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Journal articles on the topic 'Prometheus'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Kaianidi, Leonid G. "The Nietzschean stratum in Vyacheslav Ivanov’s tragedy Prometheus." Imagologiya i komparativistika, no. 23 (2025): 122–45. https://doi.org/10.17223/24099554/23/7.

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Vyacheslav Ivanov’s tragedy Prometheus is full of subtexts, including Friedrich Nietzsche’s philosophy, which was first identified by Valery Bryusov in his review of the tragedy. The association between Prometheus and Nietzschean thought has become a common place in the Ivanov studies, yet no scholarly work has examined it in depth. This paper aims at identifying the points of contact between Ivanov’s Prometheus and Nietzsche’s interpretation of the Promethean myth. The comparative analysis draws on Nietzsche’s philosophical essays and Ivanov’s artistic, philosophical, aesthetic, scholarly, an

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2

Kachorovskaya, A. E. "On the Reception of the Myth of Prometheus in Austrian Literature of 19th-20th Centuries." Nauchnyi dialog, no. 3 (March 30, 2020): 221–35. http://dx.doi.org/10.24224/2227-1295-2020-3-221-235.

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This article focuses its attention on the motive of resistance characteristic of Austrian literature of the 19th - 20th centuries, which is considered from the point of view of the historical and literary relationship with the myth of Prometheus. The history of the issue is reviewed. A selective analysis of the versions of the Promethean myth in the Austrian historical and literary context of the 19th-20th centuries, which is part of the pan-European literary and philosophical heritage, is given. The stylistic and genre originality of Austrian interpretations of the myth of Prometheus is prove

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3

Gagnidze, Nugesha. "Prometheus bei Grigol Robakidse." PHASIS, no. 17 (May 17, 2014): 106–17. https://doi.org/10.60131/phasis.17.2014.2324.

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Grigol Robakidze’s predilection for myth is well-known. For him, a myth was not just a matter of the past but a living presence and relevant in the politics of his time. He was fascinated by Prometheus, known in Georgia as Amirani and almost identical with his Greek counterpart – Amirani has, however, no deliverer like Heracles, his torture on a rock of the Caucasus does not end (if it did, the Golden Age would begin). In his novel Die Hüter des Grals (1937) the first chapter, entitled Promethean Ecstasy, implies that Prometheus’s punishment is justified because he was too self-empowered if no

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4

Seelinger, Robert A. "A.2. Stolen fire: Aeschylean imagery and Thoreau’s identification of the Graius homo of Lucretius with Prometheus." Studia Humaniora Tartuensia 14 (December 30, 2013): 1–20. http://dx.doi.org/10.12697/sht.2013.14.a.2.

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In his Journal for April 26, 1856, Thoreau noted that he had quickly looked over the first 200 lines of the De Rerum Natura but was “…struck only with the lines referring to Promethius (sic)—whose vivida vis animi…extra/processit longe flammantia moenia mundi.” (1.72–73) During this time (i.e., late April and into May) Thoreau was reading the Roman agricultural writers Columella and Palladius, and it is unclear what led him to pick up the De Rerum Natura and then discard it so quickly. Perhaps most curious is Thoreau’s comment that lines 72–73 refer to Prometheus. No commentator in the context

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5

Zlotnyk-Shagina, О. O., and O. M. Slipushko. "LESIA UKRAINKA AND TARAS SHEVCHENKO: PROMETHEISM OF THINKING." Literary Studies, no. 61 (2021): 52–61. http://dx.doi.org/10.17721/2520-6346.2(61).52-61.

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The article deals with the Prometheism thinking of both Taras Shevchenko and Lesya Ukrainka, as well as defines its character and features. The comparative analysis of Prometheism of Taras Shevchenko and Lesya Ukrainka is carried out, their common and distinctive features are emphasized. In the image of Prometheus, Taras Shevchenko embodies the idea of serving people, anthropocentrism, the native Ukrainian people and himself. Created by Lesya Ukrainka, the image of Prometheus is inspired by the romantic ideas and trends of contemporary Europe, the understanding of ancient myth and his own auth

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6

Boszorád, Martin. "Populárna kultúra v znamení Prometea (vstupné poznámky a vyhliadky)." Literatura i Kultura Popularna 26 (September 14, 2021): 31–39. http://dx.doi.org/10.19195/0867-7441.26.3.

