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Zeitschriftenartikel zum Thema „Argonautica“

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Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 25. Mai 2024

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1

McPhee, Brian D. „The Argo, Danaus, and Sesostris: On Allusions to Two First-Ship Traditions in Apollonius’s Argonautica“. Yearbook of Ancient Greek Epic Online 5, Nr. 1 (30.11.2021): 166–95. http://dx.doi.org/10.1163/24688487-00501005.

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Abstract Against recent skepticism, this article proposes that Apollonius’s Argonautica alludes to the variant traditions that regarded either the Argo or the ship of Danaus as the first that ever sailed. Both variants predate Apollonius, and the poet nods to each at different points in his epic. Most novel is my argument that the rare word Δαναΐς (1.137) constitutes a subtle allusion to the tradition that Danaus’s ship, the “Danais” (Δαναΐς, scholium ad Argonautica 1.1–4e), was the world’s first ship. Neither tradition jibes with Apollonius’s mythological chronology, but Danaus’s voyage nevertheless provides a resonant Greco-Egyptian exemplar for the Argonautic expedition.

2

Magnelli, Enrico. „Quattro brevi note al quarto libro di Apollonio Rodio“. II, 2022/2 (gennaio-dicembre), Nr. 2 (10.01.2023): 1–9. http://dx.doi.org/10.35948/dilef/2023.4324.

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Note esegetiche e stilistiche al quarto libro delle Argonautiche di Apollonio, vv. 604 (con un possibile intervento testuale), 725, 1094, 1285.   Exegetical notes and stylistic observations on the fourth book of Apollonius’ Argonautica, vv. 604 (with a possible textual emendation), 725, 1094, 1285.

3

SCHINDLER, Claudia. „Claudians 'Argonautica'“. Caeculus 6 (01.12.2005): 107–23. http://dx.doi.org/10.2143/cae.6.0.2004670.

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4

West, M. L. „Odyssey and Argonautica“. Classical Quarterly 55, Nr. 1 (Mai 2005): 39–64. http://dx.doi.org/10.1093/cq/bmi003.

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5

Taylor, P. Ruth. „Valerius' Flavian Argonautica“. Classical Quarterly 44, Nr. 1 (Mai 1994): 212–35. http://dx.doi.org/10.1017/s0009838800017316.

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‘[Valerius'] Argonautica is a story of high adventure, not a poème à thèse’: so stated Garson in 1965. Strand later added that the essential nature of this poem and the choice of subject-matter was determined by poetic inability; he describes the prooemium to Valerius' Argonautica as ‘a recusatio: the theme of the fall of Jerusalem is beyond his powers, and it would instead be treated by Domitian who was fit for such an arduous task; Valerius had to content himself with the theme of an old myth’. It is these two opinions that I wish to question in this article. Indeed, alarm bells immediately sound at Strand's interpretation of the poet's recusatio. It has long been recognized that the original Callimachean recusatio was twisted by the Augustan poets. Gordon Williams analyses their practice thus: ‘They sadly regret that their poor talents will not rise to great subjects – and the subjects to which they will not rise are not the old mythological tales but the great affairs of contemporary Roman history and, in particular, the deeds of Augustus. It is clear, however, that they are using this form of poem to enumerate and praise the great deeds of Augustus, under the guise of proposing their own inability.’ No-one hesitates to agree that Valerius was well versed in the Augustan poets. It is dangerous, therefore, to assume without question that he was deceived by their insincerity. There is in fact good reason to examine the alternative possibility, namely that Valerius understood well the practice of his literary predecessors, that he dared to tread in their footsteps and that he succeeded in the supreme duty of a poet, that is to say, the business of ensuring that ars celavit artem.

6

Alexandrova, Tatiana. „The Orphic Argonautica“. St. Tikhons' University Review. Series III. Philology 75 (30.06.2023): 63–106. http://dx.doi.org/10.15382/sturiii202375.63-106.

