Relevant bibliographies by topics / Phidias

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Academic literature on the topic 'Phidias'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Phidias"

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McCall, Raymond J. "PHIDIAS." ACM SIGWEB Newsletter 5, no. 2 (June 1996): 26. http://dx.doi.org/10.1145/231738.232601.

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Salvi, R. "PHIDIAS: New Human-Machine Interface Concepts." IFAC Proceedings Volumes 27, no. 12 (August 1994): 401–6. http://dx.doi.org/10.1016/s1474-6670(17)47503-3.

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Larionova, N. B. "Aristophanes about Phidias (Aristoph. Pax 605)." Indo-European Linguistics and Classical Philology XXIV (2020): 973–79. http://dx.doi.org/10.30842/ielcp230690152472.

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Kosobutskyy, P. S. "Phidias numbers as a basis for Fibonacci analogues." Notes on Number Theory and Discrete Mathematics 26, no. 1 (2020): 172–78. http://dx.doi.org/10.7546/nntdm.2020.26.1.172-178.

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Cole, Thomas B. "Study for Phidias in the Apotheosis of Homer." JAMA 303, no. 1 (January 6, 2010): 13. http://dx.doi.org/10.1001/jama.303.1.jcs90032.

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Schneider, Werner. "Phidiae Putavi Martial und der Hercules Epitrapezios des Novius Vindex." Mnemosyne 54, no. 6 (2001): 697–720. http://dx.doi.org/10.1163/15685250152952158.

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AbstractMartial introduces the sitting figure of a Hercules Epitrapezios in two epigrams of his ninth book (9. 43, 44). The first of them highlights the artistic qualities of the small statuette supposed to be of Lysippan origin. Its glory is further enhanced by the illustrious series of highborn predecessors whose table the little figurine had previously adorned. The verses of this first epigram are flamboyant in style with a strong epic colouring whereas the second epigram treats the same subject in a very different manner. The final point of this more modest piece with its allusion to Phidias remains unclear. A number of contentious explanations have been proposed, of which most fail to convince in as much as textual criticism of the passage has been unduly neglected by philologists and archaeologists. As a result of our proposal the name of the highly celebrated sculptor Phidias gives rise to a pun which makes reference to the small scale of the objet d'art.
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Motta, Anna. "The Philosophy of Artistic Creation: Phidias, the Ideas, and Cicero." Apeiron 51, no. 3 (June 26, 2018): 325–44. http://dx.doi.org/10.1515/apeiron-2016-0068.

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Abstract Since Antiquity Phidias seems to be the best sculptor of Gods, because he carved great statues with his human hands and succeeded in giving a physical look to that which is not visible to human eyes. This paper is devoted to Cicero’s attention on the imaginative creation of the artist and on the philosophical features of that demiurgical activity which the Roman philosopher links to his interpretation of the Platonic theory of the Forms. The survey led on some Ciceronian texts shows, from a philosophical and philological point of view, the way in which Cicero reconsiders the role of the phantasia, offering a revalution of the art.
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Xiang, Zuoshuang, Yuying Tian, and Yongqun He. "PHIDIAS: a pathogen-host interaction data integration and analysis system." Genome Biology 8, no. 7 (2007): R150. http://dx.doi.org/10.1186/gb-2007-8-7-r150.

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Lowenthal, David. "Classical antiquities as national and global heritage." Antiquity 62, no. 237 (December 1988): 726–35. http://dx.doi.org/10.1017/s0003598x00075177.

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The current campaign to return to Athens the Parthenon sculptures that have been in the British Museum since the early 19th century highlights the profoundly dual nature of Greek architectural and sculptural heritage, as emblems of both Greek and global attachment. Classical relics in particular have become symbols of Greek attachment to the homeland; underscoring links between past and present, they confirm and celebrate Greek national identity. Other elements of Greek heritage – language, literature, religion, folklore – likewise lend strength to this identity, but material remnants of past glories, notably temples and sculptures from the times of Phidias and Praxiteles, assume an increasingly important symbolic role (Cook 1984; Hitchens 1987).
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Shipman, Frank M., and Raymond J. McCall. "Integrating different perspectives on design rationale: Supporting the emergence of design rationale from design communication." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 11, no. 2 (April 1997): 141–54. http://dx.doi.org/10.1017/s089006040000192x.

