Relevant bibliographies by topics / Alcmena

Academic literature on the topic 'Alcmena'

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Published: 11 March 2023

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Journal articles on the topic "Alcmena"

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Russo, Sergio. "Espressioni documentarie del culto eroico di Alcmena." Helmántica 66, no. 196 (July 1, 2015): 9–19. http://dx.doi.org/10.36576/summa.39721.

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Doniger, Wendy. "Sita and Helen, Ahalya and Alcmena: A Comparative Study." History of Religions 37, no. 1 (August 1997): 21–49. http://dx.doi.org/10.1086/463484.

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Silva, Maria De Fátima. "Da violência à civilização hércules, o super‑homem da antiguidade." Humanitas 65 (August 30, 2016): 9–26. http://dx.doi.org/10.14195/2183-1718_65_1.

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Hércules, o herói de uma antiguidade insondável, situou‑se no mundo grego comoum símbolo pan‑helénico. Como figura transversal na cultura e na literatura grega ao longo dos séculos, o filho de Zeus e de Alcmena sofreu um processo de ajustamento a uma mentalidade em constante evolução. Assim, de vencedor brutal e violento, evoluiu para o protector de fracos e símbolo de um processo civilizacional, que ajudou a construir.
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Silva, Eduardo Neves. "Fingimento e Barroco: as desdobras de identidade em "Anfitrião ou Júpiter e Alcmena", de Antônio José da Silva." Revista Desassossego 12, no. 23 (December 29, 2020): 133–55. http://dx.doi.org/10.11606/issn.2175-3180.v12i23p133-155.

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Neste artigo trataremos da peça Anfitrião ou Júpiter e Alcmena (1736), de Antônio José da Silva (1705-1739), considerando o fingimento enquanto apropriação de identidade: Júpiter se transforma em Anfitrião, e o mesmo faz Mercúrio em relação à Saramago. Notamos que o autor luso-brasileiro, à guisa de superação do modelo plautino e de seus paradigmas intertextuais, reforça em sua peça os processos de multiplicação, acrescentando desdobras ao mythos inicial. Nesse sentido, podemos identificar vários procedimentos de desdobras, dentre os quais, a divisão da “fôrma-Anfitrião” em marido (Anfitrião ele-mesmo) e amante (Júpiter disfarçado); a inserção de Juno e Íris como fator de oposição à aventura amorosa de Júpiter e, consequentemente, à ramificação da ação principal. Para tanto, relacionamos a estratégia do fingimento das personagens, incluindo a sedução feminina, aos processos de desdobras realizados pelo comediógrafo. Na peça em questão, a personagem Juno desdobra duas vezes sua identidade, fingindo-se primeiramente Felizarda e, então, Flérida. Discorremos, ainda, sobre os quadrângulos amorosos, que também se dão como desdobras: em paralelo aos jogos amorosos entre os discretos (Anfitrião/Alcmena/Júpiter/Juno), teremos a ação cômica, que se dá pelos quiproquós entre Mercúrio/Cornucópia/Saramago/Íris. Logo, constatamos que os processos de desdobras que marcam a estética barroca manifestam-se tanto na estrutura das intrigas séria e cômica da peça quanto nas variações de identidade das personagens, tendo Antônio José da Silva investido sobremaneira neste recurso, de modo quase vertiginoso.
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Corradin, Flavia Maria Ferraz Sampaio. "Anfitrião, ou Júpiter e Alcmena, de Antônio José da Silva, e a intertextualidade." Letras Clássicas 1, no. 1 (October 14, 1997): 133. http://dx.doi.org/10.11606/issn.2358-3150.v1i1p133-145.