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The publication presents a literary translation of the late Antique poem “Orphic Argonautica”, approximately dating from the 4th –5th centuries AD. This is a pseudepigraph, the author of which deliberately hid his name by signing the poem with the name of the mythical singer Orpheus. Along with the “Lithica”, the “Orphic Argonautica” is one of the two epic poems included in the corpus of orphic texts. From other versions of the epic on the plot of the myth about the Argonauts, it differs in length, being shorter, and in the special emphasis on the role of the ‘author’ and narrator, Orpheus; with attention to the sacred rites that he performs and with the description of the path itself. The love story of Jason and Medea, unlike other poems, is consigned to the periphery. In addition to the predictable coincidences with the “Argonautica”by Apollonius of Rhodes, in the “Orphic Argonautica” some intersections can be seen with the Latin epic poems: “Argonautica”: by Valerius Flaccus and “Punica”: by Silius Italicus, although the author can be not familiar with them he uses the same sources. The second part of the poem is of the greatest interest, in which the periplus of Northern Europe is given. The author follows the version of Timaeus from Tauromenium (4th century BC), according to which the Argonauts returned from Colchis through the Tanais, northern rivers and Ocean, and, having rounded Western Europe, entered the Mediterranean Sea. At the same time, he uses other geographical sources of Hellenistic time, thanks to which the narrative is basically plausible and testifies to the acquaintance of the Greeks with the northern sea routes. The literary merits of the poem are traditionally underestimated by scholars, but such an assessment is largely biased: the author pursues his own goals and chooses literary means in relation to them.

7

Clauss, James J. „Narrative in the Argonautica“. Classical Review 55, Nr. 2 (Oktober 2005): 454–56. http://dx.doi.org/10.1093/clrevj/bni252.

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8

Kinsella, John. „Clouds, and: Brindisi Argonautica“. Colorado Review 50, Nr. 3 (September 2023): 109–12. http://dx.doi.org/10.1353/col.2023.a912446.

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9

Bustos, M. N. „METAPOETIC REFLECTIONS IN THREE AETIA OF THE ARGONAUTICA“. Akroterion 66 (2021): 59–77. http://dx.doi.org/10.7445/66--1018.

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This article studies three aetia in the Argonautica that have metapoetic significance as comments on Apollonius’ Callimachean poetics. In the first aetion (1.1132–1139), the Pyrrhic dance reflects the Argonauts’ key role as active agents in the creation of the plot and shows its Callimachean allegiance in the repurposing of traditional martial imagery. In the second one (4.1719–1730), the meagerness of the Argonauts’ offering to Apollo at Anaphe and the light jesting between Medea’s maidens and the Argonauts are programmatic reflections of the ‘lean’ poetics advocated by Callimachus in the Aetia ‘prologue’ (fr. 1). The third aetion (4.1765–1772), by closing the Argonautica in correspondence with the beginning of Callimachus’ Aetia, stresses the close connection between Apollonius and Callimachus. In it, the quick pace, lightness and playfulness of the hydrophoria at Aegina mirrors the fast coming to an end and happy tone that closes the Argonautica.

10

Beck, Deborah. „Expressive Narration in Apollonius’ Argonautica“. Syllecta Classica 25, Nr. 1 (2014): 33–58. http://dx.doi.org/10.1353/syl.2014.0001.

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11

Muntz, Charles E. „The Argonautica of Diodorus Siculus“. TAPA 148, Nr. 2 (2018): 331–60. http://dx.doi.org/10.1353/apa.2018.0013.

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12

Mason, H. C. „Jason’s Cloak and the Shield of Heracles“. Mnemosyne 69, Nr. 2 (04.02.2016): 183–201. http://dx.doi.org/10.1163/1568525x-12341830.

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This article discusses the relationship between Apollonius Rhodius and pseudo-Hesiod. It argues that the ecphrasis on Jason’s cloak (Arg. 1.721-767) alludes extensively to the Shield of Heracles and to other Hesiodic poetry. Although some of the parallels in question have been noted before, many have been underplayed or overlooked. Apollonius’ references to ‘Hesiod’ should direct the audience’s reading of the Argonautica: the echoes of the Shield of Heracles focus attention on Heracles, who functions as a foil to Jason throughout the Argonautica, and invite comparison and contrast between the two heroes. The recognition of these allusions also has implications for certain problems in Hellenistic poetry.

