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Artigos de revistas sobre o tema "Patroclus (Greek mythology) in art"

Autor: Grafiati

Publicado: 29 de julho de 2024

Última modificação: 31 de julho de 2025

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1

Md., Amir Hossain. "Rethinking Greek Mythology and Indian Mythology." Literary Druid 4, Special Issue 1 (2022): 9–14. https://doi.org/10.5281/zenodo.6945380.

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<em>This paper aims to look at Greek mythology, the “Iliad” and Indian mythology, “Ramayana” as a comparative study to foster common similarities based on plot construction and art of characterization. For this purpose, it would like to examine male and female characters in Greek mythology; myth in gender studies, gender in myth studies; truth, falsehood, and human knowledge; Ramayana as a reflection of social life; its impact on human life, culture and literature. The paper aims to motivate emerging scholars and novice researchers by making a comparative study between

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Türe, Hatice, Uğur Türe, F. Ylmaz Göğüş, Anton Valavanis, and M. Gazi Yaşargil. "The Art of Alleviating Pain in Greek Mythology." Neurosurgery 56, no. 1 (2005): 178–86. http://dx.doi.org/10.1227/01.neu.0000146209.19341.3b.

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Türe, Hatice, and Uğur Türe. "The Art of Alleviating Pain in Greek Mythology." Neurosurgery 58, no. 3 (2006): E590. http://dx.doi.org/10.1227/01.neu.0000207973.21811.20.

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Machinis, Theofilos G., and Kostas N. Fountas. "The Art of Alleviating Pain in Greek Mythology." Neurosurgery 58, no. 3 (2006): E590. http://dx.doi.org/10.1227/01.neu.0000207974.15973.ef.

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Ntaidou, T. K., and I. I. Siempos. "The Art of Providing Anaesthesia in Greek Mythology." Anaesthesia and Intensive Care 40, no. 1_suppl (2012): 22–27. http://dx.doi.org/10.1177/0310057x120400s105.

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Siempos, Ilias I., Theodora K. Ntaidou, and George Samonis. "The Art of Providing Resuscitation in Greek Mythology." Survey of Anesthesiology 59, no. 3 (2015): 161. http://dx.doi.org/10.1097/01.sa.0000464146.74928.9c.

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Siempos, Ilias I., Theodora K. Ntaidou, and George Samonis. "The Art of Providing Resuscitation in Greek Mythology." Anesthesia & Analgesia 119, no. 6 (2014): 1336–41. http://dx.doi.org/10.1213/ane.0000000000000416.

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Katzive, Bonnie. "Looking, Writing, Creating." Voices from the Middle 4, no. 3 (1997): 1–5. http://dx.doi.org/10.58680/vm19973754.

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Describes how a middle school language arts teacher makes analyzing and creating visual art a partner to reading and writing in her classroom. Describes a project on art and Vietnam which shows how background information can add to and influence interpretation. Describes a unit on Greek mythology and Greek vases which leads to a related visual assignment.

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Türe, H., U. Türe, F. Y. Gögüs, A. Valavanis, and M. G. Yasargil. "987 THE ART OF ALLEVIATING PAIN IN GREEK MYTHOLOGY." European Journal of Pain 10, S1 (2006): S255b—S255. http://dx.doi.org/10.1016/s1090-3801(06)60990-7.

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Yang, Yixuan. "The Embodiment and Interpretation of Greek Mythology in The Renaissance: Analyzing Perseus with The Head of Medusa." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 603–7. http://dx.doi.org/10.54097/tjamp162.

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Greek mythology had a significant influence on the arts and literature in the Renaissance. From the epic poems of Iliad and Odyssey and the ancient Theogony, to the well-known plays of Greek tragedy and modern adaptations of the gods and heroes in both literature and screens, Greek mythology is foreign to no one. This dissertation aims to discuss the embodiment and the inventive interpretation of Greek mythology in a piece of Renaissance artwork Perseus with the head of Medusa. It looks into the original story from Hesiod’s Theogony and Ovid’s Metamorphoses and analyzes the symbolic influence

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Navarrete, Miquel Àngel, and Josep Maria Sala-Valldaura. "La tela de Penelope: Entre la Grècia clàssica i la poesia catalana actual." Zeitschrift für Katalanistik 1 (July 1, 1988): 93–105. http://dx.doi.org/10.46586/zfk.1988.93-105.

