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Journal articles on the topic 'Louve romaine (Mythologie romaine)'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Rebaudo, Ludovico. "Sixte IV, la Louve romaine et la donation de 1471." European Review of History: Revue européenne d'histoire 1993, no. 1 (1993): 29–43. http://dx.doi.org/10.1080/13507486.1993.12035688.

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2

Bouchet, Florence. "Mythe et mythologie dans l’Antiquité gréco-romaine, Europe n° 904-905." Anabases, no. 2 (October 1, 2005): 271. http://dx.doi.org/10.4000/anabases.1562.

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3

Harrington, C. Lee, and Denise D. Bielby. "The Mythology of Modern Love: Representations of Romance in the 1980s." Journal of Popular Culture 24, no. 4 (1991): 129–44. http://dx.doi.org/10.1111/j.0022-3840.1991.2404_129.x.

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4

Lehoux, Élise. "L’Atelier des doctorantsConstruire la mythologie gréco-romaine par les images : pour une « archéologie de papier » entre France et Allemagne (1720-1850)." Anabases, no. 24 (November 10, 2016): 318–25. http://dx.doi.org/10.4000/anabases.6017.

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5

Loyer, Frédéric, and Jean François Loudcher. "Le Catch et son Histoire en France: Représentations et Dynamiques Socio-historiques d’un Loisir Spectacle (1900–1970)." Sport History Review 47, no. 1 (2016): 26–45. http://dx.doi.org/10.1123/shr.2015-0020.

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Au début du XXème siècle, le développement du sport moderne lié à la vitesse et à l’exploit laisse peu de place à la lutte « gréco-romaine » qui, trop statique et peu spectaculaire, ne connaît plus les faveurs du public Parisien. Une nouvelle forme de pratique plus attractive se développe, le « catch-as-catch-can » (« attrape comme tu peux »), de culture américaine et proche de plusieurs styles traditionnels anglais et écossais. Cependant, jugée trop dangereuse, elle donne naissance au « free style » ou « lutte libre », activité olympique qui interdit toutes formes de violence. Mais, peu plébi

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6

Bačiulienė, Kristina. "Language of Love in Marcelijus Martinaitis „Atmintys“." Respectus Philologicus 26, no. 31 (2014): 98–109. http://dx.doi.org/10.15388/respectus.2014.26.31.7.

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The notion of transcendental love in the context of “the eternal return”, the motif of Eros, and the image of a woman are discussed in Marcelijus Martinaitis’s book “Atmintys: meilės lyrikos albumas” (Eng. Reminiscences: the album of love lyrics”) (2008). The methods of mythopoetic thought, comparativistics, and interpretative mind have been applied. On the basis of the Bible, mythology, the notion of and relation between Eros and Love, also combining notions developed by philosophers as Nikolai Berdyaev, Erich Fromm, Vladimir Solovyev, phenomenologists as Algis Mickūnas, Mircea Eliade, Plato,

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7

Berthiaume, Guy. "Comptes rendus / Reviews of books: Dieux et mythes de la Grèce ancienne. La mythologie gréco-romaine Jacques Desautels Québec, Les Presses de l'Université Laval, 1988. 648 p." Studies in Religion/Sciences Religieuses 19, no. 3 (1990): 364–65. http://dx.doi.org/10.1177/000842989001900310.

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8

Grant, Michael. "Jacques Desautels: Dieux et mythes de la Greèce ancienne: la mythologie gréco-romaine. Pp. viii + 648; 129 illustrations, 2 maps. Quebec: Les Presses de l'Université Laval, 1988. Paper." Classical Review 40, no. 1 (1990): 173. http://dx.doi.org/10.1017/s0009840x00252931.

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9

Filatov, Anton V. "The Personality of N.S. Gumilev as a Standard of the Main Character’s Behavior in V.V. Nabokov’s Novel The Eye." Studia Litterarum 6, no. 2 (2021): 198–211. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-198-211.

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The article considers the intertextual level of V.V. Nabokov’s novel The Eye. Particular attention is paid to the analysis of reminiscences and citations from N.S. Gumilev’s literary works, which were known and appreciated by V.V. Nabokov. It is proved that the mythologized image of the poet and warrior, as well as Gumilev’s characters, are the basis of the self-presentation strategy of Smurov, the central character of the novel. Being a creative person, he invents a fictional biography for himself in order to impress the society of Russian emigrants, especially the girl Vanya, with whom he is

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10

Filatov, Anton V. "The Personality of N.S. Gumilev as a Standard of the Main Character’s Behavior in V.V. Nabokov’s Novel The Eye." Studia Litterarum 6, no. 2 (2021): 198–211. http://dx.doi.org/10.22455/2500-4247-2021-6-2-198-211.

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The article considers the intertextual level of V.V. Nabokov’s novel The Eye. Particular attention is paid to the analysis of reminiscences and citations from N.S. Gumilev’s literary works, which were known and appreciated by V.V. Nabokov. It is proved that the mythologized image of the poet and warrior, as well as Gumilev’s characters, are the basis of the self-presentation strategy of Smurov, the central character of the novel. Being a creative person, he invents a fictional biography for himself in order to impress the society of Russian emigrants, especially the girl Vanya, with whom he is

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11

Lavrač, Maja. "Li Shangyin and the Art of Poetic Ambiguity." Ars & Humanitas 10, no. 2 (2016): 163–77. http://dx.doi.org/10.4312/ah.10.2.163-177.