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O ensaio tem por objetivo examinar o diálogo intertextual que a ópera Anfitrião ou Júpiter e Alcmena (1736), de Antonio José da Silva, o Judeu (Rio de Janeiro, 1705 - Lisboa 1739), trava com seus paradigmas, nomeadamente, o Anfitrião (?), de Paulto (224?- 182 (?) a.C., a Comédia dos Anfitriões (1587), de Camões (1525-1580), e o Amphitryon (1668), de Molière (1622-1673). Depois de caracterizar os níveis intertextuais e alguns de seus mecanismos, o ensaio acaba por concluir que a ópera estiliza os modelos, além de parafrasear o discurso barroco, criticando, através da autoparódia, os excessos a que chegara a poesia do período.
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Zabka, Marek. "Salticidae (Arachnida : Araneae) of the Oriental, Australian and Pacific regions, XIII: the genus Sandalodes Keyserling." Invertebrate Systematics 14, no. 5 (2000): 695. http://dx.doi.org/10.1071/it99006.

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The genus Sandalodes Keyserling, 1883 is revised to include four species from Australia and Papua New Guinea: S. bipenicillatus (Keyserling), S. joannae, sp. nov., S. scopifer (Karsch) and S. superbus (Karsch). Sandalodes albobarbatus (Keyserling) is synonymised with S. scopifer (Karsch). Alcmena superba Karsch, 1878 is included in Sandalodes. The Australian species, S. albovittatus (Keyserling, 1883) and S. calvus Simon, 1902, together with all of the non-Australian species hitherto listed in Sandalodes, are excluded. These species were misplaced in Sandalodes. The genus Karschiolina Brignoli, 1985 is synonymised with Sandalodes. Remarks on relationships, biology and distribution of Sandalodes are given.
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Gontijo Rosa, Carlos. "Apropriação e invenção na dramaturgia de Antônio José da Silva: uma leitura de “Anfitrião ou Júpiter e Alcmena” / Appropriation and Invention in Antonio Jose da Silva’s Dramaturgy: A Reading of “Amphitryon or Jupiter and Alcmena”." Revista do Centro de Estudos Portugueses 39, no. 62 (January 22, 2020): 177. http://dx.doi.org/10.17851/2359-0076.39.62.177-200.

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Resumo: Antônio José da Silva, ou o Judeu, foi um dramaturgo português que, no século XVIII, escreveu textos de teatro a partir de modelos tragicômicos provenientes da profícua escritura do Século de Ouro espanhol. Em Anfitrião, ou Júpiter e Alcmena, o dramaturgo recorre a uma temática mitológica desenvolvida na dramaturgia cômica desde a Roma Antiga como meio de entretenimento e diversão de um público ávido pela inventividade dos autores coetâneos. Assim, o dramaturgo português compõe uma “ópera joco-séria” que contempla as origens da história narrada, transmitida através do teatro latino, ibérico e francês. Entretanto, através de um estro dinâmico, acrescenta situações que contemplam outras vertentes do mito narrado, sem desvirtuar a caracterização das personagens, estruturalmente as mesmas desde a Grécia antiga, embora diferentes no trato do universo dramático criado pelo Judeu.Palavras-chave: teatro; dramaturgia; personagem; Antônio José da Silva; mito.Abstract: Antônio José da Silva, or The Jew, was a 18th century Portuguese playwriter wich wrote plays based on tragicomic models originating from the profitable Spanish Golden Age. At Amphitryon or Jupiter and Alcmena, the playwriter invokes the mythological thematic that was developed at comic dramaturgy since the Ancient Rome as entertainment and fun to its spectators that has been avid by the contemporary authors’ inventivity. In this manner, the Portuguese playwriter composed a joco-serious opera that considers the narrated story backgrounds through the Latin, Iberian and French theatre. However, based on his dynamic imagination, Silva adds situations he observes by other points of the myth, without misinterpretations about the characterization of the characters which was basically the same since the Ancient Greece, but different in treatment of the Jew’s dramatic universe.Keywords: theatre; dramaturgy; character; Antônio José da Silva; myth.
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Pereira, Kenia Maria de Almeida. "tribunal do Santo Ofício nas óperas de Antônio José da Silva, o Judeu." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 15, no. 28 (October 18, 2021): 47–54. http://dx.doi.org/10.35699/1982-3053.2021.36577.