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This essay examines the explicit references to Greek literature in Catalan poetry since 1980. For the first time, it examines how the Catalan poets include the mythology, philosophy and art of classical Hellas today – after the formative "noucentist" tradition of Carles Riba and Salvador Espriu – in their works. The diverse reception of Greek motifs is illustrated using selected examples. The subject areas are limited to a few central myths – primarily to the figure of the cunning Ulysses.

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Sayeed, Saria, and Pooja Tiwari. "Medusa and the Art of Female Rebellion: A New Interpretation of an Ancient Myth." Journal of Social Science and Humanities 6, no. 12 (2024): 40–45. https://doi.org/10.53469/jssh.2024.6(12).10.

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The fascinating mythological determination of Medusa has lengthy intrigued pupils and artists alike, embodying a multifaceted image of energy, femininity, and transformation. This paper pursuit to get to the bottom of the enigma surrounding Medusa via a multidisciplinary evaluation, encompassing mythology, artwork history, psychology, and feminist theory. By delving into historical Greek mythology, we discover the origins and evolution of Medusa's character, her position as a Gorgon, and the importance of her serpentine hair and petrifying gaze. Moreover, we delve into mental theories and arch

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Sushynskyi, Oleksandr. "Austro-Greece: Parafiction and Myth-Making Mechanisms of Hyperstition." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 118–27. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235231.

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The paper analizes the phenomenon of “Austro-Greek Empire” — a collective art-research project that includes ethno-cultural, social-political, and artistic frames. The fictional dimension of this “work-in-progress” project becomes its substantial part due to the topical issue of the post-truth phenomenon and conspiracy theories that are prevailing the media space. The importance of fictionalization methods in post-conceptual art is analyzed and demonstrated, given the possibility of constructing a metaposition in a situation of historical and political uncertainty. The “Austro-Greek Empire” is

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Davidko, Natalya. "Greek Myths in Elizabethan Literature and Art: A Conceptual Theory Study." Athens Journal of Philology 12, no. 2 (2025): 129–62. https://doi.org/10.30958/ajp.12-2-3.

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Ancient Greek myths played a crucial role in the Renaissance culture taking on new meanings in textual and visual art. This article assesses the role of Greek mythology in the Elizabethan period in two particular aspects: 1) the plot forming significance of fabled Greek tales and 2) their capacity to constitute a given situation within the framework of a broader myth. Antique stories were used by Elizabethan poets, dramatists, and artists as a cognitive base, a point of departure for their works setting a general direction with a clear-cut conceptual structure. The archetypal myth was then mod

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Akanova, Aikerim, Lyazzat Yespekova, Kuanyshbek Kenzhalin, Amangul Adilbek, and Amina Magzumbekova. "Mythical cognition and social consciousness (based on mythological characters)." Scientific Herald of Uzhhorod University Series Physics, no. 55 (November 24, 2023): 2674–81. http://dx.doi.org/10.54919/physics/55.2024.267vt4.

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Relevance. The set of views that are closely related to art and culture, which develops and develops in close connection with the life of the nations of the world over the centuries is called a worldview.Purpose. The root of such concepts as national cognition, national identity, general worldview is intertwined with mythology.Methodology. The article also proves the origin, foundation, continuity and irony of the mythology found in Turkic and foreign mythology, as well as analyzes the similarities and differences between the core of the Turkic worldview, mythical knowledge of the peoples in t

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Lu, Yingying. "The Unspoken Beauty: An Aesthetic Study of the Laocoön Sculpture Group." Journal of Education, Humanities and Social Sciences 52 (May 27, 2025): 185–90. https://doi.org/10.54097/khk7qq43.

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The Laocoön sculpture group is one of the masterpieces of ancient Greek sculpture, portraying the tragic scene from Greek mythology in which Laocoön and his two sons are entangled by serpents. As a form of plastic art, sculpture differs from literary works such as poetry—although it cannot convey its aesthetic connotations through language, it presents beauty more directly and concretely. The Laocoön group stands at the pinnacle of Hellenistic art, representing an epic tragedy with unique aesthetic expressiveness. This paper investigates the aesthetic appeal of this sculpture group from three

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Zhigalova, I. V. "Philosophical and anthropological aspect of the meaning of music in ancient Greece." Abyss (Studies in Philosophy, Political science and Social anthropology), no. 1(31) (2025): 196–207. https://doi.org/10.33979/2587-7534-2025-1-196-207.

