Relevant bibliographies by topics / Palamedesz

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  2. Dissertations / Theses
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Academic literature on the topic 'Palamedesz'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Palamedesz"

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Huys Janssen, Paul. "De schiet- en loterijprijzen van de Delftse schutters uit 1621 en 1631." Oud Holland - Quarterly for Dutch Art History 115, no. 3-4 (2001): 187–99. http://dx.doi.org/10.1163/187501701x00235.

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AbstractIn the municipal archives in Delft are two unique printed lists that inform us about events organised by the Delft civic guard in 1621 and 1631. In 1621 a shooting contest was being held and the prices were several pieces of silver and a number of paintings. These were mainly by Esaias van de Velde, but there were also works by Bartholomeus van Bassen, Cornelis Jacobsz Delff, Joos de Momper together with Jan Brueghel the Elder, Pieter van Bronckhorst, the unknown Pieter Jacobsz Lupert and two works by Hendrick Gerritsz Pot. In the document he titles of the paintings are given, but it is not possible to trace any of these works. In 1631 the civic guard organised a lottery. A large number of paintings were to be won, mainly by painters from Utrecht. The first prize was a series of the five senses by Gerard van Honthorst, Abraham (or maybe Hendrick ?) Bloemaert, Paulus Moreelse, Jan van Bijlert and Hendrick ter Brugghen. There were also paintings by Roelandt Saverij, Adam Willaerts, Joost Cornelisz Droochsloot and Gijsbert and Gillis Hondecoeter. Prom Delft Leonaert Bramer, Cornelis Jacobsz Delff, Anthonie Palamedesz together with Barthomeus van Bassen, Palamedes Palamedesz and Jacob Vosmaer are represented. Also two paintings by Esaias van de Velde are mentioned. Again the titles are given, but they offer no clues to any present whereabouts. From a notarial act it appears that in 1644 again a shooting contest was being held. Now there were only seven paintings to be won. They were supplied by the still life painter Evert van Aelst, and he undoubtedly painted them. No titles are given. Again in 1647 and 1661 shooting contests were being held. Now the prices were simple pieces of silver. According to this pattern, over the decades the populariry of paintings in Delft was diminishing.
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Woodford, Susan. "Palamedes seeks revenge." Journal of Hellenic Studies 114 (November 1994): 164–69. http://dx.doi.org/10.2307/632742.

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An Attic black-figure neck amphora in the British Museum (Plate VI d) depicts a winged warrior rushing to the right to overtake a ship that is sailing in the same direction. To the left a bird perches on a craggy rock. The winged warrior in this enigmatic scene should, I believe, be identified as the ghost of Palamedes, whose urgency in outracing the ship is dictated by his thirst for revenge.The name of Palamedes never appears in the Homeric epics. Most people, like Strabo, assume that this is because the story of Palamedes (and of his father Nauplios) was a creation of the poets of the later epic cycle and so was invented only after the composition of the Iliad and the Odyssey had been completed. Philostratos, however, suggested that Homer did know about Palamedes, but suppressed any mention of him because he wished to glorify Odysseus. For the story of Palamedes shed such discreditable light on Odysseus' character that the stain it left on the wily hero's reputation could never be effaced.
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Cavalcante, Gabrielle. "Defense of Palamedes: Gorgias." Revista Archai, no. 17 (2016): 201–18. http://dx.doi.org/10.14195/1984-249x_17_9.

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Berger, Frank. "PALAMEDES Wins Backgammon Tournament." ICGA Journal 35, no. 1 (March 1, 2012): 51–52. http://dx.doi.org/10.3233/icg-2012-35112.

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Reisner, Thomas A. "R. Rawson Wilson, In Palamedes’ Shadow : Explorations in Play, Game and Narrative Theory." Études littéraires 25, no. 1-2 (April 12, 2005): 219–24. http://dx.doi.org/10.7202/501008ar.

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Bruyn, J. "Nog een suggestie voor het onderwerp van Rembrandts historiestuk te Leiden: De grootmoedigheid van Alexander." Oud Holland - Quarterly for Dutch Art History 101, no. 2 (1987): 89–94. http://dx.doi.org/10.1163/187501787x00376.

