mojares, Resil B., Alfredo Navarro Salanga, and Romulo A. Sandoval. "The Birthing of Hannibal Valdez." World Literature Today 59, no. 3 (1985): 490. http://dx.doi.org/10.2307/40141096.

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Harris, Greta M. "Generational Kiwi Hannibal Crane Birds." Rethinking Marxism 1, no. 1 (March 1988): 152–56. http://dx.doi.org/10.1080/08935698808657793.

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Mirilas, Petros, and John E. Skandalakis. "Zuckerkandl’s tubercle: Hannibal ad Portas." Journal of the American College of Surgeons 196, no. 5 (May 2003): 796–801. http://dx.doi.org/10.1016/s1072-7515(02)01831-8.

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Hassan, Abdalla A. "Zuckerkandl's tubercle: Hannibal ad Portas." Journal of the American College of Surgeons 197, no. 5 (November 2003): 880–82. http://dx.doi.org/10.1016/s1072-7515(03)00752-x.

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O'bryhim, S. "Hannibal's Elephants and the Crossing of the Rhône." Classical Quarterly 41, no. 1 (May 1991): 121–25. http://dx.doi.org/10.1017/s0009838800003591.

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Hannibal's trek through western Europe has fascinated ancient and modern historians alike. Although most attention has been focused on determining his route through the Alps, a less popular question, the site of his Rhône crossing, has been by no means neglected. Many scholars have offered differing solutions to this problem, but all agree on one point: that Hannibal transported his elephants across the Rhône by raft. No doubt this consensus stems from the fact that both Polybius and Livy, who give almost identical versions of the crossing, agree on this mode of transport. But an analysis of their accounts will show that the use of rafts was neither necessary nor desirable and that a more likely method is contained in an alternative version that Livy records, then rejects in favour of Polybius' account.

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NAYLOR, DAVID, SIMON JONES, DAVID MYERS, and JOHN VINCENT. "NEURAL NETWORK FEATURE DETECTOR FOR REAL-TIME VIDEO SIGNAL PROCESSING." International Journal of Neural Systems 04, no. 04 (December 1993): 337–49. http://dx.doi.org/10.1142/s0129065793000286.

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The application of artificial neural networks to real-time image processing tasks requires the use of dedicated, high performance hardware. A linear array processor called HANNIBAL has been developed which implements the backpropagation neural learning algorithm on-chip. This paper considers the design of a complete neural system which integrates HANNIBAL into an existing image processing environment. The goals for the design of the system have been set partly by the primary application, namely feature recognition, but mainly by the desire for a flexible, high performance hardware tool for the study and evaluation of range of neural image processing applications.

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François, Paul. "Hannibal pyromane ? (Tite-Live, XXII, 17)." Revue de philologie, de littérature et d'histoire anciennes LXXV, no. 2 (2001): 257. http://dx.doi.org/10.3917/phil.752.0257.

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