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This article is dedicated to the study of the formation of vocal culture as well as, through research and analysis, the musical art and its' meaning in ancient Greece. The author carefully examines both the significance of music in ancient Greece as well as its' impact on the representatives of ancient Greek culture, while simultaneously identifying their mutual influence. Also, the author reveals the tight connection between the ancient Greek musical art and the system of ancient Greek mythology, which in of itself played a most vital role in the worldview of the ancient Hellene and found its

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James, David. "The Transition from Art to Religion in Hegel's Theory of Absolute Spirit." Dialogue 46, no. 2 (2007): 265–86. http://dx.doi.org/10.1017/s0012217300001748.

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ABSTRACTI relate the aesthetic mediation of reason and the identity of religion and mythology found in the Earliest System-Programme of German Idealism to Hegel's account of the transition from the ancient Greek religion of art to the revealed religion (Christianity) in his theory of absolute spirit. While this transition turns on the idea that the revealed religion mediates reason more adequately in virtue of its form (i.e., representational thought), I argue that Hegel's account of the limitations of religious representational thought, when taken in conjunction with some of his ideas concern

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Kiourt, Chairi, and Stella Markantonatou. "Intertwining Culture With Education Through Gamified Storytelling." International Journal of Computational Methods in Heritage Science 2, no. 1 (2018): 8–22. http://dx.doi.org/10.4018/ijcmhs.2018010102.

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Coupling culture and education has attracted significant attention and pushed towards the replacement of the typical STEM model into STEAM. An effective integration of culture in the everyday educational practice, empowered by game-based storytelling has already shown great potential in transforming the way people are exposed to and grasp knowledge. This paper presents an attempt to put culture, education, gaming and storytelling together. Myth Trek was a game developed using state-of-the-art gaming technology, and integrated elements going back in time all the way to the ancient Greek mytholo

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Madhu, Bala, and Kumar Amit. "Some Fascinating Creatures in Greek Mythology: Their Symbolic Significance and Depiction in Art and Literature." International Journal of Research(IJR) 9, no. 09-05-2022 (2022): 213–21. https://doi.org/10.5281/zenodo.6535275.

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Abstract Since earliest times monsters have awed, terrified and enthralled us, and they have figured in the myths, stories, poetry and prose of numerous cultures down the ages. There are thousands of poems and passages about them in Classical (i.e. ancient Greek and Latin) literature, ranging all the way from the horrific to the humorous. Finding stories about these creatures which are highly entertaining in themselves, we acquire a basic grounding in literary criticism which will enable us to read narratives about monsters with more perception and more enjoyment. The depiction of monsters and

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Constantakopoulou, Christy. "Landscape and Hunting. The Economy of the Eschatia." Land 7, no. 3 (2018): 89. http://dx.doi.org/10.3390/land7030089.

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This paper explores the place of ancient Greek hunting within the Greek landscape and environment, with particular reference to the eschatia, the marginal, uncultivated (or marginally cultivated) land. It is part of a bigger project on the social history of hunting in archaic and classical Greece, where emphasis is placed on the economic and dietary contribution of hunting for Greek communities. Hunting has attracted scholarly attention, mostly as a result of the role that hunting narratives play in Greek mythology, and the importance of hunting scenes in Greek art. Rather than talking about t

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Sharma, Prakash, and Toya Nath Upadhya. "Relocation of Greek Myth in Salvador Dali’s Painting Metamorphosis of Narcissus." Contemporary Research: An Interdisciplinary Academic Journal 7, no. 2 (2024): 217–27. http://dx.doi.org/10.3126/craiaj.v7i2.72168.

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Critical observation of the surrealistic painting Metamorphosis of Narcissus (1939) by Salvador Dali unfolds his act of relocating the Greek myth of Narcissus in a unique way, which captures the multiple moments in a single painting. The painting beautifully captures Narcissus first in a crouched naked position and then in a transformed form holding an egg symbolizing the source of Narcissus' germination. At this backdrop, this research paper reveals how Dali has used the paranoiac-critical method, for which he is best known, to expose the transformative quality of Narcissus. It also reveals t

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Tereshchenko, Tatiana S. "Representations of Africans in Ancient Greek Art: Ritual and Semantic Aspects of the Utilitarian Objects." Oriental Courier, no. 4 (2024): 0. https://doi.org/10.18254/s268684310033440-2.