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AbstractDesign rationale is a topic that implies different things to different people. To some it implies argumentation and frameworks for argumentation. To others it implies the documentation of design, like that required for many types of industrial or government work. Still others describe design rationale as the capture and potential reuse of normal communication about design. These perspectives of design rationale use different representations, which influence their ability to capture and to retrieve and use information. We propose an integrated approach to design rationale where design communication is captured and, over time, incrementally structured into argumentation and other formalisms to enable improved retrieval and use of this information. Two systems, PHIDIAS and the Hyper-Object Substrate, are used to demonstrate: (1) how to capture and integrate a variety of design information, (2) how to support the structuring of unstructured information, and (3) how to use design information to actively support design.
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Dissertations / Theses on the topic "Phidias"

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Thielemann, Andreas. "Phidias im Quattrocento /." Köln : [s.n.], 1996. http://catalogue.bnf.fr/ark:/12148/cb361805232.

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Moreira, Ana Karla Araújo. "Anatomia de Nudibrânquios Facelinídeos (Gastropoda: Opisthobranchia) do Nordeste do Brasil, Atlântico Sul." reponame:Repositório Institucional da UFC, 2013. http://www.repositorio.ufc.br/handle/riufc/20200.

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MOREIRA, Ana Karla Araújo. Anatomia de Nudibrânquios Facelinídeos (Gastropoda: Opisthobranchia) do Nordeste do Brasil, Atlântico Sul. 2013. 60 f. Dissertação (Mestrado em Engenharia de Pesca)-Universidade Federal do Ceará, Fortaleza, 2013.
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The family Facenilidae is represented in Brazil by nine species, of which three are found in the Northeast region: Phidiana lynceus Bergh, 1897; Phidiana riosi Gracía & Troncoso, 2003; and Nanuca sebastiani Marcus, Er. 1957. This study presents a new species of the genus Cratena, and also records Dondice cf. occidentalis for the first time in Northeast Brazil. The examined material came from the beaches of Pacheco, Iparana, Caponga and Banco dos Cajuais, in the state of Ceara; from Marine Biological Reserve Rocas Atoll, an oceanic island belonging to the estate of Rio Grande do Norte; besides material arising from the collection of the Museum of Zoology, USP. The analyzed species present three patterns regarding the radula morphology. The first pattern is present in Cratena sp., the second in Dondice occidentalis and Nanuca sebastiani and the third in Phidiana lynceus and P. riosi. The analyzed species present the masticatory edge of the jaw with a single row of denticles. The species P. lynceus and P. riosi have, in general, a similar reproductive system as to the shape of the ampulla, which is twisted or curved, also the absence of the bursa copulatrix and the presence of a hook-shaped thorn in the penis. The specimens of Dondice cf. occidentalis analyzed it matched with the description of the genus by Marcus (1958), except for not presenting the prostate as a separate gland. The unarmed penis with a proximal accessory gland are characteristics that refer to the genus Cratena Bergh, 1864. These features corroborate with observation of the specimens, and therefore can be considered as belonging to the genus Cratena. The specimens of Nanuca sebastiani analyzed here showed differences in the reproductive system when compared with the description of the species. More detailed taxonomic studies, complemented with biological data, are necessary for a better knowledge of this group.
A família Facelinidae está representada no Brasil por nove espécies, das quais três são encontradas na região Nordeste: Phidiana lynceus Bergh, 1897; Phidiana riosi Gracía e Troncoso, 2003; e Nanuca sebastiani Marcus, Er. 1957. Este trabalho registra uma nova espécie do gênero Cratena e amplia a distribuição do Dondice cf. occidentalis (Engel, 1925) para o Nordeste do Brasil. O material examinado proveio das praias do Pacheco, Iparana, Caponga e Banco dos Cajuais, no estado do Ceará; da Reserva Biológica Marinha Atol das Rocas, uma ilha oceânica pertencente ao estado do Rio Grande do Norte; além do material proveniente da coleção do Museu de Zoologia da USP. As espécies analisadas apresentam três padrões de formato de rádula. O primeiro padrão para Cratena sp., o segundo para Dondice occidentalis e Nanuca sebastiani e o terceiro padrão para Phidiana lynceus e P. riosi. As espécies analisadas apresentam a borda mastigatória da mandíbula com apenas uma fileira de dentículos. As espécies P. lynceus e P. riosi, de um modo geral, possuem um sistema reprodutor semelhante no que diz respeito ao formato da ampola, que é torcida ou curvada, à ausência da bolsa copulatória e à presença de um espinho em forma de gancho no pênis. O espécime de Dondice cf. occidentalis analisado condiz com o descrito para o gênero por Marcus (1958), exceto por não apresentar a próstata como uma glândula separada. O pênis desarmado com uma glândula acessória proximal são características que remetem ao gênero Cratena Bergh, 1864. Essas características corroboram com o observado na espécie analisada e, portanto, pode ser considerada como pertencente ao gênero Cratena. Os espécimes de Nanuca sebastiani aqui analisados apresentaram algumas diferenças em relação às descrições da espécie, quanto ao sistema reprodutor. Estudos taxonômicos mais detalhados e descritivos, complementados por dados de biologia, são necessários para um melhor conhecimento do grupo.
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Habel, Chad Sean, and chad habel@gmail com. "Ancestral Narratives in History and Fiction: Transforming Identities." Flinders University. Humanities, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071108.133216.

