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Journal articles on the topic 'Palamedesz'

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Published: 4 June 2021

Last updated: 13 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Gillespie, Gerald, and R. Rawdon Wilson. "In Palamedes' Shadow: Explorations in Play, Game, and Narrative Theory." Comparative Literature 46, no. 1 (1994): 94. http://dx.doi.org/10.2307/1771617.

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12

Álvarez, Lucas Manuel. "Visibilidad, corporalidad y publicidad en los discursos gorgianos." Praxis Filosófica, no. 50 (November 14, 2019): 41–64. http://dx.doi.org/10.25100/pfilosofica.v0i50.8665.

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Nos proponemos en este trabajo resaltar un par de ejes significativos de la reflexión gorgiana soslayados por los intérpretes. Hablamos de los ejes de la visibilidad y de la corporalidad que, en el marco de un espacio público, parecen comportar para el sofista efectos quizás tan poderosos como los del lógos. Específicamente, indagaremos el rol que cumplen esas dimensiones en dos discursos gorgianos, Defensa de Palamedes y Encomio de Helena. En efecto, en sendas obras, la corporalidad y la visibilidad resultan, en mayor o menor medida, argumentos decisivos para demostrar la inocencia Palamades y exculpar a Helena respectivamente.

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13

Amigoni, Francesco, Stefano Gualandi, Daniele Menotti, and Guido Sangiovanni. "A multiagent architecture for controlling the Palamede satellite." Web Intelligence and Agent Systems: An International Journal 8, no. 3 (2010): 269–89. http://dx.doi.org/10.3233/wia-2010-0191.

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14

Chialva, Ivana Selene. "Hacia una poética aporética: de la interpretación a la traducción en cuatro pasajes de En Defensa de Palamedes de Gorgias." Minerva. Revista de Filología Clásica, no. 31 (November 18, 2018): 61–80. http://dx.doi.org/10.24197/mrfc.31.2018.61-80.

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En Defensa de Palamedes de Gorgias es un texto que reúne, simultáneamente, voces complementarias y antagónicas: voces de la retórica escolar, del drama, de la filosofía, de la sofística y de la política de finales del siglo V a.C. en Atenas. Otro rasgo particular es el tratamiento del discurso del héroe cuya retórica puede representar la tragedia comunicativa del lenguaje o su superación. En este trabajo presentaremos algunas problemáticas del texto gorgiano a la luz de dos instancias que se implican pero no siempre se condicen: la traducción y la interpretación crítica. A partir del criterio de traducción de la “letra” de Berman (1991), se analizarán pasajes de diferentes versiones italianas del texto: Untersteiner (1949), Mazzara (1999), Mariani (2010) y Giombini (2012).

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15

Kirby-Hirst, Mark. "Philostratus' Heroikos: Protesilaos, Achilles, and Palamedes unite in defence of the Greek world." Acta Classica 57, annual (2014): 76–104. http://dx.doi.org/10.15731/aclass.057.05.

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16

Chupp, Adam D., and Loretta L. Battaglia. "Potential for host shifting in Papilio palamedes following invasion of laurel wilt disease." Biological Invasions 16, no. 12 (April 17, 2014): 2639–51. http://dx.doi.org/10.1007/s10530-014-0693-2.

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17

Lederhouse, Robert C., Matthew P. Ayres, James K. Nitao, and J. Mark Scriber. "Differential Use of Lauraceous Hosts by Swallowtail Butterflies, Papilio troilus and P. palamedes (Papilionidae)." Oikos 63, no. 2 (March 1992): 244. http://dx.doi.org/10.2307/3545384.

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18

Rutland, Barry. "In Palamedes’ Shadow: Explorations in Play, Game, & Narrative Theory by R. Rawdon Wilson." ESC: English Studies in Canada 18, no. 2 (1992): 243–45. http://dx.doi.org/10.1353/esc.1992.0036.