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Images of the Africans emerged in the art of the Archaic Period (the middle of the 7th – early 5th centuries BC) due to the contacts with Egypt and preserved in the Hellenistic art (4th century BC – 1st century AD). They preserved in the objects of applied arts: in jewelry and first in the vase painting and in the small plastic. Ceramics in Ancient Greek culture had a particular status: this was not just a utilitarian or ritual object but also a means of representation of the picture of the world. The characteristic trait of representations of not only Africans, but of all the Others, in Ancie

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Shu, Jiajie. "From “Goddesses” to “Women”." Frontiers in Humanities and Social Sciences 5, no. 3 (2025): 469–73. https://doi.org/10.54691/54tfbk51.

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The Three Graces, representing beauty, joy, and happiness in Greek mythology, have been portrayed in various forms throughout art history. This paper explores the transformation of these goddesses from divine symbols to humanized representations, using four works by Botticelli, Raphael, Rubens, and Boucher as case studies. By examining these artworks within their historical and social contexts, the paper highlights how each artist reinterprets The Three Graces in line with the evolving cultural values of their time. Botticelli’s depiction in Spring portrays the goddesses as youthful and sensua

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Rodríguez Pérez, Joana. "El espejo deformante. Heracles en el cine del siglo XXI." Latente Revista de Historia y Estética audiovisual, no. 19 (2021): 88–122. http://dx.doi.org/10.25145/j.latente.2021.19.05.

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This article examines how 21st-century cinema has embraced one of the most important figures in classical mythology, the Greek hero Herakles. How cinematic art has captured and adapted the events that classical sources tell of the myth of the son of Zeus. And beyond his story, how it has assumed, varied or decontextualized the personality, values and attitude of a being that was undeniably of his time. In this way, by comparing the written story with the filmed story, we examine which episodes of the hero’s life have been brought to the big screen and which of them have not, and try to explain

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Schneider, Birgit. "Klangteppiche. Transmediale Verhältnisse zwischen Weberei und Musik." Zeitschrift für Medien- und Kulturforschung 6, no. 1 (2015): 133–58. http://dx.doi.org/10.28937/1000106436.

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Ausgehend von der griechischen Mythologie werden die vielfältigen Beziehungen zwischen Singen und Weben, dem Flechttanz und den strukturellen Ähnlichkeiten von Notationsformen und Steuerungsprinzipien in Musik und Weberei ausgelotet. Es zeigt sich, dass das Verhältnis der Zeitkunst Musik und der Raumkunst Weberei weit über das hinausweist, was sich im bloß metaphorischen Sprechen von >Klanggeweben< abzeichnet. Die Beziehung zwischen Kunstformen und Medien bringt vielmehr mythischspirituelle Ebenen zum Ausdruck. Die Umwandlung von Geweben in Musik respektive Musik in Weberei wiederum mach

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Haine, Malou. "L’éducation par l’art selon Liszt." Studia Musicologica 55, no. 1-2 (2014): 3–16. http://dx.doi.org/10.1556/6.2014.55.1.1-2.

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Liszt followed the education of his own children through letters, but he rarely saw them while they were young. The education that Marie Sayn-Wittgenstein received in Weimar, when her mother settled there with Liszt, was completely different. The young princess was only ten years old and she read many classic and modern writers; she even translated some of them. Greek mythology had a privileged place in her education. She attended several concerts. Private teachers gave her lessons in drawing, history, and art history. She travelled with her mother to Berlin and Paris in order to visit artists

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Beaumont, Lesley. "Mythological childhood: a male preserve? An interpretation of classical Athenian iconography in its socio-historical context." Annual of the British School at Athens 90 (November 1995): 339–61. http://dx.doi.org/10.1017/s0068245400016245.