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Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness w

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12

Lavrač, Maja. "Li Shangyin and the Art of Poetic Ambiguity." Ars & Humanitas 10, no. 2 (2016): 163–77. http://dx.doi.org/10.4312/ars.10.2.163-177.

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Li Shangyin (813–858), one of the most respected, mysterious, ambiguous and provocative of Chinese poets, lived during the late Tang period, when the glorious Tang dynasty was beginning to decline. It was a time of social riots, political division and painful general insecurity. Li Shangyin is famous as a highly original and committed poet who developed a unique style full of vague allusions and unusual images derived from the literary past (the traditional canon, myths and legends) as well as from nature and personal experience. The second important feature of his poetry is a mysteriousness w

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13

Kurysheva, L. A. "Ya. B. Knyazhnin’s Tale in Verses Flor and Lisa in the Context of Early Russian Ballads." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 104–22. http://dx.doi.org/10.25205/2410-7883-2019-1-104-122.

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One of the popular plots of the Russian literary ballad of the last third of the 18th – the first decade of the 19th century was the story of treacherous love. Ya. B. Knyazhnin’s Flor and Lisa. A Tale in Verses (1778) is one of the first Russian ballads. In addition, this is the first Russian ballad with the appearance of the dead man – the plot situation is so productive in the subsequent, romantic period. It is characteristic that at the early stage of the formation of a new literary genre, the nomination “ballad” does not appear for all authors. Poets get along either without a genre design

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14

Motte, André. "Jacques Desautels, Dieux et mythes de la Grèce ancienne. La mythologie gréco-romaine." Kernos, no. 3 (January 1, 1990). http://dx.doi.org/10.4000/kernos.1026.

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15

Marotta, Steve, Austin Cummings, and Charles Heying. "Where Is Portland Made? The Complex Relationship between Social Media and Place in the Artisan Economy of Portland, Oregon (USA)." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1083.

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ExpositionPortland, Oregon (USA) has become known for an artisanal or ‘maker’ economy that relies on a resurgence of place specificity (Heying), primarily expressed and exported to a global audience in the notion of ‘Portland Made’ (Roy). Portland Made reveals a tension immanent in the notion of ‘place’: place is both here and not here, both real and imaginary. What emerges is a complicated picture of how place conceptually captures various intersections of materiality and mythology, aesthetics and economics. On the one hand, Portland Made represents the collective brand-identity used by Portl

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16

Collins-Gearing, Brooke. "Reclaiming the Wasteland: Samson and Delilah and the Historical Perception and Construction of Indigenous Knowledges in Australian Cinema." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.252.

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It was always based on a teenage love story between the two kids. One is a sniffer and one is not. It was designed for Central Australia because we do write these kids off there. Not only in town, where the headlines for the newspapers every second day is about ‘the problem,’ ‘the teenager problem of kids wandering the streets’ and ‘why don’t we send them back to their communities’ and that sort of stuff. Then there’s the other side of it. Elders in Aboriginal communities have been taught that kids who sniff get brain damage, so as soon as they see a kid sniffing they think ‘well they’re rubbi

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17

Bartlett, Alison. "Ambient Thinking: Or, Sweating over Theory." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.216.

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If Continental social theory emerges from a climate of intensely cold winters and short mild summers, how does Australia (or any nation defined by its large masses of aridity) function as an environment in which to produce critical theory and new knowledge? Climate and weather are intrinsic to ambience, but what impact might they have on the conditions of producing academic work? How is ambience relevant to thinking and writing and research? Is there an ambient epistemology? This paper argues that the ambient is an unacknowledged factor in the production of critical thinking, and draws on exam

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18

Green, Lelia, and Carmen Guinery. "Harry Potter and the Fan Fiction Phenomenon." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2442.

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The Harry Potter (HP) Fan Fiction (FF) phenomenon offers an opportunity to explore the nature of fame and the work of fans (including the second author, a participant observer) in creating and circulating cultural products within fan communities. Matt Hills comments (xi) that “fandom is not simply a ‘thing’ that can be picked over analytically. It is also always performative; by which I mean that it is an identity which is (dis-)claimed, and which performs cultural work”. This paper explores the cultural work of fandom in relation to FF and fame. The global HP phenomenon – in which FF lists ar

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19

Ryder, Paul. "Dream Machines: The Motorcar as Sign of Conquest and Destruction in F. Scott Fitzgerald's The Great Gatsby." M/C Journal 23, no. 1 (2020). http://dx.doi.org/10.5204/mcj.1636.

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In my article, "A New Sound; a New Sensation: A Cultural and Literary Reconsideration of the Motorcar in Modernity" (Ryder), I propose that "a range of semiotic engines" may be mobilised "to argue that, in the first quarter of the twentieth century, the motorcar is received as relatum profundis of freedom". In that 2019 article I further argue that, as Roland Barthes has indirectly proposed, the automobile fits into a "highway code" and into a broader "car system" in which its attributes—including its architectural details—are received as signs of liberation (Barthes Elements, 10, 29). While e

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20

Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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