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Methodologically connecting the experience and interpretation-based aesthetic approach to popular culture (Juraj Malíček) and pragmatist aesthetics (Richard Shusterman) on one hand and the views of what is called arch-textual thematology (Mariana Čechová) on the other, the paper seeks to observe the ties between an arch-text, in this particular case the Promethean myth, and “pop.-texts”, i.e. such pop cultural works of art (films, TV series, literary texts, comics etc.), within the framework of which the Promethean myth appears in one way or another and which can be labelled with the agnomen “

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7

Gomes-Júnior, A. R., T. Santana, O. C. Winter, and R. Sfair. "The main perturbing objects on the orbits of (616) Prometheus and (617) Pandora." Monthly Notices of the Royal Astronomical Society 511, no. 4 (2022): 4842–49. http://dx.doi.org/10.1093/mnras/stac330.

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ABSTRACT The dynamical evolution of the Prometheus and Pandora pair of satellites is chaotic, with a short 3.3 yr Lyapunov time. It is known that the anti-alignment of the apses line of Prometheus and Pandora, which occurs every 6.2 yr, is a critical configuration that amplifies their chaotic dynamical evolution. However, the mutual interaction between Prometheus and Pandora is not enough to explain the longitudinal lags observed by the Hubble Space Telescope. The main goal of the current work is to identify the main contributors to the chaotic dynamical evolution of the Prometheus–Pandora pai

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8

Kirillina, Larissa V. "The Dancing Prometheus: Beethoven and Ballet." Contemporary Musicology, no. 3 (2023): 63–81. http://dx.doi.org/10.56620/2587-9731-2023-3-063-081.

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Beethoven’s music has frequently appeared in ballet productions in the 20th and early 21st centuries. However, his only full-scale ballet, Die Geschöpfe des Prometheus (1801), remains outside of the theatrical mainstream. Meanwhile, this work was important for both of its creators: the great choreographer Salvatore Viganò and Beethoven. The ‘Promethean’ line in Beethoven’s and Viganò’s legacy continued after the ballet’s premiere in 1801. A number of Beethoven’s works from 1801–1804 are united by the so-called ‘Promethean theme’ (the quotation or reminiscence from the final counterdance of the

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9

Popa Blanariu, Nicoleta. "Transmedial Prometheus: from the Greek Myth to Contemporary Interpretations." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 1 (2017): 88–107. http://dx.doi.org/10.7195/ri14.v15i1.1040.

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The myth of Prometheus is well known for its rich polymorphism, celebrating the Titan’s contest with the Olympian gods and its demythisation in the contemporary era. To Ernst Bloch “Faust and Prometheus are the major figures of the Renaissance”, while Gilbert Durand describes the relationship between myth and history as a backwards “evhemerism” which enables a messianic reading of the Promethean symbol, especially at the end of the 18th century and beginning of the following. From the Renaissance to the 20th century, the Promethean symbol slides transmedially from the verbalized narrative towa

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10

Urbanec, Miroslav. "Prometheische Herrscherfiguren. Franz Grillparzers König Ottokar und Kaiser Mathias." Acta Facultatis Philosophicae Universitatis Ostraviensis Studia Germanistica, no. 32 (September 2023): 109–19. http://dx.doi.org/10.15452/studiagermanistica.2023.32.0008.

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Franz Grillparzer’s dramas ‘König Ottokars Glück und Ende’ and ‘Ein Bruderzwist in Habsburg’ feature two ruler figures who exhibit Promethean traits. These are King Ottokar and Archduke Mathias. The study investigates the Promethean nature of these figures by relating them to the figure of Prometheus, which appears in the texts of Johann Wolfgang von Goethe.

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11

Mtvarelidze, Tatia. "The Vocabulary of Prometheus Bound in the Context of Aeschylean Poetics." PHASIS, no. 17 (May 18, 2014): 220–30. https://doi.org/10.60131/phasis.17.2014.2334.

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Resembling a detective-style investigation by philologists, one can assume that this level of philological 'peril' or suffering as that found in Prometheus Bound by scholars seeking to identify the text’s authorship, has rarely received approval in the history of world literature. While many researchers have attempted to find a resolution to this conundrum, none of them appears to have the Olympic strength that is necessary to arrive at the finish line of reconciliation. In actuality, Prometheus’s authorship enigma is "one of the most intriguing problems in the history of literature" and still

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12

Roberts, Merrilees. "Prometheus Unbound: Reconstitutive Poetics and the Promethean Poet." Keats-Shelley Review 34, no. 2 (2020): 178–93. http://dx.doi.org/10.1080/09524142.2020.1822013.

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13

Ren, Xiao. "Disorder, Punishment, and Grace: The Harmonization of Divine Will and Fate in the Prometheus Trilogy." Religions 16, no. 4 (2025): 483. https://doi.org/10.3390/rel16040483.

