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Journal articles on the topic 'Queen Cleopatra'

Author: Grafiati

Published: 12 December 2022

Last updated: 31 July 2025

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1

Alamri, Dawla S. "Shakespeare’s and Shawqi’s Cleopatra: Portrayals of a Woman’s Moral Dilemma." International Journal of Linguistics, Literature and Translation 5, no. 4 (2022): 76–85. http://dx.doi.org/10.32996/ijllt.2022.5.4.10.

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This paper offers a comparative reading of Cleopatra, the most famous Egyptian queen in history, as portrayed by William Shakespeare in Antony and Cleopatra (1606) and Ahamad Shawqi in Mas’ra’ Cleopatra, (Death of Cleopatra) (1927). It aims at analyzing both portrayals from developmental psychological and feminist perspectives demonstrated particularly in Carol Gilligan’s theories. Gilligan explored the development of women’s morality and ethics of care in her influential book In a Different Voice (1982) and other subsequent publications. The aim is to investigate how Shakespeare and Shawqi po

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2

Pearce, Sarah. "THE CLEOPATRAS AND THE JEWS." Transactions of the Royal Historical Society 27 (November 1, 2017): 29–64. http://dx.doi.org/10.1017/s0080440117000032.

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ABSTRACTThis paper explores a variety of evidence for relations between Cleopatra VII, the last Ptolemaic ruler of Egypt, and her Jewish subjects. In the first part of the paper, the focus is on the profoundly negative portrait of the queen in the works of Josephus, with particular attention to Cleopatra's alleged antipathy to Alexandrian Jews in Josephus's Against Apion. Analysis of Josephus's evidence confirms, I argue, that his case against the queen does not stand up. The second part of the paper offers a detailed consideration of other evidence, epigraphic and literary, which, I suggest,

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3

Li, Qichen. "Unraveling the Complexity of Cleopatra in Shakespeares Antony and Cleopatra." Lecture Notes in Education Psychology and Public Media 43, no. 1 (2024): 233–39. http://dx.doi.org/10.54254/2753-7048/43/20240876.

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William Shakespeare, widely regarded as the paramount dramatist and poet of the English Renaissance, crafted the renowned tragedy Antony and Cleopatra towards the end of his illustrious career. In this play, Shakespeare revitalized a Roman classic, breathing new life into its narrative, particularly through his portrayal of Cleopatra as a character of remarkable complexity. She emerges as both a sensuous oriental queen and an astute politician, inviting diverse interpretations from critics and establishing herself as a controversial literary figure. This paper delves into the intricacies of Cl

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Tsoucalas, Gregory, Antonis A. Kousoulis, Effie Poulakou-Rebelakou, Marianna Karamanou, Maria Papagrigoriou-Theodoridou, and George Androutsos. "Queen Cleopatra and the other ‘Cleopatras’: their medical legacy." Journal of Medical Biography 22, no. 2 (2013): 115–21. http://dx.doi.org/10.1177/0967772013480602.

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Burgdorf, Walter H. C., and Leonard J. Hoenig. "Cleopatra, Queen of Dermatology." JAMA Dermatology 151, no. 2 (2015): 236. http://dx.doi.org/10.1001/jamadermatol.2014.2239.

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6

Stephens, S. "Cleopatra: Last Queen of Egypt." Common Knowledge 16, no. 2 (2010): 294. http://dx.doi.org/10.1215/0961754x-2009-103.

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7

TREADWELL, NINA. "‘Now I come to you, ladies, after so much time’: Cleopatra, Maria d'Aragona and an intermedio for the Duchess of Alba." Cambridge Opera Journal 22, no. 1 (2010): 33–63. http://dx.doi.org/10.1017/s0954586711000024.

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AbstractDuring March 1588, Maria d'Aragona, the Marchesa of Vasto, sponsored a set of four intermedi at her palazzo in Chiaia, Naples. The centrepiece of the entertainment was the intermedio entitled ‘Queen Cleopatra on her Ship’. This article explores d'Aragona's role as sponsor of the entertainment, particularly in relation to her interest in the historical figure of Cleopatra. Drawing on sources that informed perceptions of the Egyptian queen during the early- to mid-Cinquecento, it will be shown that within a performance context governed by a strong-willed female patron, the often negative

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8

Ibrahim Moussa, Wessam. "Hellenistic Heads of Queen Cleopatra VII." Journal of Tourism, Hotels and Heritage 1, no. 1 (2020): 30–39. http://dx.doi.org/10.21608/sis.2020.40244.1005.