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This thesis is an exploration of ancestral narratives in the fiction of Thomas Keneally and Christopher Koch. Initially, ancestry in literature creates an historical relationship which articulates the link between the past and the present. In this sense ancestry functions as a type of cultural memory where various issues of inheritance can be negotiated. However, the real value of ancestral narratives lies in their power to aid in the construction of both personal and communal identities. They have the potential to transform these identities, to transgress “natural” boundaries and to reshape conventional identities in the light of historical experience. For Keneally, ancestral narratives depict national forbears who “narrate the nation” into being. His earlier fictions present ancestors of the nation within a mythic and symbolic framework to outline Australian national identity. This identity is static, oppositional, and characterized by the delineation of boundaries which set nations apart from one another. However, Keneally’s more recent work transforms this conventional construction of national identity. It depicts an Irish-Australian diasporic identity which is hyphenated and transgressive: it transcends the conventional notion of nations as separate entities pitted against one another. In this way Keneally’s ancestral narratives enact the potential for transforming identity through ancestral narrative. On the other hand, Koch’s work is primarily concerned with the intergenerational trauma causes by losing or forgetting one’s ancestral narrative. His novels are concerned with male gender identity and the fragmentation which characterizes a self-destructive idea of maleness. While Keneally’s characters recover their lost ancestries in an effort to reshape their idea of what it is to be Australian, Koch’s main protagonist lives in ignorance of his ancestor’s life. He is thus unable to take the opportunity to transform his masculinity due to the pervasive cultural amnesia surrounding his family history and its role in Tasmania’s past. While Keneally and Koch depict different outcomes in their fictional ancestral narratives they are both deeply concerned with the potential to transform national and gender identities through ancestry.
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Bergbach-Bitter, Beate. "Griechische Kultbilder - Archäologischer Befund und literarische Überlieferung." Doctoral thesis, 2008. https://nbn-resolving.org/urn:nbn:de:bvb:20-opus-34420.

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Ziel der Arbeit ist die Bewertung der Glaubwürdigkeit antiker schriftlicher Quellen zur Rekonstruktion der vier Kultbilder des Zeus von Olympia, der Hera von Samos, der Hera von Argos und der Artemis von Ephesos. Entgegen der vielfach praktizierten Methode, literarische Quellen ohne Ansehen ihrer philologischen Herkunft mit dem archäologischen Befund zu vergleichen, konzentriert sich die Dissertation auf eine Bearbeitung der Texte in Abhängigkeit von ihrer literarischen Gattung, um zu überprüfen, ob die schriftlichen Informationen überhaupt sinnvoll zu einer Rekonstruktion herangezogen werden können
The aim of this work is to explore, weather or not the analyzed ancient literary sources can be used for the reconstruction of four ancient Greek cult images: the Olympian Zeus, the Samian Hera, Hera of Argos and Artemis of Ephesos. Therefor it is not sufficient just to compare the written texts with the archaeological results. The fundamental idea of the dissertation is that moreover it is necessary to concentrate on the literary genre of the texts. Thereby it is easier to find out if the information from the literacy can be used for reconstructions
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Books on the topic "Phidias"

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Höcker, Christoph. Phidias. Reinbek bei Hamburg: Rowohlt, 1993.

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Phidias in Rom: Beiträge zum spätantiken Kunstverständnis. Wiesbaden: Harrassowitz, 2007.

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Lechat, Henri. Phidias et la sculpture grecque au ve siècle [microform]. Paris: Libr. de l'art ancien et moderne, 1985.

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Phidia sto skorpio: Mythistorēma. Athēna: Ekdoseis Kastaniōtē, 2010.

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Skroumpelos, Thanasēs. Ta phidia ston Kolōno. Athēna: Nea Synora, 1990.

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Tou phidiou to gala: Mythistorēma. Athēna: Hellēnika Grammata, 2007.

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Arkoudeas, Kōstas. To palio derma tou phidiou. Athēna: Kedros, 1992.

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Chatzēpapas, Christos. Sto mati tou phidiou: Mythistorēma. Athēna: Ekdoseis Kastaniōtē, 2000.

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Tivārī, Vinoda Kumāra. Kara cale hama phidā. Dillī: Kitāba Ghara, 2003.

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Nadkarni, Dnyaneshwar. Anavāṇī, Makabūla Phidā Husena. Mumbaī: Mêjesṭika Prakāśana, 1992.

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Book chapters on the topic "Phidias"

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Collatz, Christian-Friedrich. "Phidias." In Goethe Handbuch, 847–48. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03656-8_69.