13

White, Heather. „Textual Problems in Apollonius Rhodius' Argonautica“. L'antiquité classique 61, Nr. 1 (1992): 135–57. http://dx.doi.org/10.3406/antiq.1992.1136.

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14

Clack, Jerry, und R. L. Hunter. „Appollonius of Rhodes: Argonautica Book III“. Classical World 84, Nr. 1 (1990): 66. http://dx.doi.org/10.2307/4350737.

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15

Poortvliet, H. M. „Textual Problems in Valerius Flaccus’ Argonautica“. Mnemosyne 66, Nr. 4-5 (2013): 791–93. http://dx.doi.org/10.1163/1568525x-12341241.

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16

Radová, Irena. „Hera and Juno in the Argonautica“. Acta Antiqua Academiae Scientiarum Hungaricae 57, Nr. 2-3 (Juni 2017): 207–14. http://dx.doi.org/10.1556/068.2017.57.2-3.6.

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17

Dworniak, Justyna. „Ἀργὼ πᾶσι μέλουσα, παρ᾽ Αἰήταο πλέουσα – greckie źródła literackie do poznania mitu o Medei i wyprawie Argonautów po złote runo od VIII w. p.n.e. do III w. p.n.e.“ Studia Europaea Gnesnensia, Nr. 19 (15.06.2019): 9–30. http://dx.doi.org/10.14746/seg.2019.19.1.

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The myth of Medea and the Argonauts’ voyage to the faraway Colchis in search of the Golden Fleece belongs to the earliest legends of ancient Greece. The narrative elements of the tale would change over time. For almost thirteen centuries, from Homer to the late-antique poem Argonautica Orphica, which yet again retold the heroes’ expedition to Colchis, the legend of the Colchian sorceress and the fifty brave men fascinated ancient poets, historians and tragedians. Hence the paper focuses on the Greek literary sources which conveyed the tale. A detailed discussion of the works aims to highlight the diversity and multiplicity of the myth’s versions as well as outlines the evolution of the legend, whose most celebrated and recognized literary variant is found in Argonautica by Apollonius Rhodius.

18

Clauss, James J. „Tom Phillips: Untimely Epic. Apollonius Rhodius’ Argonautica.“ Gnomon 94, Nr. 7 (2022): 585–88. http://dx.doi.org/10.17104/0017-1417-2022-7-585.

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19

Buckley, Emma. „Valerius' Natural Questions? Interpreting the Flavian Argonautica“. Phoenix 72, Nr. 3-4 (2018): 218–38. http://dx.doi.org/10.1353/phx.2018.0012.

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20

Pendergraft, Mary Louise B. „Eros Ludens: Apollonius' Argonautica 3, 132-41“. Materiali e discussioni per l’analisi dei testi classici, Nr. 26 (1991): 95. http://dx.doi.org/10.2307/40235981.

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21

Holmberg, Ingrid E. „Mhtis and Gender in Apollonius Rhodius' Argonautica“. Transactions of the American Philological Association (1974-) 128 (1998): 135. http://dx.doi.org/10.2307/284410.

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22

Stewart, Selina. „Argonauts in the Mist: Argonautica 3.210–14“. Classical Philology 108, Nr. 3 (Juli 2013): 235–40. http://dx.doi.org/10.1086/672005.

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23

Junior, Fernando Rodrigues. „Medea´s heroism in Apollonius Rhodius´ Argonautica“. Revista Archai, Nr. 21 (2017): 229–53. http://dx.doi.org/10.14195/1984-249x_22_9.

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24

Knight, Virginia. „Apollonius, Argonautica 4.167–70 and Euripides' Medea“. Classical Quarterly 41, Nr. 1 (Mai 1991): 248–50. http://dx.doi.org/10.1017/s0009838800003736.

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The study of Homeric echoes and allusions in the Argonautica has overshadowed the influence of other literature, even when, as with tragedy, such influence is clear. The easiest framework for studying allusions to tragedy in Apollonius is comparison with the different types of allusion to Homer. Situations in the epic may recall situations and relationships in tragedy, and verbal similarities to passages in tragedy are also identifiable, despite differences of dialect and metre. The latter are often enhanced by rare words, as Homeric hapax legomena and other Homeric rarities establish allusions to the Iliad and Odyssey.