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9

Iyengar, Sujata. "Queen of Egypt and Queen of the Bey-Hive: Sophie Okonedo's Cleopatra at the National Theatre (2018)." Shakespeare Bulletin 41, no. 2 (2023): 201–22. http://dx.doi.org/10.1353/shb.2023.a910439.

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Abstract: Combining the methods of traditional theater history with semiotics and digital cultural studies, this article focuses particularly on Simon Godwin's production of Antony and Cleopatra at the National Theatre (2018) and on the avowed inspiration of the Nigerian-Jewish-descended British actress Sophie Okonedo by the world-famous vocalist, digital producer, and media celebrity Beyoncé Knowles-Carter (usually known simply as Beyoncé). Godwin's production carefully used a multiethnic cast and placed particular emphasis upon the relationship between Cleopatra and other women, both allies

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10

Kulpa, Karolina. "TRANSFORMATIONS OF THE IMAGE OF CLEOPATRA VII, QUEEN OF EGYPT. BETWEEN HISTORICAL NARRATIVE AND POPULAR CULTURE." Studia Europaea Gnesnensia, no. 15 (June 15, 2017): 329–38. http://dx.doi.org/10.14746/seg.2016.15.21.

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van Henten, Jan Willem. "Cleopatra als killer queen in Flavius Josephus." Lampas 58, no. 2 (2025): 114–25. https://doi.org/10.5117/lam2025.2.003.hent.

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12

Kostuch, Lucyna. "Kleopatra i eros w Żywocie Antoniusza. O nadinterpretacji dzieła Plutarcha." Argument: Biannual Philosophical Journal 7, no. 2 (2017): 259–70. http://dx.doi.org/10.24917/20841043.7.2.5.

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Cleopatra and Eros in Plutarch’s Antonius. On overinterpretation of Plutarch’s work Historians, writers and artists who wanted to pay homage to Cleopatra once again, referred to and still refer to Plutarch’s Life of Antony, first and foremost. It can seem that this main, if not the only ancient work, being quite a compact story about the Egyptian queen, has been ultimately interpreted in numerous review editions and biographies of Cleopatra. However, Plutarch’s Cleopatra has not been analysed as a separate work — excerpts from Life of Antony have always been combined with other sources in orde

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13

García Fleitas, María de la Luz. "Representaciones de alteridad a través del lenguaje del cómic: Cleopatra VII, ejemplo de recepción de un personaje histórico." Revista de Filología de la Universidad de La Laguna, no. 49 (2024): 121–39. https://doi.org/10.25145/j.refiull.2024.49.06.

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This work approaches the reception of the historical character Cleopatra VII within comic books. By translating the collective imagination through a scripto-iconic code that comprises both text and images, comics present a mode of expression that portrays this character within the confines of otherness: a simplified image based on the dichotomous relationship between the Western and the Eastern worlds. This assertion is substantiated through the analysis of panels from Asterix and Cleopatra by Goscinny and Uderzo (1965), Cleopatra and the Lost Pyramid by Martz-Schmidt and Pérez Navarro (1986),

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14

Davis, Whitney, and Julia Samson. "Nefertiti and Cleopatra: Queen-Monarchs of Ancient Egypt." American Journal of Archaeology 94, no. 2 (1990): 346. http://dx.doi.org/10.2307/505958.

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15

Kolokolova, N. S. "Cleopatra – the Queen Changing Masks (Antiquity – Shakespeare – Hollywood)." Series History. International Relations 18, no. 1 (2018): 56–60. http://dx.doi.org/10.18500/1819-4907-2018-18-1-56-60.

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Volpe, Paola. "Cleopatra: 2050 years after death: woman queen lover enemy." Ploutarchos 19 (December 28, 2022): 103–11. http://dx.doi.org/10.14195/0258-655x_19_5.