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19

Grandolini, Simonetta. "Sull'invenzione della scrittura nell'orazione di Giorgia In difesa di Palamede." Giornale Italiano di Filologia s. 2, no. 1-2 (November 2011): 13–22. http://dx.doi.org/10.1484/j.gif.5.101932.

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20

Fernández-Cano, Antonio, and Inés M. Fernández-Guerrero. "The classical myth of Ulysses versus Palamedes: an early metaphor for the qualitative/quantitative debate?" Quality & Quantity 45, no. 3 (March 18, 2010): 525–38. http://dx.doi.org/10.1007/s11135-010-9310-3.

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21

Nerczuk, Zbigniew. "Rhetorisch-philosophische Parallelen zwischen der Platonischen Apologie des Sokrates und der Verteidigung des Palamedes von Gorgias." Bochumer Philosophisches Jahrbuch für Antike und Mittelalter 12 (December 31, 2007): 185–93. http://dx.doi.org/10.1075/bpjam.12.11ner.

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22

SMETANA, ALEŠ. "Contributions to the knowledge of the “Staphylinus-complex” (Coleoptera: Staphylinidae: Staphylinini) of China. Part XX. The genus Ocypus Leach, 1819, subgenus Pseudocypus Mulsant & Rey, 1876. Section 1." Zootaxa 1421, no. 1 (March 8, 2007): 1–72. http://dx.doi.org/10.11646/zootaxa.1421.1.1.

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The paper deals with the species of the semenowi-lineage of the subgenus Pseudocypus Mulsant & Rey, 1876 of the genus Ocypus Leach, 1819, known to occur at present on the territory of the People’s Republic of China. Thirty three species are treated, of which twenty nine are described as new: O. ballio, O. bion, O. calamis, O. elpenor, O. glabrio, O. hecato, O. itys, O. laelaps, O. orodes, O. pammenes, O. pelias, O. quiris, O. sarpedon, O. scaevola, O. teuthras, O. vindex, O. xerxes and O. zetes, (all from Sichuan), O. palamedes (from Sichuan: Jiuding Shan), O. abaris, O. sadales and O. gorgias (all from Gansu), O. hyas (from Yunnan), O. dryas (from Xinjiang), O. zeuxis (from Hubei: Da Shennongjia range), O. neocles and O. rhinton (both from Shaanxi: Qinling Shan), O. dolon and O. menander (both from Shaanxi: Daba Shan). The lectotype is designated for Ocypus semenowi Reitter, 1887. Protocypus puer Smetana, 2005 is transferred to the subgenus Pseudocypus of Ocypus (new combination). Each species is described, illustrated and all available distributional and bionomic data are given. A key to the Chinese species of the semenowi-lineage of the subgenus Pseudocypus is given.

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23

Johann KIM and KyucheolPark. "Philosophical Meaning of Methodology of Plato's Rhetorical Education - Focused on Apology of Socrates, Defense of Palamedes, and Gorgias -." Studies in Philosophy East-West ll, no. 61 (September 2011): 81–94. http://dx.doi.org/10.15841/kspew..61.201109.81.

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24

Romero Mariscal, Lucía. "La “Paideia” Heroique: palamede et l'éducation des héros dans l'”Héroique” de Philostrate." Humanitas 60 (2008): 139–56. http://dx.doi.org/10.14195/2183-1718_60_10.

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25

Keirsbilck, Mike. "‘Sou niet te duchten staen gewetens scharpe dwang’: Politieke beschouwingen in Joost van den Vondels Palamedes en Baruch de Spinoza’s Theologisch-Politiek Traktaat." De Zeventiende Eeuw. Cultuur in de Nederlanden in interdisciplinair perspectief 28, no. 1 (August 14, 2012): 66. http://dx.doi.org/10.18352/dze.8123.

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26

Ridgway, David. "Homer and Palamedes - Barry B. Powell: Homer and the Origin of the Greek Alphabet. Pp. xxvi + 280; 2 charts, 4 maps, 11 figures, 6 tables. Cambridge University Press, 1991. £50." Classical Review 42, no. 2 (October 1992): 350–53. http://dx.doi.org/10.1017/s0009840x00284114.