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The birth and childhood of the Greek male gods and heroes are themes well documented in classical Athenian art and myth. By contrast, contemporary Athenian iconography and mythology are remarkably empty of references to the birth and infancy of the female heroes and female gods, or alternatively present the newborn goddesses as adult women. This article seeks to shed light on the apparently missing childhood phase of the goddesses and heroines, by examining the evidence of fifth-century Athenian iconography in its socio-historical context. Consequently, in the case of the goddesses, it is prop

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Aguiar, Leonardo Ferreira. "O poeta é um forjador: três momentos hefésticos na lírica drummondiana." Magma, no. 20 (November 18, 2024): 149–62. https://doi.org/10.11606/issn.2448-1769.mag.2024.222722.

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The present work stems from a play on words with a poem by Fernando Pessoa and a reference to the Greek mythology god Hephaestus, aiming to underscore the deliberate nature of composition in terms of form and content in three instances of Carlos Drummond de Andrade's lyrical works: “Poesia” from Alguma poesia, “Procura da poesia” from A rosa do povo, and “Oficina irritada” from Claro enigma. The comparison of these three poems aims to highlight how, over a span of twenty years, the poetry of the Itabira-born poet crafted new forms to engage with content influenced by the historical and social

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C. A. Thomopoulos, Stelios, Panagiotis Tsimpiridis, Eleni-Ino Theodorou, Christos Maroglou, Efstathios Georgiou, and Christiana Christopoulou. "COSMOS: An Innovative, Graph-based Application for the Relational Presentation and Visualization of Greek Mythology and the Associated Art." American Journal of Computer Science and Technology 5, no. 1 (2022): 16. http://dx.doi.org/10.11648/j.ajcst.20220501.12.

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Κατσιγιάννη, Άννα. "ΑΝΝΑ ΚΑΤΣΙΓΙΑΝΝΗ, Ευτοπία (;) και προσωπική μυθολογία: Διακαλλιτεχνική μείξη και ανακατασκευή της παράδοσης στο Ες -Ες -Ες -Ερ Ρωσσία του Ανδρέα Εμπειρίκου". Σύγκριση 31 (28 грудня 2022): 74–88. http://dx.doi.org/10.12681/comparison.31276.

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Eutopia (?) and Personal Mythology: Interartistic relations and Reconstruction of intellectual tradition in USSR Russia of Andreas Embeirikos The present paper focuses mainly on the extensive narrative poem USSR Russia (in Greek: Ες -Ες -Ες -Ερ Ρωσσία) by Andreas Embeiricos. It seeks to illuminate how different art forms are brought together in weaving the poem's narrative, language combining with visual imagery and Tsaikofsky’s music to «orchestrate» the poetic text. Another purpose of this paper is to trace the reconstruction of the intellectual tradition in this long programmatic poem. It h

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Tkaczyk, Krzysztof. "„ICH FORDRE SO VIEL FREIHEIT UND MUSSE, ALS NÖTIG IST, ÜBER MICH SELBST, ÜBER MEINE BESTIMMUNG UND MEINEN WERTH ALS MENSCH ZU DENKEN“.1 ZUR KUNST- UND FREIHEITSKONZEPTION BEI KARL PHILIPP MORITZ." Literatūra 50, no. 5 (2016): 85. http://dx.doi.org/10.15388/litera.2008.5.10231.

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In 1786 in Rome, Johann Wolfgang Goethe wrote about him: “He is my younger brother; we art cut from the same mould. However, fate was against him, whereas I was fortune’s favourite.” He meant Karl Phillip Moritz (1756-1793), a German writer and art critic, Greek mythology historian, precursor of modern psychology and the author of psychological novel. If we assume that Goethe’s comments concern Moritz’s material and social status only, we would have to admit that Goethe was right. However, if we apply these judgments to the quality of his (Moritz’s) works, we would be inclined to saying that i

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Kardaun, Maria. "The Philosopher and the Beast: Plato's Fear of Tragedy." PsyArt 18 (May 18, 2014): 148–63. https://doi.org/10.5281/zenodo.15333735.

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It is well known that in Plato’s utopian ideal state there is no room for free artistic expression: artists are mistrusted and art works heavily censored. Less known is that, once they are properly selected and purified, art works are particularly valued by Plato. However, Plato completely disapproves of a certain category of art, which he defines as ‘mimetic’. ‘Mimetic art’ is a priori disqualified by him as morally bad, misleading and dangerous. It is therefore categorically forbidden in the ideal state. In practice, Plato identifies ‘mimetic art’ ch

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Śmiechowicz, Olga. "Pure Propaganda or Great Art, Patriotism and Civic Engagement? How Aeschylus and Euripides Used Their Plots to Support Athenian Politics towards the Allies." Symbolae Philologorum Posnaniensium Graecae et Latinae 29, no. 2 (2019): 5–16. http://dx.doi.org/10.14746/sppgl.2020.xxix.2.1.

