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Journal articles on the topic 'Theogony (Hesiod)'

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Published: 4 June 2021

Last updated: 28 July 2025

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1

Priou, Alex. "Hesiod: Man, Law and Cosmos." Polis 31, no. 2 (2014): 233–60. http://dx.doi.org/10.1163/20512996-12340016.

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In his two chief works, the Theogony and Works and Days, Hesiod treats the possibility of providence. In the former poem, he considers what sort of god could claim to gives human beings guidance. After arriving at Zeus as the only consistent possibility, Hesiod presents Zeus’ rule as both cosmic and legalistic. In the latter poem, however, Hesiod shows that so long as Zeus is legalistic, his rule is limited cosmically to the human being. Ultimately, Zeus’ rule emerges as more human than cosmic, and thus unable to fulfil the cosmic demands of piety. Hesiod’s presentation thus begs, without them

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Fraser, Lilah-Grace. "A woman of consequence: Pandora in Hesiod's Works and Days." Cambridge Classical Journal 57 (December 2011): 9–28. http://dx.doi.org/10.1017/s1750270500001251.

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The Pandora myth as told in Hesiod's Works and Days (59–105) has been criticised since antiquity as internally inconsistent. In the nineteenth and most of the twentieth century this led editors to propose radical atheteses and emendations to resolve the inconsistencies. Although in recent decades the impetus has swung more towards conservative editing, and seemingly endless work has been done on the myth, the passage still has not been fully understood in terms of its purpose within the Hesiodic corpus. In this paper I argue that the ‘suspect’ lines are perfectly consistent when understood in

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3

Bouchard, Elsa. "Aphrodite Philommêdês in the Theogony." Journal of Hellenic Studies 135 (2015): 8–18. http://dx.doi.org/10.1017/s0075426915000038.

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Abstract:Discussion of Aphrodite’s epithet philommeidês/philommêdês in Hesiod Theogony 200. Hesiod’s aetiological account of this name suggests the meaning ‘wiles-loving’ as well as ‘genitals-loving’. This interpretation is supported by a number of episodes from Archaic poetry in which literary or mythical figures make use of a ruse to permit the fulfilment of their erotic longing, or conversely exploit someone else’s desire as a means to achieve supremacy in a power struggle.

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Vergados, Athanassios. "Hesiod Theogony 823." Classical Philology 119, no. 4 (2024): 546–48. http://dx.doi.org/10.1086/731907.

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5

Fowler, Robert L., and M. L. West. "Hesiod: Theogony and Works and Days." Classical World 83, no. 1 (1989): 60. http://dx.doi.org/10.2307/4350525.

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6

Clay, Diskin. "The World of Hesiod." Ramus 21, no. 02 (1992): 131–55. http://dx.doi.org/10.1017/s0048671x00002605.

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Toute pensée de l'origine des choses n'est jamais qu'une revérie de leur disposition actuelle, une manière de dégénérescence du réel, une variation sur ce qui est. Paul Valéry in his Preface to Poe's Eureka. The World of Hesiod is familiar as a title, but the world of Hesiod is difficult to locate in a single place. Indeed, it is a number of places. It seems to have its centre in Askra in Boiotia and to extend out in space as far as the high slopes of Mount Helikon. It is a land-locked world and its severe limitations are apparent from what the poet says about the sea and the short sea passage

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Janko, R. "An Unnoticed ms of Orphic Hymns 76–7." Classical Quarterly 35, no. 2 (1985): 518–20. http://dx.doi.org/10.1017/s0009838800040350.

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Because of an incomplete description of its contents, it has escaped notice that the fifteenth-century vellum MS Parisinus graecus 2833 contains Orphic Hymns 76 and 77 on folio 91 verso. The Hymns are copied, without indication of title or authorship, after Musaeus' Hero and Leander (lines 1–245), and before the collected (Proclan and other) Prolegomena to Hesiod A a, b, c, BEF a, b Pertusi, which are followed by Hesiod's Works and Days, Shield and Theogony. These are all in the same hand.