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AbstractOf the nine interpretations proposed for Rembraradt's history Painting of 1626 now at Leiden, none is really convincing. Il seems attractive to think of palamedes Condemned by Agamemncm as the subject because of its political significance in the year after the publication of Voredel's tragecty Palamedcs or Innocence Murdered, which denounced the execution of the Remonstrant leader Johan van Oldenbarnevelt in 1619. γet the scene depicted does not fit any episode frorn the Palamedes story. It appears rather to represent three young men appearing before a crowned figure who makes a pronouncement, probably one of magnanimity or clemency. It is conceivable that the subject was taken from Q. Curtius Rufus's Historiae Alexandri Magni Macedonis, ofwhich several editions, including translations into the vernacular, were published in Holland in the first decades of the 17th century. The episode in question was known to the young Rubens, but does not seem to have been illustrated by any other artist. At the beginning of the seventh book it is described how Alexander summoned before. him in the presence of the army two oj three brothers, who had been close friends of Philotas, a former, friend of his who had been executed for plotting against his life. The youngest brother, Poleinon, had panicked and fled but was caught and brought back at the very moment when Alexander had accused the brothers and the eldest, Amyntas, after having been released from his bonds and given a spear which he held in his left hand, had embarked on his szzccess ful defence. The appearance of Polemon infuriated the soldiers, but when he took the blame on himself and prrifessed his brothers' innocence, they were moved to tears. So too was Alexander who, prompted by their cries, absolved the brothers. This anecdote does at least explain some of the features of Rembrandt's scene. The young man standing on the right with his right hand raised as if swearing an oath would be the eloquent Amyntas with a spear in his left hand. Hidden behind him kneels the second brother, Simias, while Polemon, 'a young man just come to maturity and in the first bloom of his youth', has fallen on one knee in the foreground, underlining his emotional words with his right hand bressed to his heart. Alexander raises his sceptre in token of his absolution and some men in the background wave and shout from a socle they have climbed. Interpreted in this way, the scene coralains not a topical political allegory but, as would seem usual with history paintings, a message of a more general nature: the magnanimity of Alexander as an 'exemblum virtutis'.
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Dušanić, Slobodan. "Alcidamas of Elaea in Plato'sPhaedrus." Classical Quarterly 42, no. 2 (December 1992): 347–57. http://dx.doi.org/10.1017/s0009838800015986.

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In Bk. 3 of theInstitutio oratoria, Quintilian gives a list of the Greekartium scriptoresof the classical epoch (1.8ff.). It contains a controversial entry: ‘…et, quem Palameden Plato appellat, Alcidamas Elaites’ (1.10). The historicity of the rhetorician and sophist from Elaea named Alcidamas, Gorgias' pupil, is of course beyond doubt; scholars disagree only as to the ‘quem Palameden Plato appellat’.
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Lassche, Alie, and Arnoud Visser. "Lezers in de marges van Vondels Palamedes." Nederlandse Letterkunde 24, no. 1 (March 1, 2019): 35–63. http://dx.doi.org/10.5117/nedlet2019.1.002.lass.

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Gemin, Marco. "Il discorso falso di Odisseo attribuito ad Alcidamante." Rhetorica 38, no. 4 (2020): 371–81. http://dx.doi.org/10.1525/rh.2020.38.4.371.

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L'Odisseo attribuito ad Alcidamante è un discorso falso. Odisseo accusa Palamede con argomenti implausibili che finiscono per dimostrare più la malafede di Odisseo che la colpevolezza di Palamede. L'autore riprende schemi odissiaci già presenti in Omero e li ripropone attualizzandoli nel genere dell'orazione epidittico-giudiziaria. L'autore si serve di varianti mitiche rare o uniche, per alludere all'implausibilità degli argomenti sostenuti.
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Chialva, Ivana Selene. ""Defensa de Palamedes por él mismo": pluralidades del "yo" que enuncia en la etopeya gorgiana." Classica - Revista Brasileira de Estudos Clássicos 29, no. 2 (May 30, 2017): 21. http://dx.doi.org/10.24277/classica.v29i2.376.