25

Adkin, Neil. „VALERIUS FLACCUS’ LANIABOR-ACROSTIC (ARGONAUTICA 4.177-84)“. Classical Quarterly 67, Nr. 1 (13.03.2017): 327–28. http://dx.doi.org/10.1017/s0009838817000027.

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‘Of course laniabor is not a name.’ Thus very recently Cristiano Castelletti in a discussion of this notorious acrostic, which he associates with Aratean ἄρρητον (Phaen. 2) and Virgilian MA VE PV (G. 1.429-33). If, however, laniabor is itself ‘not a name’, the aim of the present annotatiuncula is to argue that it is an etymological play on a ‘name’. Laniabor spans the description of Amycus’ cave, which is adorned with the dismembered limbs of his victims: Amycus himself will shortly suffer the same fate at Pollux’ hands. The name ‘Amycus’ was etymologized from ἀμύσσω (‘tear’; LSJ s.v. I), which exactly matches lanio (‘tear’; OLD s.v. 1a). Hence by a cutely etymological jeu onomastique ‘Tearer’ says ‘I'll be torn’.

26

Bremer, J. M. „Full Moon and Marriage in Apollonius' Argonautica“. Classical Quarterly 37, Nr. 2 (Dezember 1987): 423–26. http://dx.doi.org/10.1017/s0009838800030603.

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There are two passages in which the poet introduces a full moon to accentuate a particular aspect of a scene in his narrative; 1.1228–33 and 4.166–71. I shall concentrate on the second. Commentators have contributed various suggestions but failed to understand the specific erotic-nuptial connotation of the full moon. The same applies to the more specialized contributions of Drogemiiller and Rose. I shall (1) first present the evidence for the nuptial associations of the full moon, then (2) apply this idea to the Apollonian passages, especially 4.166–71, and finally (3) add a remark about the special effect obtained by Apollonius here in relation to an Homeric passage (Od. 23.231–9).

27

Hunter, R. L. „‘Short on Heroics’: Jason in the Argonautica“. Classical Quarterly 38, Nr. 2 (Dezember 1988): 436–53. http://dx.doi.org/10.1017/s0009838800037058.

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‘Jason…chosen leader because his superior declines the honour, subordinate to his comrades, except once, in every trial of strength, skill, or courage, a great warrior only with the help of magical charms, jealous of honour but incapable of asserting it, passive in the face of crisis, timid and confused before trouble, tearful at insult, easily despondent, gracefully treacherous in his dealings with the love-sick Medea but cowering before her later threats and curses, coldly efficient in the time-serving murder of an unsuspecting child (sic), reluctant even in marriage.’ So Carspecken put the case against Jason's heroism. In the face of such an indictment, Lawall's plea in mitigation, ‘it must be admitted that [Jason] often reveals the qualities of a true gentleman’, seems somehow inadequate. Criticism since Carspecken has found various overlapping categories for Jason which both take account of the earlier negative judgements and preserve the centrality of his ‘personality’ and character in the poem: Jason is the quiet diplomat who works through consensus rather than force, his is a heroism of sex-appeal, he is an anti-hero, the embodiment of Sceptic ‘suspension of judgement’, or, alternatively, he is ‘one of us’, credible and lifelike. Carspecken himself tried a different tack: the poem is concerned not with individual heroism but with the heroism of the group (cf. 1.1, 4.1773–81).

28

Sotirios, Sofias. „Orpheus’ Argonautica: The Voyage of the Argonauts“. Annals of Archaeology 4, Nr. 1 (2021): 1–7. http://dx.doi.org/10.22259/2639-3662.0401001.

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29

Paparinska, Vita. „Aukso vilna ir auksavilnis avinas: antikinių literatūros šaltinių liudijimai ir interpretacija“. Literatūra 59, Nr. 3 (26.10.2018): 68–78. http://dx.doi.org/10.15388/litera.2017.3.11836.