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The subject of this paper is the representation of Cleopatra in Plutarch. Linked to the most important politicians of her age, Caesar and Antonius, she seduces her lovers with her charm, with her beauty, with her culture, with the ambiguity of her character and her actions. Egyptian and, therefore, far from the behaviour of Roman women, she made θαῦμα the weapon of her seduction, accompanied by all-female cunning, not without elegance and seduction. In the Life of Antonius Plutarch, alongside the merciless description of Antonius, naive in relationships with others (he easily fell into the han

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Maciejewska, Agnieszka Monika. ""Starożytna femme fatale na wielkim ekranie – ewolucja wizerunku Kleopatry do roku 1954" [The Ancient Femme Fatale on the Silver Screen – Evolution of Cleopatra's Image until 1954]." Meander 76, 2021, no. 76 (2021): 139–48. https://doi.org/10.24425/meander.2021.138774.

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Kleopatra VII Filopator jest jedną z najbardziej znanych kobiecych postaci historycznych. Królowa inspirowała wielu twórców – zarówno malarzy, pisarzy, jak i reżyserów filmowych. To właśnie też Ci ostatni wpłynęli szczególnie na obraz władczyni, który znamy obecnie. Artykuł pt. &bdquo;Starożytna <em>femme fatale</em> na wielkim ekranie – ewolucja wizerunku Kleopatry do roku 1954” traktuje o ewolucji postaci władczyni w kontekście audiowizualnym. Analizie poddane zostały wybrane filmy pochodzące z pierwszej połowy XX wieku z Kle

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Bélo, Tais Pagoto, and François de Callataÿ. "Boudica, the Warrior Queen, as seen through DevianArt: Why pop culture proves to be so informative." Anabases 39 (2024): 81–106. http://dx.doi.org/10.4000/12ops.

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The paper aims to investigate the image of the Warrior Queen Boudica (Boudicca, Boadicea) in contemporary pop culture through the lens of the website DeviantArt (®), providing valuable information about the countries and the gender of the creators, along with the possibility of studying the creative scene in real-time by artists who are most often not professionals but young creators and even more importantly, young female creators. From a general point of view, Boudica-the-Warrior is winning the battle in the other representations of Boudica and certainly over Boudica-the-Mother. But while th

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PEEK, CECILIA M. "THE QUEEN SURVEYS HER REALM: THE NILE CRUISE OF CLEOPATRA VII." Classical Quarterly 61, no. 2 (2011): 595–607. http://dx.doi.org/10.1017/s000983881100022x.

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Мельник, А. В., О. І. Присяжнюк та І. Л. Бондарчук. "КЛАСТЕРНИЙ АНАЛІЗ УРОЖАЙНОСТІ СОРТІВ ТА ГІБРИДІВ РІПАКУ ОЗИМОГО В РІЗНИХ АГРОКЛІМАТИЧНИХ ЗОНАХ УКРАЇНИ". Вісник Полтавської державної аграрної академії, № 1-2 (29 червня 2017): 7–12. http://dx.doi.org/10.31210/visnyk2017.1-2.01.

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Обґрунтовано використання кластерного аналізу для підбору сортів та гібридів ріпаку озимого сучасної селекції. Дослідження проводились у 2013–2015 рр. у чотирьох різних агрокліматичних регіонах України. За вирощування в господарствах різних сортів та гібридів потрібно уникати підбору для центрального регіону Клеопатра, ПР44В30, ДК Секвоя, Демерка та ПР45Д05. Для господарств південного регіону небажаним є поєднання двох груп сортів, а саме: Клеопатра, Черемош, НК Октан та ПР45Д05 або ж: Снігова королева, Джампер, Сітро, Демерка, Абакус, Белана, ПР44В30, ДК Секвоя та ДК Секюр. Для західного регі

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21

Droß-Krüpe, Kerstin. "Changing Identities at the Turn of the Common Era: The Case of Semiramis." Studia Orientalia Electronica 11, no. 2 (2023): 116–29. http://dx.doi.org/10.23993/store.129809.

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Babylon, a city of shifting identities, was a constant point of reference for the Mediterranean world. This article explores the portrayal of the Babylonian queen Semiramis in Greek and Roman sources, demonstrating how ancient Near Eastern identities were constructed from the external perspective of Mediterranean cultures. Herodotus first mentioned Semiramis in the fifth century bce, associating her with Babylon’s architectural wonders. Ctesias described her as an outstanding, but in many respects flawed military leader. In contrast, during the final stage of the Roman Republic, Diodorus Sicul

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22

Valentine, Kendra Haloviak. "Cleopatra: New Insights for the Interpretation of Revelation 17." Evangelical Quarterly 87, no. 4 (2015): 310–30. http://dx.doi.org/10.1163/27725472-08704002.