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In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian “international policies.” Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not be

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Terzić, Marija. "MEASURE AND EXCESS: AHMED NURUDDIN – TRANSFORMING APOLLO INTO DIONYSUS." Филолог – часопис за језик књижевност и културу 14, no. 27 (2023): 497–511. http://dx.doi.org/10.21618/fil2327497t.

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This paper deals with Apollo and Dyonisian elements in dervish Ahmed Nuruddin's characterisation. This paper analyses the dervish Ahmed Nuruddin in light of Nietzche's understanding of Apollo and Dionysus deities in terms of their divine roots originating from ancient Greek mythology without any intention whatsoever to present Nietzche's entire philosophical system on the relationships between Dionysus, Greek tragedy, and the connections between art and nature with these principles. The dichotomy will be analysed on the example of the Serbian novel, Death and the Dervish written by Meša Selimo

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Liberman, Anatoly. "William Henry Fox Talbot (1800–1877) and the “Interim Period” in the history of English etymology." Grammarians, Skalds and Rune Carvers I 69, no. 1 (2016): 95–112. http://dx.doi.org/10.1075/nowele.69.1.03lib.

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Henry Fox Talbot, the father of photography, was a polymath, and among his many publications we find works on mathematics, physics, astronomy, chemistry, archeology, ancient history, mythology, and Assyrian cuneiform inscriptions. He was also at home in botany. In 1847 he brought out a thick book titled English Etymologies. His archive at Cambridge allows one to trace the preparatory stages for this work. Talbot’s book is instructive as an example of how some talented, brilliantly educated, and industrious Englishmen in the forties of the nineteenth century went about discovering the origin of

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Persi, Ugo. "Античные мотивы в поэтическом мире Максимилиана Волошина. Aрхаизм или архаизирование ?" Modernités Russes 15, № 1 (2015): 315–23. http://dx.doi.org/10.3406/modru.2015.1042.

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In Maksimilian Vološin’s poetry and criticism classical antiquity does not predominate over other themes, yet at the same time we can argue that Greek antiquity reverberates throughout his work. Vološin tackled the theme of archaism in an essay published in the first issue of Apollon. Pavel Muratov criticized it harshly, considering unacceptable its confusion of archaism and archaicization. Vološin was not actually archaicizing antiquity : he was refashioning it through the use of archetypes. It is thus necessary to study antiquity in Vološin not only in the light of classical philology and my

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Porshnev, Valerij P. "Landscape gardening art of the Hellenistic states of Asia Minor." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 112–20. http://dx.doi.org/10.30725/2619-0303-2021-1-112-120.

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The article continues a cycle of publications of the author on Hellenustic landscape gardening art. The cultural region, which already in the most ancient times was a contact zone between the Greek world and the East is considered. The historical heritage of the Phrygian and Lydian kingdoms and the Persian Empire, which bequeathed to governors the Hellenistic era sacred groves, hunting reserves paradises and terrace parks with regular planning is traced. Special attention is devoted to parks of the Pontic kingdom of time of Mithridates VI Eupator’s government and parks of Pergamon. The country

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Georgiadou, Zoe, Vaso Florou, and Ifigenia Ilia Georgiadou. "Contemporary condemnation of memory." Global Journal of Sociology: Current Issues 11, no. 1 (2021): 20–27. http://dx.doi.org/10.18844/gjs.v11i1.5449.

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Mnemosyne in Greek mythology was the daughter of Gaea and Uranus, and mother of the nine Muses, whose father was Zeus. She was the personification of memory and was connected in this way to the Arts, as artists recalled primordial memories to draw inspiration for their creations. ‘Damnatio memoriae’, the Roman punishment meaning condemnation of memory, was an official sanction, successful in wiping out the memory of any individual who was convicted of being a tyrant, a traitor or another sort of enemy of the state. The images of such condemned persons had to be destroyed, their names erased fr

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Trubnikоva, Liudmyla. "AN EVOLUTION OF MIMIC LOOK AT FINE ART." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 161–69. http://dx.doi.org/10.33838/naoma.28.2019.161-169.