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[straipsnis ir santrauka anglų kalba, santrauka lietuvių kalba] Svarbiausias epinės poemos, t. y. mitologinio pasakojimo apie herojišką žygdarbį, reikalavimas – parodyti ir įrodyti veikėjo ar veikėjų atitiktį heroizmo idėjai taip, kaip ji suvokiama epinės poezijos erdvėje. Žygdarbis čia svarbesnis ir įdomesnis už konkretų vykdomos užduoties objektą. Tai akivaizdu išlikusiuose epinės poezijos tekstuose, kuriuose pasakojama apie argonautų kelionę į Kolchidę (Apolonijo Rodiečio Argonautica, Valerijaus Flako Argonautica, Argonautica Orphica). Herojinės užduoties tikslas – gauti stebuklingo auksavilnio avino kailį. Argonautų užduoties objekto reikšmė per se atrodo neadekvati pastangoms, įdedamoms į šį sumanymą. Pasakojimo logika rodo, kad aukso vilna yra metafora.Aukso vilna, kaip antikinių tekstų objektas, minima dažnai, tačiau jos metaforinės interpretacijos pavyzdžių, t. y. tikslaus vertės apibrėžimo žvelgiant iš argonautų kelionės perspektyvos, mãža. Norint suprasti tikrąją (ar artimą tikrajai) metaforinę aukso vilnos reikšmę, būtina panagrinėti atitinkamus antikinius tekstus.Daugelyje tekstų aukso vilna suvokiama arba kaip aukso reprezentacija (kalnų upėmis nešamos aukso dalelės, kurias kolchai rinkdavo vilnomis, gryno aukso statula ar itin brangi ypatingos avių veislės vilna), arba apskritai kaip Kolchidės turto metafora (kolchų žemėje apstu vertingų metalų). Tolesnė šios sampratos raida akivaizdi bizantiškuose šaltiniuose – aukso vilna čia reiškia alchemijos, kurios išmanymas leidžia paversti metalus į auksą, knygą. Kai kuriuose tekstuose aukso vilna figūruoja kaip karališkosios valdžios metafora (karaliaus valdžia, kurią Jasonas tikisi įgyti, ir karališka galia, kurią Ajetas siekia išlaikyti).Palyginti su išlikusiais antikiniais interpretaciniais liudijimais, šiuolaikinis mokslas kur kas produktyvesnis. Daugelis aukso vilnos metaforinės interpretacijos teorijų buvo sukurtos XIX ir XX amžių sandūroje. Nors kai kurios šiuolaikinės teorijos kyla iš antikinių sampratų, daugeliu atvejų nūdiena nepasiūlė nieko iš esmės nauja: kad ir kokios būtų detalės, aukso vilna reiškia tai, ko trokštama ir ko stygius kelia pavojų individui arba bendruomenei.

30

Gärtner, Thomas. „Kritische Bemerkungen zu den Argonautica des Valerius Flaccus“. Emerita 78, Nr. 2 (30.12.2010): 211–29. http://dx.doi.org/10.3989/emerita.2010.v78.i2.496.

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31

Liberman, Gauthier. „Correction ou corruption? La critique du texte de Valerius Flaccus“. Mnemosyne 63, Nr. 2 (2010): 229–40. http://dx.doi.org/10.1163/156852510x456174.

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AbstractThe author tries to show through close examination of four characteristic passages of Valerius Flaccus’ Argonautica (5.614, 6.709, 7.55-6, 7.162-3) that strained exegesis or quotation of dubious parallels, to be met with in Valerian studies, may be wrong solutions of problems better dealt with if one admits textual corruption.

32

Đokanović, Aleksandar. „Transformaties van de Argonautenmythe in de roman Een vreemde stam heeft mij geroofd van Willem Brakman“. Neerlandica Wratislaviensia 28 (26.06.2019): 149–63. http://dx.doi.org/10.19195/0860-0716.28.12.