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Christensen, Joel P. "Eris and Epos." Yearbook of Ancient Greek Epic Online 2, no. 1 (2018): 1–39. http://dx.doi.org/10.1163/24688487-00201001.

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Abstract This article examines the development of the theme of eris in Hesiod and Homer. Starting from the relationship between the destructive strife in the Theogony (225) and the two versions invoked in the Works and Days (11–12), I argue that considering the two forms of strife as echoing zero and positive sum games helps us to identify the cultural and compositional force of eris as cooperative competition. After establishing eris as a compositional theme from the perspective of oral poetics, I then argue that it develops from the perspective of cosmic history, that is, from the creation o

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9

Stamatopoulou, Zoe. "Theogony and Works and Days - By Hesiod." Religious Studies Review 36, no. 1 (2010): 68–69. http://dx.doi.org/10.1111/j.1748-0922.2010.01404_2.x.

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Ziemann, Marcus. "The Politics of Beginnings: Hesiod and the Assyrian Ideological Appropriation of Enuma Eliš." Archiv für Religionsgeschichte 21-22, no. 1 (2020): 343–68. http://dx.doi.org/10.1515/arege-2020-0018.

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AbstractThis article proposes a new way to understand Near Eastern literary and mythological parallels in Hesiod’s Theogony by focusing on the meaning of these parallels for a contemporary Greek audience. In particular, a case study analyzing a parallel shared by the Theogony and Enuma eliš is pursued here to illustrate this approach’s utility. This new approach draws partly on methodologies borrowed from the study of globalization and combines these methodologies with recent insights into the ideological motivations for Greeks’ deployment of Oriental(izing) art in the Orientalizing Period (c

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Nagy, Gregory. "Authorisation and Authorship in the Hesiodic Theogony." Ramus 21, no. 02 (1992): 119–30. http://dx.doi.org/10.1017/s0048671x00002599.

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Much has been written about the question of oral poetry in the earliest attested phases of Greek literature, but not enough attention has yet been paid to the existing internal evidence concerning the authority of actual poetic performance. This essay is meant to highlight this authority and its role in authorisation, that is, in the conferring of authorship. Since the first attested identification of an author in Greek literature takes place in the Hesiodic Theogony, where the figure of Hesiod names himself as the poet of this colossal poem (Hēsiodon, Th. 22), it seems fitting that this very

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12

Belsey, Andrew. "Chaos and Order, Environment and Anarchy." Royal Institute of Philosophy Supplement 36 (March 1994): 157–67. http://dx.doi.org/10.1017/s1358246100006524.

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The distinction between chaos and order has been central to western philosophy, both in metaphysics and politics. At the beginning, it was intrinsic to presocratic natural philosophy, and shortly after that to the cosmology and social philosophy of Plato. Even in the pre-presocratic period there were important intimations of it. Thus Hesiod tells us that ‘first of all did Chaos come into being’ (Theogony, line 116, in Kirk et al., 1983, p. 35)—although exactly what is meant by ‘chaos’ in this context is not clear. (It could be some sort of undifferentiated, primordial mass, or just the separat

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13

Belfiore, Elizabeth. ""Lies Unlike the Truth": Plato on Hesiod, Theogony 27." Transactions of the American Philological Association (1974-) 115 (1985): 47. http://dx.doi.org/10.2307/284189.

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Gillespie, Stuart. "Hesiod goes Augustan: An Early English Translation of the Theogony." Translation and Literature 17, no. 2 (2008): 197–209. http://dx.doi.org/10.3366/e0968136108000228.

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Heiden, Bruce A. "The Muses' Uncanny Lies: Hesiod, Theogony 27 and Its Translators." American Journal of Philology 128, no. 2 (2007): 153–75. http://dx.doi.org/10.1353/ajp.2007.0027.