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O dramaturgo luso-brasileiro Antônio José da Silva, mais conhecido pelo apelido, o Judeu, levou aos palcos de Lisboa oito peças cômicas, classificadas como óperas joco-sérias. Nelas, ele dialoga de forma paródica, ora com a mitologia grega, como, por exemplo, em Anfitrião ou Júpiter e Alcmena, Os encantos de Medeia e Labirinto de Creta; ora com narrativas canônicas da Literatura Ocidental, como se lê em A vida do grande Dom Quixote de La Mancha e do gordo Sancho Pança. Vítima da Inquisição portuguesa do século XVIII, o Judeu, por meio de simbologias e metáforas, registrou em seus textos, os excessos do poder monárquico e eclesiástico, durante o reinado do Tribunal do Santo Ofício.
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Costa, Lilian Nunes da. "Muito prazer, anfitrião!" Nuntius Antiquus 7, no. 2 (December 31, 2011): 22–33. http://dx.doi.org/10.17851/1983-3636.7.2.22-33.

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An approach to the theme of pleasure could not beavoided in Plautus’ Amphitruo, inasmuch as the prologue states(104 f.) that the great Jupiter spares no effort to get the women hedesires. Notwithstanding, Plautine craftsmanship disguises the themein this play with irony, ambiguity and euphemism. It’s a curious fact,for instance, that four out of the seven times the word uoluptas occursin the play are within the song (633-653) of the (self proclaimed)virtuous Alcmena, a passage whose value as a serious testimony, or asparody of lyric, is disputed. The dimension assumed by the topic ofpleasure in this comedy (as well as its contribution to the generationof poetic effects, the humorous ones among them) is the subjectmatterof this paper.
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Tindo, Marcos. "Do trágico ao obsceno: o Amphitruo de plauto." Letras de Hoje 52, no. 2 (November 22, 2017): 243. http://dx.doi.org/10.15448/1984-7726.2017.2.26108.

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Este breve texto analisa as ambiguidades presentes na peça Amphitruo, do autor romano Plauto, ao conceber um enredo apto a um tratamento cômico apesar de baseado do mito da concepção de Hércules, o qual já havia anteriormente sido recontada em tragédias. Abordam-se aqui as transformações que o mito sofre nas mãos do comediógrafo, as quais se concentram principalmente no nível da personagem. Com base na narrativa e nas falas das personagens, demonstra-se como o autor alcançou o objetivo de adaptar a fábula a um roteiro cômico por meio duma mudança na apresentação das personagens, especialmente duas das principais: nomeadamente, Júpiter e Alcmena, que foram degradadas dos seus lugares originários de figuras de respeito, por meio de reiteradas associações obscenas.
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Dissertations / Theses on the topic "Alcmena"

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Smith, James William. "Political parthenoi : the social and political significanec of female performance in archaic Greece." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/10901.

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This thesis will explore how social and political conditions in archaic Greece affected the composition of poetry for female choral performance. My primary source material will be the poetry of Alcman and Sappho. I examine the evidence suggesting that poems by both Alcman and Sappho commented on political issues, using this as a basis to argue that women in archaic Greece may have had a more vocal public presence that has previously been imagined. Rather than viewing female performance as a means of discussing purely feminine themes or reinforcing the idea of a disempowered female gender, I argue that the poetry of Alman and Sappho gives parthenoi an authoritative public voice to comment on issues in front of the watching community. Part of this authority is derived from the social value of parthenoi, who can act as economically and socially valuable points of exchange between communities, but I shall also be looking at how traditional elements of female performance genre were used to enhance female authority in archaic Sparta and Lesbos. Once this has been established, this thesis will proceed to examine how public female performance dealt with major political and social issues in the archaic world. I shall argue that the performance of parthenoi did focus on primarily feminine concerns such as marriage, desire, and abduction, but that it could also be an opportunity to discuss much broader political themes that were of major importance to the entire polis. Alcman and Sappho use their poetry as a vehicle to comment on the society in which their poetry was composed, both discussing threats to order and representing solutions for a stable society. The content of female performed poetry was often composed as much for a male audience as for the performers themselves, using traditional female performance as a means of commenting on the current political climate. Through arguing these factors, the intention of this thesis is to suggest a much more prominent public role for archaic Greek females than has previously been recognised.
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Ladianou, Aikaterini. "Logos Gynaikos: Feminine Voice in Archaic Greek Poetry." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1236711421.