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27

Carrara, Laura. "Sophocles. Selected Fragmentary Plays with Introductions, Translations and Commentaries by Alan H. Sommerstein and Thomas H. Talboy. Vol. I. The Epigoni, Oenomaus, Palamedes, The Arrival of Nauplius, Nauplius and the Beacon, The Shepherds, Triptolemus." Gnomon 88, no. 7 (2016): 581–92. http://dx.doi.org/10.17104/0017-1417-2016-7-581.

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Gasti, Helen. "SOPHOCLES FRAGMENTS 2 - A.H. Sommerstein, T.H. Talboy (trans.) Sophocles. Selected Fragmentary Plays Volume II: The Epigoni, Oenomaus, Palamedes, The Arrival of Nauplius, Nauplius and the Beacon, The Shepherds, Triptolemus. (Aris & Phillips Classical Texts.) Pp. viii + 294. Oxford: Oxbow Books, 2012. Paper, £24.99 (Cased, £50). ISBN: 978-0-85668-892-8 (978-0-85668-887-4 hbk)." Classical Review 66, no. 2 (February 17, 2016): 333–35. http://dx.doi.org/10.1017/s0009840x16000147.

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29

Guépin, J. P. "Hercules belegerd door de Pygmeeën, schilderijen van Jan van Scorel en Frans Floris naar een Icon van Philostratus." Oud Holland - Quarterly for Dutch Art History 102, no. 2 (1988): 155–72. http://dx.doi.org/10.1163/187501788x00384.