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Arrighetti, Graziano. "Kathryn Stoddard: The Narrative Voice in the Theogony of Hesiod." Gnomon 79, no. 5 (2007): 385–90. http://dx.doi.org/10.17104/0017-1417_2007_5_385.

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Werner, Christian. "FIGURAS DE AUTORIDADE NO PROÊMIO DE 'TRABALHOS E DIAS' | AUTHORITY FIGURES IN THE PROEM OF THE 'WORKS AND DAYS'." Estudos Linguísticos e Literários, no. 55 (December 1, 2015): 4. http://dx.doi.org/10.9771/2176-4794ell.v0i55.15454.

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<p>Faz-se uma leitura cerrada do proêmio de <em>Trabalhos e dias</em> mostrando-se como a voz de Hesíodo se constitui a partir da autoridade das Musas e de Zeus, nesse sentido diferenciando-se este proêmio daquele da <em>Teogonia</em>.</p><p><strong>Abstract:</strong> <em>A close reading of the proem of the </em>Works and Days<em> shows how Hesiod’s voice is constructed around the authority of Zeus and the Muses. This voice of Hesiod in the proem of the </em>Works and Days<em> stands in stark contrast to his ap

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Bogomolov, Aleksey. "Image and Negation: "Proto-Apophatics" and the problem of the typology of negativity in Hesiod's «Theogony»." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 17, no. 2 (2023): 888–98. http://dx.doi.org/10.25205/1995-4328-2023-17-2-888-898.

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The purpose of this article is a historical and philosophical reconstruction of the problem of negativity in "Theogony". It is shown that negativity is not limited only to the doctrine of Chaos, since in the text of Hesiod there are other mythological images that are endowed with their apophatic characteristics. These include Erebus, Night, Tartarus, as well as "limits and beginnings". At the same time, Chaos certainly has a special status. Chaos generates other negative images – Night, Erebus. Consequently, the three mythological images are in genus-species relations, which means they are dif

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PAVLENKO, Igor. "ТHE BEGINNING OF THE WORLD ACCORDING TO HESIODS AS THE BIRTH OF PHILOSOPHICAL ONTOLOGY". Epistemological Studies in Philosophy Social and Political Sciences 7, № 2 (2024): 82–87. https://doi.org/10.15421/342446.

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The work of Hesiod, an ancient Greek epic poet, is considered, in particular, his poem “Theogony”, as one of the first cosmogonic constructions in European culture. Particular attention is drawn to the image and concept of Chaos – the initial state of the world, which also has a creative, creative essence. The primary instances that appear together with Chaos – Gaia, Tartarus and Eros also act as elements of the basic ontological model. The attitude of the ancient philosophical tradition to the concept of Chaos, which was problematized even by the pre-Socratics and compared with the famous Orp

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Colombani, Maria Cecilia. "Una arqueología de la inquietud de sí. Hesíodo y los antecedentes por el estilo de vida. Sabiduría, práctica y transformación subjetiva." Revista Ciencias y Humanidades 19, no. 1 (2025): 36–58. https://doi.org/10.61497/5pwryz09.

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The following work will address the characteristics of ethical concern in Works and Days. We will break down the topic from an ethical anthropological dimension, searching for vestiges of it in the work of the thinker from Ascra. Let us remember that Works and Days represents a work of an ethical-anthropological nature that addresses the problems present in Theogony from another level or, rather, without fracturing the unity that, in our opinion, unites Hesiod's work. Consequently, we want to investigate to what extent the first Hesiodic babblings can constitute an antecedent of the “constitut

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Vergados, Athanassios. "The Cyclopes and the Hundred-Handers in Hesiod “Theogony” 139–53." Hermes 141, no. 1 (2013): 1–7. http://dx.doi.org/10.25162/hermes-2013-0001.