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In the Prometheus trilogy, fate dictates critical actions taken by Prometheus, such as forming alliances, stealing fire, facing punishment, and eventual liberation. This trajectory gradually aligns with the divine will of Zeus, reflecting the theological framework of early Greek religion. Within the play, Prometheus’s rebellion against the established order of distribution determines his “unlawful act”, which brings about retributive justice—a theological necessity for restoring the balance between human advancement and divine sovereignty. In essence, Prometheus’s punishment results from the i

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14

Killian, Kyle D. "Prometheus." Journal of Feminist Family Therapy 26, no. 4 (2014): 240–44. http://dx.doi.org/10.1080/08952833.2014.967145.

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15

Niemirycz, Aleksandra. "Promethean struggle: Shelley, Keats, and Norwid in search of rescue in the risky world." Crossroads. A Journal of English Studies, no. 37(2) (2022): 62–80. http://dx.doi.org/10.15290/cr.2022.37.2.04.

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The myth of Prometheus sacrificing his freedom to give men authority over a powerful element of nature despite the will of the gods has, in modern times, inspired authors of different languages who kept transforming it according to their views. Both Western and Polish poets of Romanticism favoured the Promethean idea. In their Promethean – or Messianic – visions Mickiewicz and Słowacki emphasized the importance of armed or spiritual struggle for Polandʼs independence against Tsarist Russia, while English language poets praised the individualʼs rebellion in the face of the oppressive society. C

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16

Zuntz, G. "Aeschyli Prometheus." Harvard Studies in Classical Philology 95 (1993): 107. http://dx.doi.org/10.2307/311378.

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17

Gerald Taylor. "Prometheus Unbound:." Good Society 21, no. 2 (2012): 219. http://dx.doi.org/10.5325/goodsociety.21.2.0219.

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18

Anderson, Albert A. "Prometheus 2,000." Dialogue and Universalism 5, no. 8 (1995): 90–93. http://dx.doi.org/10.5840/du199558/918.

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19

Duberstein, Helen. "Prometheus Bound." Feminist Studies 18, no. 2 (1992): 362. http://dx.doi.org/10.2307/3178234.

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20

Cohen, Claudine. "« Homo prometheus »." Communications 78, no. 1 (2005): 175–87. http://dx.doi.org/10.3406/comm.2005.2282.

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21

Westfall, Suzanne, Aeschylus, and Panayotis Moullas. "Prometheus Bound." Theatre Journal 37, no. 2 (1985): 224. http://dx.doi.org/10.2307/3207073.

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22

HAUSKELLER, Michael. "Prometheus Unbound." Ethical Perspectives 16, no. 1 (2009): 3–20. http://dx.doi.org/10.2143/ep.16.1.2036276.

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23

Andraschke. "PROMETHEUS-VERTONUNGEN." Revista de Musicología 16, no. 3 (1993): 1351. http://dx.doi.org/10.2307/20795992.

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24

Rodgers, Buel. "Prometheus’ giblets." Physiology News, Spring 2010 (April 1, 2010): 19–20. http://dx.doi.org/10.36866/pn.78.19.

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25

Friedmann, Harriet, and Immanuel Wallerstein. "Prometheus Rebounds." Contemporary Sociology 25, no. 3 (1996): 319. http://dx.doi.org/10.2307/2077441.

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26

Doel, Ronald E., and Kristine C. Harper. "Prometheus Unleashed:." Osiris 21, no. 1 (2006): 66–85. http://dx.doi.org/10.1086/507136.

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27

Jenkins, Harry. "Prometheus 3.0." Keats-Shelley Review 31, no. 1 (2017): 95. http://dx.doi.org/10.1080/09524142.2017.1301092.

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28

Morris, Richard. "Modernity's prometheus." Western Journal of Communication 57, no. 2 (1993): 139–46. http://dx.doi.org/10.1080/10570319309374437.

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29

Yost, C. Spencer. "Prometheus Shrugged." ICU Director 3, no. 3 (2012): 115. http://dx.doi.org/10.1177/1944451612446586.

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30

Fontaine, Haroldo. "Prometheus Cleft." Journal of Latinos and Education 7, no. 2 (2008): 177–81. http://dx.doi.org/10.1080/15348430701828756.

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31

Lindstrom, Eric. "Prometheus Luomenos." Modern Philology 118, no. 2 (2020): 181–203. http://dx.doi.org/10.1086/710829.

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32

Pachter, H. Leon. "Prometheus bound." Journal of Trauma and Acute Care Surgery 72, no. 2 (2012): 321–29. http://dx.doi.org/10.1097/ta.0b013e31824b15a7.