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The Whore of Babylon as a graphic scriptural image stirs the imaginations of contemporary readers and preachers of the New Testament Apocalypse. But how does one explain the dissonance between the book’s depiction of a powerful female prostitute living in luxury and the utter vulnerability of prostitutes at the time the book was written? The disconnect raises questions concerning the purpose and implications of such imagery. What aspects of culture, recent history or personal experience might the writer have drawn upon? This paper suggests important new connections to the figure of Cleopatra a

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23

Mikulski, Dimitri V. "Legendary Egyptian Queen Cleopatra in Murudj al-Dhahab wa Ma‘adin al-Djawhar by al-Mas‘udi (10th century)." Oriental Courier, no. 3 (2022): 105. http://dx.doi.org/10.18254/s268684310023721-1.

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Cleopatra (69–30 B. C.) is the last of the sovereigns (51–30 B. C.) of the Ptolemaic Dynasty, that was ruling Egypt in the 4th–1st centuries B. C. As early as in the writings of the authors of Antiquity, she acquired fame as an irresistible and voluptuous beauty. But most of all she became famous for having courageously put an end to her life through a bite of a poisonous snake, as she hated to fall prey to the first Roman Emperor Octavian August (63 B. C. – 14 A. D.; since 31 B. C. — the individual ruler of the Roman State). The fate of the Egyptian Queen was inspiring many European creators

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24

Pimonov, Vladimir. "PUSHKIN’S “EGYPTIAN NIGHTS”: POET IN THE ROLE OF CLEOPATRA." Culture and Text, no. 58 (2024): 55–66. http://dx.doi.org/10.37386/2305-4077-2024-3-55-66.

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This article explores Pushkin’s “Egyptian Nights,” which critics consider to be an unfinished work. For the first time, the analysis of the story’s plot structure is carried out exclusively in regard to the autograph draft in prose without taking into consideration the poetic improvisations which are absent in the poet’s manuscript, but are traditionally inserted by publishers into the printed text. The author argues that the story’s plot design is completed in Pushkin’s prose text. An allusive parallel between the story of Cleopatra and the story of the improviser based on the motifs of “pros

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Elizabeth Bush. "Cleopatra Rules!: The Amazing Life of the Original Teen Queen (review)." Bulletin of the Center for Children's Books 64, no. 1 (2010): 42–43. http://dx.doi.org/10.1353/bcc.2010.0061.

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Gómez Lara, Manuel José. "«'O, Never was there queen/ So mightly Betray'd' (I,iii,24-5): Locura de amor en "Antony and Cleopatra"»." Philologia Hispalensis 1, no. 2 (1987): 17–28. http://dx.doi.org/10.12795/ph.1987.v02.i01.02.

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Huse, Ann A. "Cleopatra, Queen of the Seine: The Politics of Eroticism in Dryden's "All for Love"." Huntington Library Quarterly 63, no. 1/2 (2000): 23–46. http://dx.doi.org/10.2307/3817863.

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McCombe, John P. "Cleopatra and Her Problems:T.S. Eliot and the Fetishization of Shakespeare's Queen of the Nile." Journal of Modern Literature 31, no. 2 (2008): 23–38. http://dx.doi.org/10.2979/jml.2008.31.2.23.

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Bartsevich, Viktoryia, Karolina Anna Kulpa, and Agnieszka Monika Maciejewska. "Death as a Beginning: Transformation of Hades, Persephone and Cleopatra in Children’s and Youth Culture." Clotho 1, no. 2 (2020): 55–72. http://dx.doi.org/10.4312/clotho.1.2.55-72.