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22

Horky, Phillip S. "Order and chaos in the ancient Greco-Roman philosophical imagination." Journal of Physics: Conference Series 2877, no. 1 (2024): 012085. http://dx.doi.org/10.1088/1742-6596/2877/1/012085.

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Abstract When did chaos come to be opposed to order? This paper considers the earliest references in the Western world to the concepts of “chaos” (Xάος) and “order” (κόσμος), understood as cosmological concepts; these terms are first attested in the epic Theogony of the ancient Greek poet Hesiod and the treatise On Nature of the Pythagorean philosopher Philolaus of Croton. This paper argues by way of a close reading of these texts that originally chaos was instrumental to an orderly Universe and that this idea persisted in the formal development of cosmological texts in the Greek world. The pa

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Lima, Idelbrando Alves de. "A MANIFESTAÇÃO DO SAGRADO NA NARRATIVA ÉPICA DA TEOGONIA "The manifestation of the sacred in the epic narrative of the theogony"." PARALELLUS Revista de Estudos de Religião - UNICAP 5, no. 10 (2014): 223. http://dx.doi.org/10.25247/paralellus.2014.v5n10.p223-232.

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O mundo sagrado, como oposição constante com o mundo profano, influenciou a vida cotidiana dos homens da Antiguidade. Face ao exposto, o presente artigo trata-se de um breve estudo analítico sobre algumas características da experiência do grego Hesíodo com o sagrado, narradas na obra Teogonia. Após realizar uma sucinta teorização a respeito da temática, conceituando alguns termos essenciais para a sua compreensão, o artigo passa a apresentar as principais passagens da vida deste personagem histórico. Por fim, o estudo expõe a análise dos principais aspectos dessa manifestação do sagrado, concl

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24

Celotto, Giulio. "ʹΕνιαυτός in Hesiod “Theogony” 58: One-Year Pregnancy in Archaic Greek Poetry". Hermes 145, № 2 (2017): 224–34. http://dx.doi.org/10.25162/hermes-2017-0017.

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Wickkiser, Bronwen L. "Hesiod and the Fabricated Woman: Poetry and Visual Art in the Theogony." Mnemosyne 63, no. 4 (2010): 557–76. http://dx.doi.org/10.1163/156852510x456219.

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Stoddard, Kathryn B. "The Programmatic Message of the "Kings and Singers" Passage: Hesiod, Theogony 80-103." Transactions of the American Philological Association 133, no. 1 (2003): 1–16. http://dx.doi.org/10.1353/apa.2003.0010.

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Whitby, Mary. "‘Sugaring the Pill’: Gregory of Nazianzus' Advice to Olympias (Carm. 2.2.6)." Ramus 37, no. 1-2 (2008): 79–98. http://dx.doi.org/10.1017/s0048671x00004914.

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Advice on marriage and the proper deportment for wives begins with the earliest Greek literature. While Homer's Andromache and Penelope provide practical role models, Hesiod (Works and Days 695-705, Theogony 568-612), followed (in iambics) by Semonides (frr. 6, 7), forcefully articulates male concerns about evil wives and women's wicked wiles. Hesiod's imperatival infinitives as well as his viewpoint reverberate more than a millennium later in a poem of advice composed, probably in the early 380s, by the Christian Gregory of Nazianzus for the marriage (νῦν μὲν σοὶ τόδ' ἔδωκα γαμήλιον, ‘now I h

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Knezevic, Visnja. "The feminine in early Greek philosophy (Part one: Homer, Homeric tradition, Hesiod, Derveni Papyrus)." Theoria, Beograd 66, no. 2 (2023): 81–100. http://dx.doi.org/10.2298/theo2302081k.