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This article explore and analyses conformity to natural laws of individual interpretations of human emotions on a masterpieces of European artists from Antic age to early Modernism, also in Ukrainian painting (for instance, creative works of Olexander Murashko), The following examples are setting peculairities of creative positions of every author which reflected unusual mimic grimaces of his heroues in pickturesque portraits (especially at works of Antonello da Messina, Ercole de Roberti, Leonardo da Vinci, Frans Hals, Rembrandt Hannenszoon van Rijn, Mihaly Munkacsy, Ilya Repin, Edward Munk,

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Bychkov, Victor. "To the aesthetics of early works of Friedrich Schlegel." Философия и культура, no. 11 (November 2020): 1–14. http://dx.doi.org/10.7256/2454-0757.2020.11.34306.

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The subject of this research is the aesthetics of early works of Friedrich Schlegel. In his aesthetics, Schlegel continues the traditions of German classical philosophy, placing emphasis on the principles of beautiful and sublime in art. Schlegel believes that both, beauty and morality are innate traits of a person, which besides ethical also has &ldquo;aesthetic imperative&rdquo;. Beauty, as a &rdquo;transcendental factor&rdquo;, beauty is based on indifferent pleasure and represents the ideal that was reached by the ancient Greek art, while contemporary art does not tend towa

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Burgess, Jonathan. "Achilles' Heel: The Death of Achilles in Ancient Myth." Classical Antiquity 14, no. 2 (1995): 217–44. http://dx.doi.org/10.2307/25011021.

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This study examines the death of Achilles in ancient myth, focusing on the hero's imperfect invulnerability. It is concluded that this concept is of late origin, perhaps of the Hellenistic period. Early evidence about Achilles' infancy does not suggest that he was made invulnerable, and early evidence concerning his death apparently indicates that Achilles was wounded more than once. The story of Achilles' heel as we know it is therefore late, though it is demonstrable that certain themes and motifs of earlier traditions about Achilles were preserved in later traditions. What caused the concep

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Boyko, L. A. "Philosophical and religious prerequisites for the formation of abstract art." Abyss (Studies in Philosophy, Political science and Social anthropology), no. 2 (28) (2024): 101–11. http://dx.doi.org/10.33979/2587-7534-2024-2-101-111.

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The subject of this study is the philosophical and religious background of abstractionism in the visual arts. The purpose of this article is to analyze the influence of the philosophical views of A. Bergson and religious practices on the work of the founders of abstract. Given the complexity and ambiguity of the topic of the article, the following methodological approach was taken: not only artistic, but also theoretical works of the most prominent figures of abstractionism were analyzed: V. Kandinsky, K. Malevich, P. Mondrian. A theoretical review of studies on the problem of the crisis in ar

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Akhmedov, Ilia. "Some Remarks on the Genesis of One of the Images of Early Medieval Art." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (February 2019): 25–46. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.2.

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The article focuses on the origin of the image of a dragon with a serpentine body known in the early medieval antiquities of Eastern European nomads. Researchers have long been discussing such images found on the sites of the Volga region and the Urals. According to the most recent hypothesis proposed by N.A. Lifanov, these dragon figures generally match the image of ancient κyτος which was adopted as a result of the acquaintance of the steppe inhabitants with works of late antique or early Byzantine art. The present study addresses a wide range of sources allowing us to construct an alternati

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Dunaeva, Ekaterina. "The History of One Personal Copy: Esper E. Ukhtomsky (1861–1821) — His life, His Buddhist Collection, and the Study of Buddhism in Russia." Oriental Courier, no. 4 (2022): 91. http://dx.doi.org/10.18254/s268684310023804-2.