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AbstractA lost painting by Jan van Scorel (1495-1562), Hercules besieged by the Pygmies, is reconstructed with the aid of epigrams by the brothers Nicolaus Grudius Nicolai ( 1504-70) and Hadrianus Marius Nicolai (1509-68) (see Note 1 and Appendix B) . The epigrams themselves are based on an Icon by the 2nd-century Greek writer Philostratus (see Appendix A). Van Scorel's painting gives a full representation of Philostratus' Icon, as does a painting by Frans Floris (1519/2O-70), now known from an engraving in reverse of 1563 by Cornelis Cort (Note 2). The famous member of the Nicolai family is a third brother, the Latin poet Janus Secundus (1511-36), but Grudius and Marius were good poets too. Van Scorel will have painted the Hercules picture for the collection of Grudius himself, who was a man of wealth and standing until 1554. After that he became involved in the financial scandal attendant on the reclamation of De Zijpe near Schoorl initiated by his friend, and was forced to flee in 1561, dying in penury in Venice in 1570 (Note 3). Van Scorel also painted two portraits of Secundus (Note 4), while Marius wrote epigrams on two pictures by Van Scorel. All these paintings are now lost (Note 5). Philostratus' descriptions convey much more than can ever been seen in a picture. Such descriptions were common in Antiquity (Note 7). In Grudius' epigram the actual description starts half way through the poem: Hercules was shown asleep on a green sward, while the dead Antaeus lay on yellow sand. Sleep is fanning the hero with his dark blue wings, his nebulous body veiled by a black robe. The Pygmies, of youthful appearance and in countless numbers, took advantage of Hercules' sleep to overcome him. Some tried to roll away his club, a scene shown in the foreground. Since Hercules will have had his club in his right hand, he must have lain with his head to the left and Antaeus with his to the right, i.e. the picture will have had the same composition as that by Floris (Fig. 5). It seems, then, that Grudius provided the scholarly initiative behind Van Scorel's painting, while Floris drew his inspiration either from the epigram or from the picture. Grudius knew Floris and wrote an epigram on a painting by him too (Note 8). Philostratus describes the Pygmies' attack as a well organized siege, but Van Scorel's painting showed, according to Grudius and Marius, an attack by unthinking, cowardly youth with no king to lead them; the Pygmies are as nervous as when the cranes, the 'birds of Palamedes', attack their country and destroy their harvest. The moral turns on Hercules' situation and is a warning never to rest on one's laurels. The combination of illustration with moralistic epigram derives from the emblem Hercules besieged by Pygmies by Alciati. His moral is directed to the Pygmies, 'who venture on something beyond their powers'. It could be more specifically related to the poor who rise against the powerful, or to fools who try to defame the reputation of the learned (Note 11). In the 1534 woodcut (Fig. 1), in which Hercules figures twice, he appears to let the Pygmies have their way. This momentarily good-natured aspect was imitated by Dosso and Battista Dossi in a painting made in about 1540 during the reign of Ercole 11 of Ferrara (Fig. 2, Note 12). Hercules exhibits the features of Ercole as the clement ruler, while the Pygmies, in contemporary costume, behave like harmless fools. Alciati taught in Ferrara from 1542 to 1546 and it will have been these Pygmies that inspired him to have depicted them as lansquenets in the new edition of his Emblemata published in Lyon in 1548 (Fig. 3, Note 13). In 1552 Lucas Cranach the Younger made two paintings on the subject on the basis of this woodcut (Note 14). Floris and Van Scorel were the only artists to follow Philostratus fully by including Antaeus and Sleep. Like Floris, Van Scorel will presumably have shown the Pygmies as small naked men rather than as misshapen dwarves. Some influence from Alciati's emblems can be detected: both painters show the rolling away of the club, an incident which can be detected in the 1534 woodcut, while Floris' painting has the tree in common with that of 1548. Grudius' poem shows the Pygmies in the usual unfavourable light, but his Hercules too falls prey to a moment of weakness. Grudius compares Hercules in this respect with Polyphemus. Such a comparison is also drawn in the emblem on Polyphemus in Sambucus' Emblemata, published in Antwerp in 1564 (Fig. 4, Note 15), where the text reveals that Hercules and Polyphemus stand for the good and the bad ruler. Grudius' comparison makes it clear how seriously Hercules' lapse must be taken. In Van Scorels case we have the meaning, but not the picture, in that of Floris, we know the painting, but not yet the detailed meaning. The engraving (Fig. 5) shows the beginning and end of the story as well as the main episode. Sleep here reveals himself by his bat wings and the strange snake growing out of one of them, cf. Floris' Battle against the Rebel Angels for a similar motif (Note 16). He is the Devil in disguise. Hercules lies in the seductive pose of Ariadne, or rather of Endymion visited by Sleep, as seen on a Roman sarcophagus (Fig. 6), which Floris could have studied while in Rome (Note 17). The tree under which Hercules lies has bare branches, while the part above his head looks like the head of an adder, symbols of his sinister situation. Antaeus lies with his arm on a root near a hollow tree from which a new shoot is sprouting, for Hercules has not conquered e v ilf or ever. Floris' Pygmies are naked, but they are not all youthful, like Van Scorel's. Nor are they all rash and unthinking. Admittedly one group swarming out of caves at bottom right and centre are foolishly trying to roll away the club with their bare hands and one is about to throw a stone, but the king leading out his orderly army appears to come from a well-run country, while gesticulating Pygmy philosophers have wisely decided that it is better not to fight the hero at all.

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30

Hall, Donald W. "Palamedes Swallowtail, Laurel Swallowtail, Papilio palamedes (Drury) (Insecta: Lepidoptera: Papilionidae)." EDIS 2018, no. 2 (March 26, 2018). http://dx.doi.org/10.32473/edis-in217-2018.

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The palamedes swallowtail is a large, dark swallowtail butterfly marked with yellow spots and bands. It is particularly common in and near swampy woods.https://edis.ifas.ufl.edu/in217 Also available at: http://entnemdept.ufl.edu/creatures/bfly/palamedes_swallowtail.htm

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31

Santos Meneses, Thatiane. "ANÁLISE DOS ARGUMENTOS JURÍDICOS PRESENTES NO PALAMEDES DE GÓRGIAS." Prometheus - Journal of Philosophy, no. 36 (August 24, 2021). http://dx.doi.org/10.52052/issn.2176-5960.pro.v13i36.15370.