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La Defensa de Palamedes por él mismo de Gorgias es un texto ficticio de apología judicial, exponente del género epidíctico, escrito aproximadamente en el año 411 a.C. La condición retórico-escolar del texto está dada en el título ya que constituye un recurso avant la lettre que, en los Progymnásmata de época imperial, será definido y enseñado bajo el nombre de un ejercicio particular: etopeya (o prosopopeya), i.e. un discurso apropiado para un personaje, histórico o ficticio, escrito en primera persona y elaborado en léxico, tema y estilo de acuerdo a las características del personaje. Este recurso es el que subyace en los parlamentos del teatro clásico, en las apologías forenses de los logógrafos y en todo intento de construcción de la palabra de un yo por otro yo. Nuestra intención en este trabajo es explorar la construcción de la etopeya en el pliegue enunciativo del yo que habla, Palamedes, detrás del cual se deja leer el yo Gorgias, y advertir las múltiples direcciones de interpretación que ese pliegue genera al poner en diálogo el texto sofístico con sus con-textos filosóficos y, puntualmente, trágicos.
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Dissertations / Theses on the topic "Palamedesz"

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Cantrell, Paul A. "Palamedes." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/110.

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This thesis offers a syncretic, synoptic account of Palamedes from the Trojan War. It delineates three interpretive modes: (1) that Palamedes was present all along; (2) that later poets inserted him into the Trojan narrative, either as an archetypal intellectual figure, or as Odysseus’s double; (3) that Palamedes was present only as Odysseus’s imaginary Doppelgänger. The thesis accounts for Palamedes’s scarce attention in classical texts by way of Lacanian and—via Otto Rank—Freudian psychoanalytic theory, as well as by Slavoj Žižek’s adoption of the “vanishing mediator.” After tracing a potential textual genealogy from Palamedes to Malory’s Palomydes, the thesis concludes with a reading of Palamedes’s implied presence in Inferno 26.
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ZABAN, T. T. B. "O bõõ pagão: a cavalaria de Palamedes em A demanda do Santo Graal." Universidade Federal do Espírito Santo, 2013. http://repositorio.ufes.br/handle/10/3272.

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Traduzida presumivelmente para o português no séc. XIII, a partir de um manuscrito francês, hoje perdido, A demanda do Santo Graal aborda a matéria de Bretanha por um viés acentuadamente religioso, e busca, como um exemplum, servir de ferramenta para a configuração de um pretenso código de valores morais cristãos no seio da cavalaria. Nesse sentido, Palamedes merece destaque entre os personagens da novela por ser o único cavaleiro pagão em atividade a ser admirado pelos da corte cristã do rei Artur. Considerando o (pre)domínio da Igreja Católica no que tange às esferas política, cultural e ideológica quando da redação da novela, a exaltação das qualidades morais e marciais de Palamedes, um mouro, ganha especial relevo, na medida em que representa, na estrutura de valoração ambivalente da Demanda em que valores corteses e mundanos contrapõem-se à conduta cristã exemplar , a excelência dos atributos constituintes da Ordem de Cavalaria, à revelia da submissão desta à Igreja. Assim, a cotejar as cavalarias cristã e árabe, a considerar o discurso constituinte das narrativas cavalheirescas da baixa Idade Média e a verificar a representação do oriente mourisco presente no imaginário da península Ibérica, analisa-se a atuação de Palamedes na estrutura da novela, avaliando a orientação dos episódios que compõe sua gesta. Dessa forma, descobre-se um personagem que, em certa medida alheio a conformações étnicas e culturais mas dentro de um universo de expectativas cortês marcado pelo signo da ambiguidade, excele como cavaleiro.
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Martinez, Josiane Teixeira. "A defesa de Palamedes e sua articulação com o Tratado sobre o não-ser, de Gorgias." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270752.