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The article focuses on the contribution of Esper E. Ukhtomsky, an outstanding collector of Buddhist sculpture and painting in pre-revolutionary Russia, to the study of Buddhist art. In addition to the main episodes of the biography, little covered earlier in research, the author examines how Ukhtomsky, who had the largest private Buddhist collection in the Russian Empire, contributed to the study of Buddhist art and collaborated with Albert Grunwedel, to whom he provided part of his collection, resulting in the famous Grunwedel’s work “The Mythology of Buddhism in Tibet and Mongolia”. Ukhtomsk

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Φερεντίνου, Βικτώρια. "ΒΙΚΤΩΡΙΑ ΦΕΡΕΝΤΙΝΟΥ, Τα συγκοινωνούντα δοχεία μιας υβριδικής ποιητικής: Ο μύθος ως διακαλλιτεχνική και διαπολιτισμική ώσμωση στο έργο του Νίκου Εγγονόπουλου". Σύγκριση 31 (28 грудня 2022): 28–41. http://dx.doi.org/10.12681/comparison.31272.

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The Communicating Vessels of a Hybrid Poetics: Myth as Intermedial and Intercultural Osmosis in the Oeuvre of Nikos Engonopoulos In 1938, the year of the International Exhibition of Surrealism at the Gallery Beaux-Arts in Paris, the poet and painter Nikos Engonopoulos created Birth of Orpheus and Genesis of Myth. The depiction of the birth of young Orpheus as emblematic of the construction of myth recalls the mythopoetic process as articulated in the anthology of the poet, psychoanalyst and photographer Andreas Embeirikos, Writings or Personal Mythology (1936-1946): “Each myth’s becoming is a

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Buchanan, Sophie. "Representing Medea on Roman Sarcophagi: Contemplating a Paradox." Ramus 41, no. 1-2 (2012): 144–60. http://dx.doi.org/10.1017/s0048671x00000291.

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It is one thing to find Medea compelling, another to make her art, let alone funerary art. This article faces this complexity head on by examining Medea's visual identity within a sepulchral context. It interrogates her presence on Roman sarcophagi of the mid to late second century CE. The corpus is not insubstantial—nine intact relief panels plus further fragmentary pieces offer ample testament to Medea's presence in the funerary context. Beyond this sphere, Medea's emotionally charged legacy needs no introduction, and her characterisation—outsider, avenger, semi-divine sorceress, victim and

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Mshvildadze, Marika. "Diety Nike-Victoria of the late Antique period on the territory of Georgia." Pro Georgia 33, no. 1 (2023): 161–68. http://dx.doi.org/10.61097/12301604/pg33/2023/161-168.

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The states on the territory of Georgia were part of the Classical antiquity ecumene. Accordingly, both Iberia and Colchis had close trade-economic and cultural relations with the Roman Empire, from where the deities popular in the empire spread to the territory of Georgia. Among them, a special place is occupied by the ancient god of victory, Nike (Ancient Greek: Νίκη). The name Nike is believed to date back to the pre- Greek period. In Greek mythology, Nike appears as a companion of Zeus and Athena. In Greek art, the deity is mainly depicted with symbols of victory – wings, a crown and a palm

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Chumachenko, Olena. "Entertainment as a sociocultural phenomenon: historical and cultural analysis." Culturology Ideas, no. 19 (1'2021) (2020): 55–65. http://dx.doi.org/10.37627/2311-9489-19-2021-1.55-65.

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The article deals with the phenomenon of Entertainment in the historic and cultural dimensions. Entire image-concept of Entertainment in traditional, universalistic-modern, postmodern, transcultural discourses is determined. Entertainment is a specific existential concept, it is a fundamental principle of philosophical knowledge revealing a person's relations with oneself and other people. Since ancient times, the phenomenon of Entertainment has basically been one of the ways of human existence, an element through which a person understands his place in the world and his relationship with othe

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Kotaridi, Yuliya G. "Philosophical Versions of the Eternal Storyline About Cupid and Psyche: from Neoplatonism to Christianity." Проблемы исторической поэтики 27, no. 1 (2020): 36–55. http://dx.doi.org/10.15393/j9.art.2020.7302.

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<p>The subject of this paper is the transformation of the poetics of Cupid and Psyche plot in its national and historical modifications in European literature. The methodology of the analysis is based on mythological studies (A.&nbsp;N.&nbsp;Veselovsky, A.&nbsp;F.&nbsp;Losev) and genre studies (M.&nbsp;M.&nbsp;Bakhtin, S.&nbsp;S.&nbsp;Averintsev, E.&nbsp;M.&nbsp;Meletinsky, etc.). Allegorization of the images of Love and Soul appeared in the antiquity long before the novel by Apuleius &ldquo;Asinus Aureus&rdquo; or &ldquo;Metamorphoses&

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