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The motif of ancient beliefs about afterlife and contemporary idea of them appears increasingly in contemporary works directed to young audience. The combination of mythology and history known from ancient sources and popular culture works is essential for reception studies. The paper presents three cases of transformation of characters connected with ancient beliefs about afterlife as protagonists or villains in works directed to youth; Hades as a villain known from Disney’s works, especially Hercules; Persephone and Hades’s love story in three web comics: Underworld Love Story and Hades &amp

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30

Simonetti, Paolo. "Women and Literature in Thornton Wilder’s The Ides of March." Thornton Wilder Journal 4, no. 1 (2023): 29–45. http://dx.doi.org/10.5325/thorntonwilderj.4.1.0029.

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Abstract Although of the approximately 120 fictional documents and letters composing Wilder’s epistolary historical novel The Ides of March slightly less than half are ostensibly written by female characters, the author had to defend his work from at least one accusation of being unfair to women. The aim of this article is to investigate how Wilder gives voice to four famous women of ancient Rome—Clodia Metelli (supposedly Catullus’s model for the Lesbia addressed in his poetry); Cleopatra, the queen of Egypt; Julius Caesar’s aunt Julia Marcia; and the actress and courtesan Cytheris—by subvert

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31

Ruiz, Mario. "Cleopatra: Last Queen of Egypt. By Joyce Tyldesley. (New York, N.Y.: Basic Books, 2008. Pp.xiii, 290. $27.50.)." Historian 72, no. 3 (2010): 712–13. http://dx.doi.org/10.1111/j.1540-6563.2010.00273_66.x.

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Toshpulatova, Fayyoza. "WOMEN'S POWER." MODERN SCIENCE AND RESEARCH 3, no. 1 (2024): 200–202. https://doi.org/10.5281/zenodo.10477369.

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<em>For a long time women issues have been causing a lot of misunderstandings.</em> <em>Illegal unequality in social life, sexual violence by their close relatives or at all strangers?</em> <em>WHY???</em> <em>Is it just their sex? Women are Mother of future generations. At every step an abuse of them is simple situation. We do not seldom notice it in the streets. Posessions such as they can not take a salary as much as men, can not study in foreign country and they must take a permission to go out somewhere?! If we look at history, the wifes of famous people were well-known as their husbands.

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Ruiz, Mario. "Cleopatra: Last Queen of Egypt. By Joyce Tyldesley. (New York, N.Y.: Basic Books, 2008. Pp. xiii, 290. $27.50.)." Historian 72, no. 1 (2010): 192–93. http://dx.doi.org/10.1111/j.1540-6563.2009.00260_31.x.

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Kulpa, Karolina Anna. "Playing with Cleopatra. About the Image of the Egyptian Queen in Products for Children and Young Adults (Introduction to Research)." libri liberorum. Fachzeitschrift für Kinder- und Jugendliteraturforschung 23, no. 58/2022 (2022): 36–59. https://doi.org/10.25365/lili-2022-58-4.

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In more than two millennia that have passed since her death, Cleopatra has inspired generations of artists in immortalising their own visions of her image. In the process of reception, she was transformed into a hybrid of a historical figure and a pop-cultural image saturated with complex symbolism based on representations in literature, art, and film, and thereby reduced to an easily identifiable and stereotypical character. The paper focuses on some case studies including figurines, costumes, and games (board and video).   In den mehr als 2000 Jahren, die seit Kleopatras Tod vergan

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Ashok Kumar BS, Mouna A, Lakshman K, and Nandeesh R. "Preparation and Evaluation of Polyherbal Face Pack." Indonesian Journal of Pharmaceutical and Clinical Research 6, no. 2 (2023): 47–54. http://dx.doi.org/10.32734/idjpcr.v6i2.14707.

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It is believed that Queen Cleopatra, the Egyptian goddess of beauty, used donkey milk in her baths to maintain her youthful appearance. Herbs are known to benefit the skin by providing a natural glow and softness, cleansing dead cells, and promoting the regeneration of new cells. This study aims to prepare polyherbal face packs (F1-F4) using natural ingredients such as turmeric, neem, orange peel, multani mitti, gram flour, rose petals, sandalwood, rice flour, and aloe Vera. The polyherbal face packs (F1-F4) were evaluated based on organoleptic properties, physicochemical parameters (loss on d

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Bowen, Shannon A., and Lincoln Geraghty. "Finding strategic communication & diverse leadership in the ancient world: The case of Queen Cleopatra VII, the last pharaoh of Egypt." Cogent Arts & Humanities 3, no. 1 (2016): 1154704. http://dx.doi.org/10.1080/23311983.2016.1154704.