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This paper forms the first part of broader research dealing with the possibilities for a feminine ????, i.e., the starting point or source for a change, in early Greek thinking. Thus, it involves comparative analyses of the material provided by Homer, The Homeric hymn to Apollo, Hesiod?s Theogony and the Derveni Papyrus, the latter text being ?the only one that can, without the shadow of a doubt, be described as ?Orphic?? (Brisson, 2019). The work on the sources resulted in endorsing the following interpretative hypothesis: In the analysed cosmogonies, the concept of ???? is linked and - as I

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Stephen Scully. "Hesiod. Vol. 1: Theogony, Works and Days, Testimonia, and: Hesiod. Vol. 2. The Shield, Catalogue of Women, Other Fragments (review)." Classical World 101, no. 4 (2008): 555–57. http://dx.doi.org/10.1353/clw.0.0007.

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Dugarov, Bair S. "Theophoric Names in the “Heavenly” Prologue of the Buryat Epic Cycle Geseriada." Вопросы Ономастики 18, no. 3 (2021): 110–22. http://dx.doi.org/10.15826/vopr_onom.2021.18.3.036.

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Amongst other epic interpretations of religious mythology, the famous poems of Homer and Hesiod certainly rank the highest. Hesiod’s Theogony can be considered the most complete and consistent source on the history and genealogy of the Greek gods, as well as the theophoric naming tradition related to the Olympic pantheon. Typologically, the same can be said about the Buryat epic cycle Geseriada which has a detailed prologue in each of its variants, describing the world of the higher deities of Buryat mythology or Tengris (from the Turkic-Mongolian Tengri ‘heaven, celestial’) in connection with

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Petrovic, Ivana. "General." Greece and Rome 68, no. 2 (2021): 353–60. http://dx.doi.org/10.1017/s0017383521000152.

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One of my favourite undergraduate classes to teach is Greek mythology. At American universities, Greek myth is a popular choice for satisfying humanities credit requirements, and professors are faced with a double dilemma. On the one hand, students have very different levels of knowledge, ranging from, say, a science major with virtually no idea about the ancient world to a know-it-all myth-whiz Classics major at the other end of the scale. The second problem is the choice and organization of material. Tough decisions have to be made, especially if a professor insists on students reading ancie

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Pleshkevich, E. A. "The problem of the transition from oral communications to written ones: based on the Ancient Greek literature." Bibliosphere, no. 1 (March 30, 2019): 18–25. http://dx.doi.org/10.20913/1815-3186-2019-1-18-25.

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The article is devoted to the problem of transition in Ancient Greece from oral culture to written one. Most foreign and domestic researchers associate the duration and instability of this transition with 1) peculiarities of organizing the political power, 2) the anthropomorphic specifics of Greek culture. The author proposes to analyze applying oral and written communications in the key works of such ancient Greek writers as Homer (Iliad, Odyssey), Hesiod (Theogony), Aeschylus (Petitioner), Aristophanes (Birds), as well as philosophical works of Plato (Fedr). It is established that the Ancien

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Hassan, Zena D. Mohammed, and Dheyaa K. Nayel. "The Evolution of Female Characters From Antiquity to Modernity: An Examination of Marinna Carr's and Carol Lashof's Adaptations of Classical Mythology." Journal of Language Teaching and Research 15, no. 2 (2024): 374–82. http://dx.doi.org/10.17507/jltr.1502.06.

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Literature relies heavily on mythology. Myths are stories of deities, monsters or immortals which are transformed from one generation to the other. In addition to documenting the religious and cultural experiences of a specific community, myths also outline the consequent literary, artistic and dramatic customs. Some Greek myths have survived for thousands of years because they accurately depict historical events, cultural values, and trends. Among the most famous classical myths are the myths of Medusa and Medea. As for the myth of Medusa, the earliest known record was found in Theogony (700B

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Pleshkevich, Evgeny A. "The Attitude of Ancient Greeks to Writing: A Mystery’s Secret." Observatory of Culture 15, no. 6 (2018): 708–18. http://dx.doi.org/10.25281/2072-3156-2018-15-6-708-718.