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A presente pesquisa tem por objetivo fazer uma análise sobre o método do discurso empregado por Górgias em sua obra intitulada de “A Defesa de Palamedes” por meio de uma apreciação filosófica analítica do texto, tomando por base o modelo jurídico adotado na Grécia nos idos do século V a.C. A pesquisa tem como objetivos específicos investigar o método gorgiano de defesa na Defesa de Palamedes, identificar, na mesma obra, os elementos retóricos de persuasão empregados por Górgias, compreender os princípios jurídicos utilizados por Górgias na obra em comento e estimar qual seria a real intenção de Górgias com a apresentação da Defesa de Palamedes. Trataremos detidamente de dois pontos básicos apontados no discurso de Palamedes, que seria a ausência de provas e a verossimilhança das alegações. Será feita ainda uma abordagem de tais pontos à luz do manual de retórica proposto por Aristóteles. O tema é relevante para a compreensão do desenvolvimento das reflexões filosóficas acerca dos processos jurídicos e os meios para efetuar a persuasão. O entendimento desses questionamentos dos pensadores antigos lançará luz sobre as discussões atuais quanto a esses temas, nos possibilitando compreender aspectos importantes deste desenvolvimento bem como a transmissão dessas reflexões ao longo do tempo.

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CRUCES, JUAN LUIS LOPEZ. "ATRAGIC REMINISCENCE ON PALAMEDES IN THE SUDA." Philologus 149, no. 1 (January 1, 2005). http://dx.doi.org/10.1524/phil.2005.149.1.158.

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Taxidis, Ilias. "Die Episode des Palamedes in den byzantinischen Progymnasmata." Byzantinische Zeitschrift 102, no. 2 (January 2010). http://dx.doi.org/10.1515/byzs.2009.019.

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Dinucci, Aldo, Luís Márcio Fontes, Gabrielle Cavalcante, Rodrigo Pinto De Brito, and Rafael Huguenin. "Górgias de Leontinos." Prometheus - Journal of Philosophy, September 15, 2017. http://dx.doi.org/10.52052/issn.2176-5960.pro.v0i0.9821.

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O presente volume contém artigos de Aldo Dinucci sobre Górgias anteriormente publicados em importantes revistas nacionais, junto com traduções suas de obras de Górgias (o Elogio de Helena, a paráfrase do MXG do Tratado do Não-ser e o Epitáfio. A seguir, temos as traduções de outros colaboradores: a paráfrase do Tratado do Não-Ser em Sexto Empírico, por Rodrigo Pinto de Brito e Rafael Huguenin, a Defesa de Palamedes, por Gabrielle Cavalcante, e os demais fragmentos gorgianos, traduzidos por Luís Márcio Fontes. O livro é resultado de anos de pesquisa sobre o filósofo Górgias de Leontinos. Górgias, ao contrário de Platão, jamais buscou por uma definição do bem e da justiça, seu pensamento se abre para uma miríade de possibilidades, tendo sempre em vista o princípio da ordem social. Esse reconhecimento de Górgias de uma pluralidade de possibilidades para o bem e a virtude tornam seu pensamento absolutamente atual. De fato, como pensar a pluralidade de costumes, de concepções de família, de orientações sexuais e de governo, senão reconhecendo, ao mesmo tempo, que é legítima a diversidade de costumes e que é preciso que o princípio da harmonia social se mantenha sem a intervenção de donos da verdade que se creem portadores de conhecimento apodítico sobre valores morais e políticos? O pensamento de Górgias, nesse sentido, nos auxilia a pensar o mundo atual e além e evitar as armadilhas que nos levam para o atraso e para o abandono da civilização.Índice:A Sedução do Discurso Poético no Elogio de Helena deGórgias ............................................................................ 27ALDO DINUCCIDiscurso e Sedução ......................................................... 27ALDO DINUCCISuperioridade do discurso sobre a opinião .................... 36ALDO DINUCCIO Doce Encanto da Pintura e da Escultura no Elogio de Helena... 49ALDO DINUCCIElogio de Helena (apresentação) ......................................... 63ALDO DINUCCIElogio de Helena (tradução) ................................................ 67ALDO DINUCCIEpitáfio (apresentação) ........................................................ 75ALDO DINUCCIEpitáfio (tradução) ............................................................... 83ALDO DINUCCITratado do Não-Ser (apresentação) ..................................... 85ALDO DINUCCIParáfrase do Tratado do Não-Ser no MXG (tradução) ....... 87ALDO DINUCCIParáfrase do Tratado do Não-Ser em Sexto Empírico(tradução) ........................................................................ 93RODRIGO PINTO DE BRITO e RAFAEL HUGUENINDefesa de Palamedes (apresentação) ................................. 101GABRIELLE CAVALCANTEDefesa de Palamedes (tradução) ........................................ 107Górgias: Testemunhos e Fragmentos (introdução) ........... 119LUÍS MÁRCIO FONTESGórgias: Testemunhos e Fragmentos (tradução) ............... 127LUÍS MÁRCIO FONTES