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Transformations of the myth of the Argonauts in the novel Een vreemde stam heeft mij geroofd by Willem BrakmanThe following article deals with the transformation of the myth of Jason and the Argonauts in the novel Een vreemde stam heeft mij geroofd 1992 written by Willem Brakman. The legend of the Argonauts tells about a mythical journey in quest of the Golden Fleece. Working on his own version, Brakman relied on the epic poem The Argonautica written in the 3rd century BC by Apollonius of Rhodes. Brakman rewrote the myth of the Argonauts by placing the action in 20th-century Netherlands. The research aim is to discover in what way Brakman transforms the original story as set in The Argonautica and to compare these two versions. Brakman’s novel differs from the original in the changes to the plot or characters. Moreover, he combines the legend of the Argonauts with other mythical stories such as that of Oedipus, Odysseus, Theseus. Gérard Genette’s theory of intertextuality serves as the theoretical background of the article.

33

Byre, Calvin S. „The Killing of Apsyrtus in Apollonius Rhodius' "Argonautica"“. Phoenix 50, Nr. 1 (1996): 3. http://dx.doi.org/10.2307/1192677.

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34

Beye, Charles Rowan, und Damien Nelis. „Vergil's "Aeneid" and the "Argonautica" of Apollonius Rhodius“. Classical World 97, Nr. 4 (2004): 450. http://dx.doi.org/10.2307/4352884.

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35

MURRAY, Jackie. „The Constructions of the Argo in Apollonius' Argonautica“. Caeculus 6 (01.12.2005): 88–106. http://dx.doi.org/10.2143/cae.6.0.2004669.

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36

Nelis, Damien P. „Two notes on the Argonautica of Apollonius Rhodius“. Revue des Études Anciennes 92, Nr. 1 (1990): 141–43. http://dx.doi.org/10.3406/rea.1990.4423.

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37

Hunter, Richard. „The Divine and Human Map of the Argonautica“. Syllecta Classica 6, Nr. 1 (1996): 13–27. http://dx.doi.org/10.1353/syl.1996.0010.

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38

Madeła, Alexandra. „The Hidden Third Siren of the Orphic Argonautica“. Mnemosyne 73, Nr. 1 (20.01.2020): 112–22. http://dx.doi.org/10.1163/1568525x-12342626.

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Abstract The Orphic Argonautica features a scene involving a group of Sirens. Their number is assumed to be two, since the text mentions one each throwing away a flute and a lyre. This paper argues that the author leaves open the possibility and even hints that there are in fact three Sirens, one of whom holds no instrument. This conclusion is supported by numerous—both literary and artistic—representations of three Sirens, which include one bare-handed such creature and two holding flute and lyre. It also finds confirmation in an allusion to an epigram by Antipater about three Muses, as well as some intra-textual parallels. The final part of the article discusses the implications of this ambiguity, such as reconciling the Homeric tradition of two Sirens with the number of three that was current in the author’s lifetime, but also allowing for an allegorical reading of the episode.

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Kyriakou, Poulheria. „Narrator and poetic divinities in Apollonius Rhodius’ Argonautica“. Trends in Classics 10, Nr. 2 (19.12.2018): 367–91. http://dx.doi.org/10.1515/tc-2018-0026.

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Abstract The role of poetic divinities in the proem of Apollonius’ Argonautica (1.1–22) has been discussed extensively in scholarly literature, often in conjunction with subsequent references to them. As several discussions are based on tendentious hypotheses or contain inaccuracies, I revisit the relationship of narrator and divinities in the proem and the rest of the poem. Apollonius’ proem is innovatively ambiguous but does not mark a radical break with tradition. The invocations of the Muses in fragments of Simonides (fr. 11.20–24 W2) and Empedocles (DK 31 B 131) are important precedents. Apollonius’ subsequent references to poetic divinities clarify the ambiguity in the proem and form a consistent picture, which does not portray a reversal of the relationship between poet and divinities sketched in the proem.

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Zissos, Andrew. „The King's Daughter: Medea in Valerius Flaccus' Argonautica“. Ramus 41, Nr. 1-2 (2012): 94–118. http://dx.doi.org/10.1017/s0048671x00000278.