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Orientador: Flavio Ribeiro de Oliveira
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente trabalho pretende uma interpretação individualizada do pensamento de Górgias e isenta de uma visão estereotipada sobre os sofistas. Desse modo, a partir da tradução e análise dos discursos gorgianos conhecidos como Defesa de Palamedes e Tratado sobre o não-ser ou sobre a natureza, nos propomos a investigar como esses dois discursos se articulam no que diz respeito às idéias gorgianas sobre conhecimento, linguagem e discurso. Em nossa análise, partimos do pressuposto de que os discursos remanescentes de Górgias apresentam uma coerência não apenas formal, estilística, mas também conceitual, que proporcionam, senão uma teoria explícita e categórica sobre o conhecimento e a linguagem, proporcionam ao menos certos elementos que nos permitem inferir um novo modo de pensar e conceitualizar a linguagem e o discurso em sua relação com o conhecimento
Abstract: This work is an effort to make an individualized interpretation of Gorgias¿ thought, exempt of stereotypes about the sophists. Thus, we translate and analyze Gorgias¿ texts known as Palamedes and On not being or on nature, in order to examine how these two discourses are connected in regard to the Gorgias¿ ideas about knowledge, language and discourse. In our analysis, we presuppose that the remaining Gorgias¿ texts present not only a formal and stylistic coherence but also a conceptual one, which provide, if not an explicit and categorical theory on knowledge and language, at least certain elements that allow us to infer a new way of thinking and conceptualizing the language and the discourse in relation to knowledge
Doutorado
Linguistica
Doutor em Linguística
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Brígido, Anúzia Gabrielle Cavalcante. "Sobre Górgias : nem ser nem não-ser." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/19904.

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Dissertação (mestrado)—Universidade de Brasília, Programa de Pós-Graduação em Filosofia, 2016.
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O presente trabalho pretende fazer uma interpretação do pensamento de Górgias, a partir da tradução e comentário de três dos seus textos: Sobre o Não-ser (nas suas duas versões), Elogio a Helena e Defesa de Palamedes. Pretendemos, mais especificamente, investigar a oposição de Górgias à identificação imediata entre realidade/verdade, pensamento e discurso. Julgamos que os três textos se conectam e possuem uma coerência no que diz respeito às concepções apresentadas sobre o nexo entre realidade, conhecimento e discurso. _______________________________________________________________________________________________ ABSTRACT
This dissertation aims to make an interpretation of Gorgias’thought, starting from a translation and a commentary of three of his writings: On Not-Being (in two versions), Encomium of Helen and Defense of Palamedes. It aims, in particular, to investigate Gorgias opposition to the immediate identification between reality/truth, thought and discurse. We believe that the three texts are connected and coherent on the views they show about the link between reality, knowledge and discourse.
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Pouy-Engler, Léonard. "Luctor et Emergo. Développement et réception de la scène de corps de garde dans l’art néerlandais du XVIIe siècle." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040073.

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Dans un climat de réforme globale, touchant l’ensemble de la société hollandaise, émerge un certain nombre de compositions picturales nouvelles, peintes, au cours la première moitié du XVIIe siècle, par de jeunes artistes amstellodamois avides de reconnaissance. Prenant généralement pour sujet le repos de soldats, retranchés dans de sombres intérieurs, ces scènes se diffusent rapidement dans les Pays-Bas de l’époque. Les différents experts et théoriciens de l’époque les identifient alors comme des scènes de cortegaerd, terme issu du français « corps de garde ». Renvoyant dans un premier temps à la brûlante actualité de la guerre de Quatre-Vingts Ans (1568-1648), de telles œuvres s’en éloignent néanmoins rapidement au gré d’une transformation, aussi subtile que radicale, opérée par ces peintres sur l’iconographie du mercenaire pillard : celui-ci quitte, en effet, peu à peu, dans ces scènes, les tristes oripeaux du maraudeur pour revêtir les luxueux atours de l’officier éclairé et raffiné. En miroir de cette progressive assimilation de la figure de l’officier à celle de l’amateur, doit également être perçue celle du peintre à l’officier, régnant en maître sur son atelier. Initiée dans les années 1630, cette double mutation croisée des images du soldat et de l’artiste témoigne de la mise en place d’un intense mouvement de légitimation. Si une guerre de l’art a bien eu lieu en Hollande au cours de la première moitié du siècle, il s’agit avant tout d’une guerre de conquête de marchés et de statuts, menée par d’ambitieux artistes s’identifiant eux-mêmes comme les membres d’un corps moderne et indépendant de la peinture, portant haut les couleurs d’un discours théorique nouveau
Amid a climate of overall reformation, which encompassed the whole of Dutch society, a group of ambitious young artists from Amsterdam developed a new kind of compositions during the first half of the XVIIth century. These painters were mostly known in the Netherlands for their depictions of relaxing soldiers in dark interiors. Those works were quickly given the label cortegaerd by art experts and theorists from the time, a term that derives from the French military term corps de garde, or guardroom. While initially referring to the brutal actualities of the Eighty Years War (1568-1648) in their art, these artists seem to have quickly moved away from the image of the pillaging mercenary towards a radically different iconography. Indeed, the Dutch soldier rapidly started to leave behind its sad rags for the luxurious attire of the enlightened officer and amateur. Mirroring this painted transformation of the officer into the art lover, painters similarly created visual parity between themselves, as masters reigning over their workshop. Beginning in the 1630s, this twofold transformation testifies to the existence of an intensity of ambition. If a war of art really did take place in Holland during the first half of the XVIIth century, it was therefore a war of conquest of new markets and social statuses by young artists who saw themselves as members of a modern painting corps. This desire for artistic legitimacy was launched by an emerging class of painters who were not only eager to establish their independence from a dominant form of painting, but also become the standard-bearers for a new theoretical discourse
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Books on the topic "Palamedesz"