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The article is devoted to the problem of transition from oral to written culture in Ancient Greece. Most foreign and Russian researchers associate the duration and instability of this transition, firstly, with some features of power organization in the city-states, in which Greek citizens had to exercise their rights themselves — narrow specialization was condemned; and, secondly, with the anthropomorphic specificity of Greek culture. The article analyzes the use of oral and written communications in the major works of a number of ancient Greek writers: Homer (“Iliad”, “Odyssey”), Hesiod (“The

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Walcot, Peter. "S. Lombardo (tr.): Hesiod, Works and Days and Theogony. Notes and Glossary, Introduction by Robert Lamberton. Pp. 128. Indianapolis, Cambridge: Hackett Publishing Company, Inc., 1993. £18.95 (Paper, £4.95)." Classical Review 45, no. 1 (1995): 156. http://dx.doi.org/10.1017/s0009840x00292718.

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March, Jennifer R. "M. L. West: Hesiod: Theogony and Works and Days (A new translation). (The World's Classics.) Pp. xxv + 79. Oxford, New York: Oxford University Press, 1988. £17.50 (paper £2.50)." Classical Review 39, no. 2 (1989): 381. http://dx.doi.org/10.1017/s0009840x0027234x.

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Finglass, Patrick J. "Hesiod, Theogony, Works and Days, Testimonia, Edited and Translated by Glenn W. Most, Loeb Classical Library 57 (Cambridge, MA & London: Harvard University Press, 2006), LXXXII + 308 pp." International Journal of the Classical Tradition 15, no. 3 (2008): 470–73. http://dx.doi.org/10.1007/s12138-009-0055-0.

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Shelmerdine, Susan C., Hesiod, and Richard S. Caldwell. "Hesiod's Theogony." Classical World 84, no. 6 (1991): 489. http://dx.doi.org/10.2307/4350940.

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DOHERTY, LILLIAN E. "(K.) Stoddard The Narrative Voice in the Theogony of Hesiod. (Mnemosyne Supplementum 255.) Pp. xvi + 207. Leiden and Boston: Brill, 2004. Cased, €85, US$112. ISBN: 90-04-14002-6." Classical Review 56, no. 1 (2006): 4–5. http://dx.doi.org/10.1017/s0009840x0500003x.

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ZANKER, G. "TIMH IN HESIOD'S THEOGONY." Bulletin of the Institute of Classical Studies 35, no. 1 (1988): 73–78. http://dx.doi.org/10.1111/j.2041-5370.1988.tb00200.x.

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Fürst, Isidora. "Themis and Dike – Justice in Greek Myth and Tradition." Vesnik pravne istorije 2, no. 1 (2021): 9–39. http://dx.doi.org/10.51204/hlh_21101a.

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The understanding of law in Ancient Greece was based on the religious interpretations of human nature and natural laws. Two Greek goddesses were representatives of justice and fairness. In the ancient sources Themis is presented as a goddess and prophetess, one of the Titans and the daughter of Gea and Uranus. She is a symbol of divine order, justice, natural law and good customs. Dike, the daughter of Themis, is the goddess of justice and truth, the protector of rights and courts of justice, the arbiter, the symbol of honor, the goddess of revenge and punishment. In early Greek culture and po

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Almqvist, Olaf. "Hesiod’s Theogony and analogist cosmogonies." HAU: Journal of Ethnographic Theory 10, no. 1 (2020): 183–94. http://dx.doi.org/10.1086/708747.

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Vioque, Guillermo Galán. "Notes on a Forgotten Manuscript of Hesiod's Theogony." Mnemosyne 62, no. 1 (2009): 1–10. http://dx.doi.org/10.1163/156852508x252885.

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AbstractIn this article the author studies a new witness (Vaticanus gr. 1825) of Hesiod's Theogony that has been overlooked by recent editors of Hesiod's poems. It is a reliable testimony that should be preferred over one of its apographa, Laurentianus Conv. Soppr. 15, frequently quoted in West's edition.