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Bartsevich, Viktoryia, Karolina Anna Kulpa, and Agnieszka Monika Maciejewska. "Death as a Beginning: The Transformation of Hades, Persephone, and Cleopatra in Children's and Youth Culture." Clotho 1, no. 2 (2019): 55–72. https://doi.org/10.4312/clotho.1.2.55-72.

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The motif of ancient beliefs about the afterlife and their present-day understanding appears increasingly in contemporary works directed to young audiences. The combination of mythology and history from ancient sources and popular culture works is fundamental for reception studies. The paper presents three cases of transformation of characters connected with ancient beliefs about the afterlife as protagonists in works directed to the youth: Hades as a villain from Disney’s works, especially <em>Hercules</em>; Persephone and Hades’s love story in t

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38

Ortiz-Delgado, Francisco Miguel. "DRAYCOTT, Jane, Cleopatra´s Daughter. From Roman Prisoner to African Queen, New York, Liveright Publishing Corporation, 2023, 328 pp. ISBN: 978-1-324-09259-9." Humanitas, no. 84 (December 5, 2024): 159–62. https://doi.org/10.14195/2183-1718_84_12.

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Elshafie, Hanan. "دراسة لتیجان کلیوباترا السابعة فى الفن ومدلولاتها فى تاریخ الملکة البطلمیة Crowns of Cleopatra VIIth in Art and their Impact on the History of the Ptolemaic Queen". Conference Book of the General Union of Arab Archeologists 15, № 15 (2012): 549–69. http://dx.doi.org/10.21608/cguaa.2012.34075.

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Abdul, Kader Mohiuddin. "Skin Aging & Modern Edge Anti-Aging Strategies." International Journal of Dermatology and Skin Care 1, no. 1 (2019): 08–62. https://doi.org/10.36811/ijdsc.2019.110002.

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Skin is the barrier that segregates the body from the outer environment. Besides protecting the body from water loss and microorganism infection, it has an important cosmetic role. Young and beautiful appearance may have a positive influence on people’s social behavior and reproductive status. Cleopatra, the Egyptian queen is said to have indulged in daily donkey-milk baths, a practice which apparently required over 700 donkeys to accomplish. The alpha hydroxy acids in the milk is believed to be anti-aging and skin-softening agents. Tang-dynasty ruler and sole female emperor of China, Wu

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Tremblay, Michel, Michel Tremblay, David Fennario, Rod Langley, and Andre Loiselle. "Hosanna, La Maison Suspendue, Joe Beef (A History of Pointe Saint Charles), The Dunsmuirs: Alone at the Edge." Canadian Theatre Review 75 (June 1993): 78–79. http://dx.doi.org/10.3138/ctr.75.013.

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Michel Tremblay’s Hosanna unfolds as Claude Lemieux, alias Hosanna, returns home from a masked ball where he expected to create a sensation by making his entrance as Elizabeth Taylor in the role of Cleopatra. Instead, he suffers a bitter humiliation as the other drag queens arrived at the ball also disguised as Cleopatra. As he slowly removes his Cleopatra costume, Claude goes through a process of self-recognition at the end of which he realizes, along with his boyfriend Cuirette, that “the important thing is that you be yourself, that’s all” (p. 87).

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Aspinall, Dana E., Marina Favila, Richard J. Larschan, et al. "Play Reviews: Shakespeare Santa Cruz, Romeo and Juliet, the Massacre at Paris, Macbeth, Richard II, Macbeth, Le Conte d'hiver (The Winter's Tale), Othello, Dido, Queen of Carthage, Richard II, Antony and Cleopatra, Macbeth (The Notes)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 85, no. 1 (2014): 85–125. http://dx.doi.org/10.7227/ce.85.1.7.

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Rule, Victoria. "Cleopatra: Representaciones de lo femenino en La Virgen Cabeza de Gabriela Cabezón Cámara." FemCrítica. Revista de estudios literarios y crítica feminista 1, no. 1 (2023): 7–18. https://doi.org/10.64301/fc.v1i1.16.