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Il Palamede di Euripide: Edizione e commento dei frammenti. Alessandria: Edizioni dell'Orso, 2002.

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In Palamedes' shadow: Explorations in play, game & narrative theory. Boston: Northeastern University Press, 1990.

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Backgammon According to Hoyle: With Additional Ramblings by Palamedes. West Huntspill, Somerset, Great Britain: Parsimony Press Limited, 2000.

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Gorgias. Encomio di Elena: Apologia di Palamede. Firenze: Aletheia, 1997.

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Giombini, Stefania. Gorgia epidittico: Commento filosofico all'Encomio di Elena, all'Apologia di Palamede, all'Epitaffio. Passignano s.T. [i.e. Passignano sul Trasimeno, Italy]: Aguaplano, 2012.

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Tom, Badgett, ed. Ultimate Unauthorized Nintendo Classic Game Strategies. 2nd ed. New York: Bantam Books, 1992.

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Tom, Badgett, ed. Ultimate Unauthorized Nintendo Classic Game Strategies. New York, N.Y.: Bantam Books, 1991.

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Palamedes: A Journal of Ancient History, Volume 14. Exeter Press Limited, The, 2020.

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Gorgias. Encomio di Elena ;: Apologia di Palamede (La dea di Kalimnos). Aletheia, 1997.

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N-Force Presents: Tips Force. Shropshire, UK: Europress Impact Ltd., 1992.

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Book chapters on the topic "Palamedesz"

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Keirsbilck, Mike. "The tongue, the mouth and safeguard of freedom: Towards a governmental reading of Vondel’s Palamedes (1625)." In Wissenstransfer und Auctoritas in der frühneuzeitlichen niederländischsprachigen Literatur, 277–96. Göttingen: V&R Unipress, 2014. http://dx.doi.org/10.14220/9783737003100.277.

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Sommerstein, Alan H. "Sophocles' Palamedes and Nauplius plays: no trilogy here." In The Tangled Ways of Zeus, 250–58. Oxford University Press, 2010. http://dx.doi.org/10.1093/acprof:oso/9780199568314.003.0018.

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"Politics and Aesthetics – Decoding Allegory in Palamedes (1625)." In Joost van den Vondel (1587-1679), 225–48. BRILL, 2012. http://dx.doi.org/10.1163/9789004218833_013.

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Lampe, Kurt. "The Logos of Ethics in Gorgias’ Palamedes, On What is Not, and Helen." In Early Greek Ethics, 110–31. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198758679.003.0007.

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While Gorgias’ surviving speeches take few positions on ethics, they can be viewed as thought experiments about the psychological, epistemological, sociological, and metaphysical presuppositions of ethical thought. “The Logos of Ethics in Gorgias’ Palamedes, On What is Not, and Helen” attempts to illuminate those thought experiments by taking inspiration from a range of interpretive traditions of early Greek sophistics. The chapter argues that this “metaethical” approach allows us to appreciate the ambition and subtlety of Gorgias’ longest speech, which has received little attention hitherto; moreover, it reveals one sense in which his three surviving speeches belong to a unified ongoing project.
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"Plato’s Apology, Gorgias’ Defence of Palamedes and Hippolytus’ Defence in Euripides’ Hippolytus." In Platonische Aufsätze, 1–6. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110637601-003.

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Winterbottom, Michael. "Declamation, Greek and Latin." In Papers on Quintilian and Ancient Declamation, edited by Antonio Stramaglia, Francesca Romana Nocchi, and Giuseppe Russo, 103–18. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836056.003.0007.