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"Gorgias of Leontini. Fragments and Testimonies." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 14, no. 2 (2020): 756–811. http://dx.doi.org/10.25205/1995-4328-2020-14-2-756-811.

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Gorgias (483–375 BCE), a famous Ancient Greek philosopher and orator. According to ancient testimonies he was praised for his eloquence and published numerous literary works, but very little is preserved. The present publication contains a collection of scant doxographic evidence about Gorgias’ life and writings and a translation of two his extant speeches The Encomium on Helen and the Apologia of Palamedes. The evidences are based on A. Laks and G. Most’ Early Greek Philosophy (2016).

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GALVANHO MYARA, JULIA. "A APOLOGIA DE PALAMEDES À LUZ DA APOLOGIA DE SÓCRATES: UMA ANÁLISE TEXTUAL." ANALÓGOS 19, no. 1 (May 31, 2019). http://dx.doi.org/10.17771/pucrio.ana.38128.

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Mársico, Claudia. "“Quiero morir muchas veces si esto es verdad” (Plat., Ap., 41b). Sócrates, Palamedes y los ejercicios retóricos en el horizonte del diálogo socrático." Revista Archai, no. 31 (June 12, 2021). http://dx.doi.org/10.14195/1984-249x_31_06.

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La figura de Sócrates separa la historia del pensamiento en dos e inaugura un modelo de filosofía que impactó en toda la tradición posterior con la sola fuerza de su influjo y el halo totémico de su muerte trágica. No faltaron relatos de lo acaecido, pero entre ellos ninguno opaca a la Apología de Sócrates de Platón como texto fundamental para adentrarse en los pormenores del juicio y la condena. En este contexto poco suele tenerse en cuenta que se trata de un texto transido de opacidad. Parece un documento testimonial, una versión cuasi taquigráfica del proceso, pero no lo es. En efecto, nos interesa referirnos especialmente a un hecho que ha sido notado pero no del todo dimensionado: la Apología de Sócrates de Platón presenta similitudes imposibles de atribuir a la mera casualidad con la Apología de Palamedes de Gorgias. ¿Por qué este texto platónico presenta curiosas relaciones intertextuales con un ejercicio retórico basado en figuras míticas en el clima de la promoción de la retórica? Trataremos de responder esa pregunta apelando a su relación con el origen del diálogo socrático.

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Prins, Nicolaas, and Frederick A. A. Kingdom. "Applying the Model-Comparison Approach to Test Specific Research Hypotheses in Psychophysical Research Using the Palamedes Toolbox." Frontiers in Psychology 9 (July 23, 2018). http://dx.doi.org/10.3389/fpsyg.2018.01250.

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De Bernardis, Monia. "La ‹vuota autorità›. Il re, il guerriero e il consigliere nel Palamede di Gianvincenzo Gravina." Archiv für das Studium der neueren Sprachen und Literaturen, no. 1 (May 23, 2013). http://dx.doi.org/10.37307/j.1866-5381.2013.01.07.

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