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El siguiente artículo esta organizado en cuatro secciones, una parte introductoria donde apunto la importancia del proceso de resemiotización del arquetipo Cleopatra y su recolocación en la novela La Virgen Cabeza como un personaje lésbico y queer, mediante un enfoque que denomino transbarroco. En la segunda sección, “Del arquetipo Cleopatra a la figura de Cleo” realizo un overview a las producciones culturales y literarias del arquetipo de Cleopatra en sus derivas como femme total, figura de poder, barroca y literaria etcétera. En otro apartado: “Enunciación y subalternidad” examino la disput

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조윤경. "Domesticating the Eternal Queen: Cleopatra’s Metamorphoses and the Discourse of Orientalism." Feminist Studies in English Literature 20, no. 3 (2012): 27–60. http://dx.doi.org/10.15796/fsel.2012.20.3.002.

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Martínez Gil, Juan. "El devenir queer de Cleopatra en La Virgen Cabeza de Gabriela Cabezón Cámara." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 17 (2018): 11–26. http://dx.doi.org/10.25145/j.clepsydra.2018.17.01.

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Yukhnova, I. S. "SOME SUBTEXTS OF ALEXANDER PUSHKIN’S «NOTES ON “COUNT NULIN”»." Culture and Text, no. 54 (2023): 76–83. http://dx.doi.org/10.37386/2305-4077-2023-3-76-83.

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The article explores the idea of quotation-allusion layer depth of Pushkin’s «Notes on “Count Nulin”». The article closely examines its resemblance to B. Pascal’s “thought” about “the Cleopatra’s nose”. The author demonstrates that it appears in similarities of the ways of thought, the nature of the relationship between small causes and global consequences as well as ironic modality of both notes. The article expresses and substantiates the idea that Pascal’s way of paradoxical convergence of heterogeneous phenomena is reflected in the composition of Pushkin’s madrigal-type poems, as well as i

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Rosado Martín, María Concepción. "El juramento de fidelidad a Octaviano del año 32 a. C." El Futuro del Pasado 1 (March 1, 2010): 337–47. http://dx.doi.org/10.14201/fdp.24513.

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El juramento de fidelidad del año 32 a. C. situó a Octaviano al frente de un bloque, liderado por Italia y secundado por las provincias occidentales, preparado para enfrentarse a Marco Antonio, quien estaba secundado por Cleopatra y por los territoriosorientales. Suetonio, Dión Casio y el propio Augusto en las Res Gestae Divi Augusti nos han transmitido la existencia de este juramento. El texto original no se conserva por lo quese ha comparado con otros juramentos de fidelidad, tanto de época republicana como imperial. Nuestro objetivo es estudiar cómo se gestó este juramento, en qué consistía

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Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.

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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbol

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Goff, Barbara. "Revolution in Antiquity: The Classicizing Fiction of Naomi Mitchison." Clotho 4, no. 2 (2022): 155–79. http://dx.doi.org/10.4312/clotho.4.2.155-179.

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The writer and activist Naomi Mitchison (1897–1999) came from a prominent establishment family but was a member of the Labour Party and the wife of a Labour MP. Her work was explicitly marked by the Russian Revolution, even when she wrote about antiquity. In the 1920s and 1930s, she produced a number of works of historical fiction set in ancient Greece and Rome, which were highly regarded at the time. The works use the canvas of antiquity to experiment with many forms of political and social radicalism, with a challenging focus on female sexuality. The article discusses four specific represent

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Lowe, Eleanor, Peter J. Smith, Jeffrey C. Steele, et al. "Play Reviews: Measure for Measure, The Taming of the Shrew, Richard III, Edward II, Richard II, The Taming of the Shrew, Dido, Queen of Carthage, a Midsummer Night's Dream, The Bomb-itty of Errors, The Duchess of Malfi, Henry V, Love's Labour's Lost, Pericles, The Winter's Tale, Othello in Black and White, Henry V, a Woman Killed with Kindness, Macbeth, The Taming of the Shrew, Antony and Cleopatra, Pericles, Romeo and Juliet, Le Songe d'une nuit d'été, Hamlet, La Tempête, Le Marchand de Venise, La Nuit des rois, El-Zir Salem et le prince Hamlet." Cahiers Élisabéthains: A Journal of English Renaissance Studies 64, no. 1 (2003): 57–100. http://dx.doi.org/10.7227/ce.64.1.8.

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