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This paper, which started life as a lecture in the University of Genoa (published in 1983), stresses the fundamental importance of Greek declamation as forerunner of and background to the more familiar Roman texts. Seneca the Elder himself quotes a number of Greek declaimers; their bombast, word play, appeal to emotion and prose rhythm are traits of the Asian style that so much affected Cicero, and marked Greek practice over a very long period. The paper throws light on many aspects of this development, and on its interaction with Roman schools. It discusses, for example, the stress on self-conscious structure in Gorgias’ Palamedes, the fictive laws used in the schools, the close link between the status system and declamation, and a particular type of pairing of clauses seen very widely in declamatory texts, both Greek and Latin.
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Jendza, Craig. "Euripides’s Orestes." In Paracomedy, 167–215. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090937.003.0006.

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This chapter analyzes Euripides’s Orestes as a corrective paracomic response to the parodies and poetic criticisms from Aristophanes’s Women at the Thesmophoria. It suggests that Euripides reappropriates salient features from Aristophanes’s parodies of Euripides’s Helen, Palamedes, Andromeda, and Telephus in an attempt to show how Aristophanes’s views on tragic stagecraft are reductive. Various aspects of the plot, stagecraft, character, and symbolism of Orestes are interpreted as paracomic responses, including an escape plot with a large number of sword-bearing men, a metaphor in which Pylades is Orestes’s “oar blade,” a joke about the Gorgon’s head, and a threat to incinerate a hostage. Additionally, Euripides paracomically targets Aristophanes’s Peace and Clouds at key points at the beginning and end of the play. The chapter argues that Euripides employs paracomedy the way Aristophanes employs paratragedy—to establish his own genre’s primacy through a series of pointed contrasts with the other genre.
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8

"Making History (In-)Cohere: An African and Africanism in Joost van den Vondel’s Palamedes (1625)." In Africa and Its Significant Others, 107–20. Brill | Rodopi, 2003. http://dx.doi.org/10.1163/9789401200981_010.

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9

"the question: does Melikertes ever appear to his worshippers? Pausanias describes another adyton in the context of a hero cult, that of the oracle of the hero Trophonios at Lebadeia, where in order to consult the oracle, the worshipper descends into an underground khasma. There, those who reach the inner sanctum, the adyton, learn the future. According to Pausanias, there is no single way of doing this, but some learn through seeing, others through hearing (9.39.11). What about the himeros evoked by Aristides? The word can express longing or yearning, but also love and desire. This is the word used by Philostratos, for example, when he describes how desire is awakened in Achilles and Helen after they hear descriptions of each other. Yet, in the case of Melikertes, Aristides is not talking about romance, but about a dead, heroized, child. At first glance, it may seem that the himeros described by Aristides is caused by the vision of the boy’s image, but on closer examination, it becomes clear that this himeros is very closely related to what precedes as well; it is the participation in the rites (telete, ) and oath, as well as the description of the picture that follows that awakens the himeros for the hero. Moreover, Aristides emphasizes at the end of the passage that these sights are the sweetest to see and to hear making it very clear that both components are essential. In some way, then, himeros is closely linked with initiation into the mystery of the hero Melikertes. Something similar seems to be at work in the where we see worshippers falling in love with heroes. Indeed, in some cases, loving a hero seems to be a form of initiation. When phantoms first appear, the vinegrower explains to the Phoenician, the identity of each is not immediately obvious. Heroes may appear in different guises—they can change their appearance, their age, or their armor—and they can be difficult to recognize from one time to the next (21.Iff). He gives the example of a Trojan farmer who particularly empathized with the hero Palamedes. After the farmer displays his admiration for Palamedes in various ways, the hero decides to visit and reward his admirer, whom he describes as his Palamedes appears to the farmer as he tends his vine:." In Greek Literature in the Roman Period and in Late Antiquity, 400–401. Routledge, 2014. http://dx.doi.org/10.4324/9780203616895-55.

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Conference papers on the topic "Palamedesz"

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Amigoni, Francesco, Stefano Gualandi, and Guido Sangiovanni. "A multiagent system for efficient electrical energy management on the Palamede satellite." In 2010 14th International Power Electronics and Motion Control Conference (EPE/PEMC 2010). IEEE, 2010. http://dx.doi.org/10.1109/epepemc.2010.5606541.

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