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Kyriazópoulos, Athanásios. "Les épiphanies des dieux dans la poésie lyrique grecque (7e - 5e siècle avant notre ère)." Paris 4, 1989. http://www.theses.fr/1989PA040034.

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En Grèce archaïque, l'organisation de la vie religieuse dans le cadre de la cite favorise le développement d'un modèle de communication entre les dieux et les hommes fondé sur les rites périodiques du culte officiel. L'épiphanie divine, très fréquente dans Homère, devient désormais un procédé exceptionnel, et pour cela très significatif. Dans la poésie lyrique, qui est l'expression littéraire la plus importante de l'époque archaïque, nous distinguons trois types d'épiphanie : 1 a) épiphanie mythique de justice : Pindare, pe. 6. 73-89; ibid. 98-120; p. 3. 24-46; Bacchylide 3. 26-63; 1 b) épiphanie mythique de fondation : Alcée, fr. 307 l. -p. ; pind. 0. 1. 67-94; 6. 57-72; 13. 63-92; n. 10. 73-91; p. 4. 19-66; 2) épiphanie actuelle-personnelle : Alcman fr. 47 p; Sappho frr. 1, 45, 134 l-p. Ces trois catégories correspondent à trois phénomènes importants de cette époque : l'élaboration du concept de la dike (justice). L'invention du héros fondateur et, enfin, l'émergence de l'expression poétique individuelle
In archaic Greece, the organization of religious life in the frame of the city leads to the development of a model of communication between men and gods based on the official cult's ritual. Divine epiphany, very frequent in homer, becomes an exceptional, and therefore very significant proceeding. In lyric poetry, which is the archaic period's most important literary expression, one can distinguish three kinds of epiphany : 1 a) mythical epiphany of justice : Pindar pae. 6. 73-89; ibid. 98-120; p. 3. 24-46; Bacchylides 3. 26-63. 1 b) mythical epiphany of foundation : Alcaeus, fr. 307 l-p; pind. O. 1. 67-94; 6. 57-72; 13. 63-92; n. 10. 73-91; 9. 4. 19-66. 2) actual-personal epiphany : Alcman fr. 47 p; Sappho frr. 1. 45, 134 l. -p. These three categories correspond to three important phenomena of this period : elaboration of the concept of dike (justice), invention of the hero-foundator and development of individual poetic expression
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ZANOLLA, Marco. "L'Alcmena e l'Auge di Euripide." Doctoral thesis, 2019. http://hdl.handle.net/11562/996687.