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Huard, Warren. "Herakles and the Order of Zeus in Hesiod’s Theogony." Archiv für Religionsgeschichte 21-22, no. 1 (2020): 327–42. http://dx.doi.org/10.1515/arege-2020-0017.

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AbstractMost of Herakles’ accomplishments as portrayed in Hesiod’s Theogony concern his defeat of various monstrous entities, such as the Nemean lion. By overcoming this “bane to human beings” (πῆμ’ ἀνθρώποις, line 329) and other creatures like it, Herakles does more than make the world safer for human habitation. Significantly, many of these creatures are among the offspring of Echidna and Typhaon/Typhoeus. Zeus must defeat this Typhoeus in order to establish his dominion over the cosmos. It falls to Zeus’ son Herakles to uphold Zeus’ new cosmic order by overcoming the offspring of Typhaon re

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Park. "Parthenogenesis in Hesiod's Theogony." Preternature: Critical and Historical Studies on the Preternatural 3, no. 2 (2014): 261. http://dx.doi.org/10.5325/preternature.3.2.0261.

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Cerri, Giovanni. "The Concept of ‘Matter’ in Archaic Greece, 1: Khaos/Aèr in Hesiod’s Theogony." Peitho. Examina Antiqua 8, no. 1 (2017): 53–80. http://dx.doi.org/10.14746/pea.2017.1.3.

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The essay considers synthetically the passages of Hesiod’s Theogony concerning Khaos, Gaia, Uranòs, and Tàrtaros as describing the cosmic structure at its very beginning and at its present state. The final result of the cosmogenetic process consists of three solid parallel disks of equal size separated from one another by the space of Khaos/Aèr. The whole structure is conceived of as an ideal cylinder (ideal because it has no real lateral walls), whose superior base is Uranòs (the Sky), the inferior one is Tàrtaros (the Hell) and the median section is Gaia (the Earth), dividing the whole cylin

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47

Cerri, Giovanni. "The Concept of ‘Matter’ in Archaic Greece, 1: Khaos/Aèr in Hesiod’s Theogony." Peitho. Examina Antiqua, no. 1(8) (October 24, 2018): 53–80. http://dx.doi.org/10.14746/peitho.2017.12212.

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Abstract:

The essay considers synthetically the passages of Hesiod’s Theogony concerning Khaos, Gaia, Uranòs, and Tàrtaros as describing the cosmic structure at its very beginning and at its present state. The final result of the cosmogenetic process consists of three solid parallel disks of equal size separated from one another by the space of Khaos/Aèr. The whole structure is conceived of as an ideal cylinder (ideal because it has no real lateral walls), whose superior base is Uranòs (the Sky), the inferior one is Tàrtaros (the Hell) and the median section is Gaia (the Earth), dividing the whole cylin

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48

Johnson, David M. "Hesiod's Descriptions of Tartarus ("Theogony" 721-819)." Phoenix 53, no. 1/2 (1999): 8. http://dx.doi.org/10.2307/1088120.

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49

Sansom, Stephen A. "Typhonic Voices." Mnemosyne 73, no. 4 (2019): 609–32. http://dx.doi.org/10.1163/1568525x-12342683.

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Abstract This article argues that Lucan references Hesiod’s Typhonomachy in the voice of Erictho (Luc. 6.685-694). The intertext is significant in two respects. It casts Erictho as a nonpartisan proponent of Gigantomachy and cosmic war itself, a portrayal that informs aspects of her character as a theomachos and vates. Likewise, it presents an innovative use of Hesiod’s Theogony: instead of a poem of peace, Lucan adapts it as a paradigm of civil war.

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Blößner, Norbert. "Hesiod und Die 'Könige'. Zu 'Theogonie' 79-103." Mnemosyne 58, no. 1 (2005): 23–45. http://dx.doi.org/10.1163/1568525053420734.

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