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Kreikenbom, Detlev. "Phidias (ca. 500–432 v. Chr.)." In Goethe Handbuch, 540–42. Stuttgart: J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00206-8_63.

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Vogel, Juliane. "Das Wolterdrama. Dramaturgie zwischen Phidias und Michelangelo." In Literarisches Leben in Österreich 1848–1890, 523–45. Wien: Böhlau Verlag, 2000. http://dx.doi.org/10.7767/9783205126232-017.

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Malkiel, Yakov. "Ramón Menéndez Phidal as Etymologist." In Studies in the History of the Language Sciences, 325. Amsterdam: John Benjamins Publishing Company, 1986. http://dx.doi.org/10.1075/sihols.34.15mal.

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Pernot, Laurent. "Phidias à la barre." In La rhétorique des arts, 11. Presses Universitaires de France, 2011. http://dx.doi.org/10.3917/puf.pern.2011.01.0011.

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Hardy, Thomas. "Chapter I “My Mind to me a Kingdom is”." In The Return of the Native. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199537044.003.0024.

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In Clym Yeobright’s face could be dimly seen the typical countenance of the future. Should there be a classic period to art hereafter, its Phidias* may produce such faces. The view of life as a thing to be put up with, replacing...
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Markschies, Christoph. "Das Kultbild des olympischen Zeus von Phidias." In Gottes Körper, 118–23. C.H.Beck, 2016. http://dx.doi.org/10.17104/9783406668678-118.

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"Chapitre II. Innovation et lien social : le cas de PHIDIAS." In Face à l’automate, 169–202. Éditions de la Sorbonne, 1994. http://dx.doi.org/10.4000/books.psorbonne.76152.

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Moland, Lydia L. "Classical Art." In Hegel's Aesthetics, 78–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847326.003.0004.

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Hegel claims that the human body is the only physical form that can fully embody the divine. Classical Greek artists perfectly depicted this embodiment in their mythology and statues. Hegel traces the emergence of the human out of earlier evocations of nature as the divine and argues that the perfect repose of Phidian sculpture represents the complete interpenetration of spirit and nature. But once human subjectivity begins to develop, it ruptures this unity and precipitates classical art’s decline. Aristophanes, Hegel claims, achieved a late example of classical perfection in his comedies. But soon afterward, classical art dissolves into incomplete forms such as satire, domestic comedy, and merely pleasant sculpture. After this decline, art will never again achieve the highest level of beauty or regain its prominence in human culture.
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Del Lucchese, Filippo. "Introduction." In Monstrosity and Philosophy, 1–7. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474456203.003.0001.

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Monsters abounded in the ancient world. They proliferated on and around Phidias’s lost sculpture of Athena Parthenos, one of the most renowned cult images of ancient Greece:1 amazons and giants were depicted on her shield, which hid the snake Erichthonius, centaurs adorned her sandals; Medusa was represented on her peplos, and the Gorgoneion decorated the aegis. Finally, a Sphinx and two winged gryphons stood on her crest. Athena, endowed with skilful wisdom and warrior virtue, subjugated the monsters who had tried to subvert the Olympian order and who are shown here tamed, thus confirming her might. The Greeks praise the gods, celebrating their final victory over chaos and monstrosity....
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Conference papers on the topic "Phidias"

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Bortolotti, D., A. Bartolini, L. Benini, V. Rajesh Pamula, N. Van Helleputte, C. Van Hoof, M. Verhelst, et al. "PHIDIAS." In CF'16: Computing Frontiers Conference. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2903150.2903469.

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Hu, Xiaochun, Jun Pang, Yan Pang, Michael Atwood, Wei Sun, and William C. Regli. "A Survey on Design Rationale: Representation, Capture and Retrieval." In ASME 2000 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/detc2000/dfm-14008.

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Abstract This paper provides a brief survey on recent research in the area of design rationale. The study of Design Rationale spans a number of diverse disciplines, touching on concepts from research communities in Mechanical Design, Software Engineering, Artificial Intelligence, Civil Engineering and Human-Factors and Human-Computer Interaction research. We focus this survey on prototype design rationale systems for these application domains and put forward several major axes along which to describe and classify design rationale systems, including argumentation-based, descriptive, and process-based approaches. Further, we attempt to abstract the place of systems and tools for design rationale capture and retrieval in the context of contemporary knowledge-based engineering and CAD tools. This survey is structured around the fundamental different approaches, their representation schema, their capture methods, and retrieval techniques. A number of recent design rationale systems and representation schemes are presented, including JANUS, COMET, ADD, REMAP, HOS, PHIDIAS, DRIVE, IBIS. We conclude with an assessment of the current state-of-the-art and a discussion of critical open research issues.
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