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33

BROWN, A. L. "PROMETHEUS PYRPHOROS." Bulletin of the Institute of Classical Studies 37, no. 1 (1990): 50–56. http://dx.doi.org/10.1111/j.2041-5370.1990.tb00216.x.

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34

Drenth, Pieter J. D. "Prometheus Chained." European Psychologist 4, no. 4 (1999): 233–39. http://dx.doi.org/10.1027//1016-9040.4.4.233.

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The Chained Prometheus is introduced as a metaphor for the behavioral scientist. Science (including psychology and pedagogy) is no longer taken for granted. Society, politics, and the media pose critical questions and not infrequently demand censorship or at least control of science. An analysis is given of the types of criticism and skepticism with respect to science, and to psychology in particular. The (behavioral) scientist faces a dilemma: On the one hand, science cannot exist and develop without freedom; on the other hand, this does not mean the freedom to amass knowledge at any price an

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35

McCraw, Thomas K. "Rescuing Prometheus." Technology and Culture 41, no. 3 (2000): 616–19. http://dx.doi.org/10.1353/tech.2000.0118.

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36

Schwab, I. R. "Prometheus' eye." British Journal of Ophthalmology 91, no. 5 (2007): 569. http://dx.doi.org/10.1136/bjo.2007.114181.

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37

Zihlman, Adrienne. "Prometheus unwound." Nature 398, no. 6728 (1999): 575–76. http://dx.doi.org/10.1038/19225.

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38

Williams, Sadie. "Prometheus rebound." New Scientist 195, no. 2617 (2007): 18–19. http://dx.doi.org/10.1016/s0262-4079(07)62076-4.

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39

Mulvey, John. "Managing Prometheus." Nature 368, no. 6474 (1994): 819. http://dx.doi.org/10.1038/368819a0.

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40

Schneider, Michael D. "Prometheus unbound." Nature 432, no. 7016 (2004): 451–53. http://dx.doi.org/10.1038/432451a.

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41

Cohen, Eliot A., and Thomas P. Hughes. "Rescuing Prometheus." Foreign Affairs 77, no. 6 (1998): 148. http://dx.doi.org/10.2307/20049149.

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42

Chen, Kai-Yuan, Xiling Shen, and Anna Mae Diehl. "Prometheus revisited." Journal of Clinical Investigation 128, no. 6 (2018): 2192–93. http://dx.doi.org/10.1172/jci120933.

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43

Singer, Daniel. "Prometheus Rebound?" Monthly Review 42, no. 3 (1990): 73. http://dx.doi.org/10.14452/mr-042-03-1990-07_6.

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44

Pupavac, Vanessa. "Resurrecting prometheus." Resilience 3, no. 2 (2015): 149–53. http://dx.doi.org/10.1080/21693293.2015.1022992.

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45

Hirsh, Haym. "Postmodern Prometheus." Science 357, no. 6350 (2017): 460. http://dx.doi.org/10.1126/science.aan8674.

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46

Swain, Dan. "Prometheus humbled." Kontradikce 6, no. 2 (2022): 199–205. http://dx.doi.org/10.46957/con.2022.2.16.

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47

Krige, John. "Prometheus bound." Research Policy 25, no. 3 (1996): 486–88. http://dx.doi.org/10.1016/0048-7333(95)00844-6.

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48

Kálmán, György C. "Kafka’s Prometheus." Neohelicon 34, no. 1 (2007): 51–57. http://dx.doi.org/10.1007/s11059-007-1005-y.

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49

Cevik, Serhan. "Prometheus Unbound." IMF Working Papers 2025, no. 044 (2025): 1. https://doi.org/10.5089/9798229001892.001.

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50

Karamanou, Ioanna. "Prometheus Bound Reappropriated: A Modern Greek Promethean ‘Palimpsest’ by Νikiforos Vrettakos". Trends in Classics 14, № 1 (2022): 168–98. http://dx.doi.org/10.1515/tc-2022-0007.

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Abstract This article seeks to investigate the cultural and ideological processes conditioning the reception of Prometheus Bound ascribed to Aeschylus in the so far unexplored poetic drama Prometheus or The Play of a Day (1978) by the renowned Modern Greek poet Nikiforos Vrettakos. It is argued that his rewriting of the tragic myth bears the features of a palimpsest, whose layers include archetypal features of Prometheus Bound, such as the Titan’s dignified struggle, his philanthropy, and the concept of human progress, filtered in varying ways through the mediating receptions (Goethe, Camus, K

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