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Medea's awakening love for Jason is the great theme of the third book of Apollonius Rhodius' Argonautica. At the opening of that book—that is to say, at the very centre of the four-book epic—the Hellenistic poet signals a programmatic redirection, invoking the Muse Erato to inspire his tale of Jason's winning of the golden fleece, aided by the love of the Colchian princess (Мηδείηϛ ὑπ' ἔϱωτι, Ap. Rhod. 3.3). This is the first mention of Medea in the poem. Writing a few centuries later, the Flavian poet Valerius Flaccus for the most part adheres closely to Apollonius' narrative outline. As we shall see, however, he manifests comparatively little interest in the love story between Jason and Medea, and takes a different approach to the problem of integrating Medea into the plot. Though, as with the earlier epic, she will not appear as a dramatis persona until the second half of the epic, she is mentioned at the very outset of the narrative (1.61-63), and a number of times thereafter in the early books. Thus by the time the Argonauts reach Colchis and Medea enters the narrative proper, she has already been presented to the reader in a number of ‘previews’.

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Zetzel, James E. G., Charles Rowan Beye und John Gardner. „Epic and Romance in the Argonautica of Apollonius“. American Journal of Philology 106, Nr. 3 (1985): 383. http://dx.doi.org/10.2307/295042.

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Griffiths, Frederick T. „The Argonautica of Apollonius: Literary Studies. Richard Hunter“. Classical Philology 90, Nr. 2 (April 1995): 187–92. http://dx.doi.org/10.1086/367460.

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Ojennus, Paul. „The Vocabulary of Fate in Apollonius Rhodius' Argonautica“. Classical Journal 118, Nr. 2 (Dezember 2022): 194–221. http://dx.doi.org/10.1353/tcj.2022.0033.

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Hutchingame, Laura. „Ships at Sea: Etchings for the 1608 Argonautica“. Viator 53, Nr. 2 (Juli 2023): 17–139. http://dx.doi.org/10.1484/j.viator.5.135765.

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Júnior, Márcio Meirelles Gouvêa. „O herói das Argonáuticas latinas“. Em Tese 12 (31.12.2008): 100. http://dx.doi.org/10.17851/1982-0739.12.0.100-104.

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A partir do estudo sistemático dos quatro primeiros episódios das Argonautica, de Valério Flaco, torna-se possível determinar um elenco de virtudes características do principal herói da obra, Jasão. Essas virtudes, contudo, revelam-se adequadas às condições históricas, políticas e filosóficas da época em que o poema foi escrito, tornando-se, portanto, um modelo de excelência adequado ao cidadão romano no último quartel do século I.

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Kotova, Anastasia V. „Successive Similes in Valerius Flaccus’ Argonautica 4. 682–688“. Philologia Classica 14, Nr. 2 (2019): 318–23. http://dx.doi.org/10.21638/11701/spbu20.2019.211.

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Nishimura-Jensen, J. „THE CHORUS OF ARGONAUTS IN APOLLONIUS OF RHODES' ARGONAUTICA“. Phoenix 63, Nr. 1-2 (2009): 1–23. http://dx.doi.org/10.1353/phx.2009.0048.

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Pucci, Joseph, und Debra Hershkowitz. „Valerius Flaccus' "Argonautica": Abbreviated Voyages in Silver Latin Epic“. Classical World 94, Nr. 1 (2000): 90. http://dx.doi.org/10.2307/4352513.

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Benjamin Acosta-Hughes. „The Politics of Apollonius Rhodius' Argonautica (review)“. American Journal of Philology 131, Nr. 2 (2010): 332–35. http://dx.doi.org/10.1353/ajp.0.0103.

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Davis, P. J. „Remembering Ovid: The Io Episode in Valerius Flaccus' Argonautica“. Antichthon 43 (2009): 1–11. http://dx.doi.org/10.1017/s006647740000191x.

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The insertion of the story of Io into Book 4 of Valerius' narrative of the Argonauts' voyage to Colchis follows a familiar pattern, for here we have an apparently irrelevant digression, delivered by a figure of authority, which experienced readers of Roman epic will expect to encapsulate some of the poem's key issues. Some will think of Evander's tale of Hercules and Cacus in Aeneid 8 or of Adrastus' account of Apollo and Coroebus in Thebaid 1. And then there is Lucan's version of the struggle between Hercules and Antaeus in Pharsalia 4. Theoreticians will invoke the concept of ‘mise-en-abîme’, because Valerius' inclusion of this standard epic device creates semiotic expectations.