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La presente ricerca di dottorato ha come finalità la realizzazione di un'edizione critica con commento di due tragedie frammentarie euripidee ispirate al mito di Eracle: l’Alcmena e l’Auge. Riferimento fondamentale per questo studio sono le edizioni generali dei frammenti di Euripide curate rispettivamente da F. Jouan e H. Van Looy per Les Belles Lettres e da R. Kannicht per il quinto volume dei Tragicorum Graecorum Fragmenta. L’esiguità e la natura prevalentemente gnomica dei frammenti pervenutici non consentono una ricostruzione certa della trama, mentre le testimonianze dei mitografi (Igino, Apollodoro ecc.) e di altre tragedie ispirate alla medesima saga si scontrano con la nomea di Euripide quale innovatore del mito tradizionale. L'Alcmena era verosimilmente incentrata sul tumultuoso rapporto tra Anfitrione e Alcmena, sospettata di tradimento dal marito al rientro dalla campagna militare contro Tafi e Teleboi. La suggestiva ipotesi di R. Engellmann di una minaccia incendiaria di Anfitrione ai danni della moglie ha suscitato un ampio dibattito tra gli studiosi, in quanto si tratterebbe di un’evidente innovazione euripidea al mito: se Engelmann supporta la sua tesi valendosi della testimonianza di due pitture vascolari del British Museum, R. Aélion pone invece l’accento sul sospetto silenzio delle fonti letterarie; del tutto priva di fondamento è infine l’ipotesi di J. Schwartz, secondo cui il dramma sarebbe stato incentrato sulla morte di Eracle. La divergenza tra le varianti mitiche di Apollodoro e Strabone (che cita espressamente Euripide), la molteplicità di drammi ispirati alla saga Auge-Aleadi-Telefo e la scarsità di informazioni ricavate dall’hypothesis rendono aleatoria anche la ricostruzione della trama dell’Auge. Una delle questioni principali riguarda il ruolo di Eracle, la cui presenza in scena è stata negata da diversi studiosi (Welcker, Hartung) ma accettata da Van Looy, che colloca l’arrivo dell’eroe dopo la partenza di Auge. Delle due tragedie sopravvivono circa una ventina di frammenti per ciascuna (alcuni sono di dubbia attribuzione) che, fatta eccezione per il PHamb. 119 del prologo dell’Alcmena e il PColon. 264 dell’hypothesis dell’Auge, sono tutti di tradizione indiretta; tra le fonti principali si trovano l'Anthologium di Stobeo, il Lexicon di Esichio, l’Onomasticon di Polluce e gli Scoli a testi tragici e comici. Sul piano metodologico, dopo una ricognizione generale della bibliografia esistente, si procederà con l’analisi di ogni singolo frammento a livello linguistico, stilistico e metrico, con una particolare attenzione rivolta ad eventuali hapax, parole chiave o espressioni significative. Il commento sarà corredato anche da una riflessione sul contesto performativo, sulla persona loquens e la collocazione dei versi all’interno del dramma. Nel complesso, l’obiettivo della ricerca consiste in una focalizzazione più specifica su due drammi ispirati alla saga del principale eroe panellenico, nell’ottica di una più ampia riflessione sul trattamento euripideo di tale mito.
The purpose of this doctoral dissertation is to create a critical edition with commentary on two fragmentary Euripides’ tragedies inspired by the myth of Heracles: the Alcmene and the Auge. A basic point for this study are the general editions of the Euripides Fragments edited by F. Jouan and H. Van Looy for Les Belles Lettres and by R. Kannicht for the fifth volume of the Tragicorum Graecorum Fragmenta. The small amount and the predominantly gnomic nature of the surviving fragments do not allow an assured reconstruction of the plot, while the testimonies of the mythographs (Hyginus, Apollodorus etc.) and the other tragedies inspired by the same saga collide with the reputation of Euripides as an innovator of the traditional myth. The Alcmene was most likely focused on the tumultuous relationship between Amphitryon and Alcmene, suspected of treason by her husband when he returned from the military campaign against Teleboans. The suggestive hypothesis of R. Engellmann of an inflammatory threat of Amphitryon against his wife has given rise to a wide debate among scholars, because it would be an evident Euripides’ innovation to the myth. If Engelmann supports his thesis using the testimony of two vase-paintings of the British Museum, R. Aélion emphasises the suspicious silence of literary sources; finally, the hypothesis of J. Schwartz, according to whom the drama was focused on the death of Heracles, is totally groundless. The disagreement between the mythical sources of Apollodorus and Strabo (which explicitly quotes Euripides), the multiplicity of dramas inspired by the Auge - Telephus saga and the lack of information derived from the hypothesis also make the reconstruction of the plot of the Auge risky. One of the main issues concerns the role of Heracles, whose presence on stage has been denied by several scholars (Welcker, Hartung ecc.), but accepted by Η. Van Looy, which places the hero's arrival after Auge's departure. Of the two tragedies, about twenty fragments survive for each: with the exception of PHamb. 119 and of PColon. 264, they are all of indirect tradition; among, the main sources are the Anthologium of Stobaeus, the Lexicon of Hesychius, the Onomasticon of Pollux, and the Scholia to tragic and comic texts.
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Miller, Peter John. "Alcman's Partheneion and the Near East." Thesis, 2009. http://hdl.handle.net/1828/1550.

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Alcman's Partheneion has a deserved reputation as an ambiguous and allusive fragment of Greek poetry; it has engendered a great amount of debate regarding every facet of the poem. This thesis investigates the ritual context and the propitiated deity of the Partheneion from an inter-cultural perspective. I integrate the relationship which flourished between Greece and the Near East with Alcman's poetry. This approach aims to situate the poem in the larger world of the Eastern Mediterranean and connect it to traditions of female goddesses worshiped in biblical Israel, Phoenicia and ancient Babylon. I also demonstrate that there are connections between the ritual context of Alcman's poetry, sung and danced by a chorus of young women, to similar cults celebrated by cultures throughout the Near East, both contemporaneous as well as more ancient.
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Books on the topic "Alcmena"

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Silva, António José da. A critical Portuguese/English edition of Anfitrião, ou Júpiter e Alcmena/Amphitryon, or Jupiter and Alcmena. Lewiston, N.Y: Edwin Mellen Press, 2010.

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Rosso, Renzo. Gli illusionisti: Anfitrione, Alcmena e gli altri. Palermo: Sellerio, 1999.

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Rosso, Renzo. Gli illusionisti: Anfitrione, Alcmena e gli altri. Palermo: Sellerio, 1999.

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Cacciafoco, Francesco Perono. La "tavoletta di Alcmena": Gli antichi Greci e la memoria del proprio passato. Castellazzo Bormida (AL), Italy: Teatro Vocali Edizioni, 2012.

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Römer, Cornelia, ed. Alcman. Berlin, Boston: DE GRUYTER, 2013. http://dx.doi.org/10.1515/9783110315592.

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Pavese, Carlo Odo. Il grande Partenio di Alcmane. Amsterdam: Hakkert, 1992.

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Il grande partenio di Alcmane. Amsterdam: Adolf M. Hakkert Editore, 2015.

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Robertson, Linda. Vicious Circle (Persephone Alcmedi, #1). New York: Juno Books, 2009.

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Robertson, Linda. Arcane Circle (Persephone Alcmedi, #4). New York: Pocket Books, 2011.

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Wicked Circle (Persephone Alcmedi, #5). New York: Pocket Books, 2012.

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Book chapters on the topic "Alcmena"

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Amarante, José. "Unidade Um: Alcmena (Fabŭlae, XXIX) Higino." In Latinitas: uma introdução à língua latina através dos textos, 56–86. EDUFBA, 2018. http://dx.doi.org/10.7476/9788523220341.0007.

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"Le gambe di Alcmena, la sudicia Antiope e la tosse di Tiresia." In Mythos im Alltag – Alltag im Mythos, 61–86. Wilhelm Fink Verlag, 2010. http://dx.doi.org/10.30965/9783846749593_005.

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Celoria, Francis. "Alcmene." In The Metamorphoses of Antoninus Liberalis, 92. Routledge, 2018. http://dx.doi.org/10.4324/9781315812755-34.

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"Alcman." In Greek Lyric, 57–86. Cambridge University Press, 2018. http://dx.doi.org/10.1017/9781139049085.005.

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"Alcman." In A Companion to the Greek Lyric Poets, 221–31. BRILL, 1997. http://dx.doi.org/10.1163/9789004217614_019.

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Krummen, Eveline. "Alcman, Stesichorus and Ibycus." In The Cambridge Companion to Greek Lyric, 189–203. Cambridge University Press, 2009. http://dx.doi.org/10.1017/ccol9780521849449.011.

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"Alcman: from Laconia to Alexandria." In Archaic and Classical Choral Song, 437–60. De Gruyter, 2011. http://dx.doi.org/10.1515/9783110254020.437.

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Zartaloudis, Thanos. "The Nomos of the Post-Homeric Poets." In The Birth of Nomos, 165–87. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474442008.003.0006.

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Litwa, M. David. "Empty Tombs and Translation." In How the Gospels Became History, 169–78. Yale University Press, 2019. http://dx.doi.org/10.12987/yale/9780300242638.003.0013.

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This chapter first compares Jesus’s translation and reappearance story with similar tales of Achilles appearing in a transformed body around White Island. Both Achilles and Jesus were translated after their deaths, both had their corpses enlivened and immortalized in another location, both appear in solid form to many witnesses, and both were worshipped by their votaries. A second comparison analyzes Jesus’s tomb tokens with those of Numa, Rome’s second king. The tombs of both Numa and Jesus are sealed, but their bodies disappear. Despite the disappearance, sure signs of their presence are revealed, as in the case of Alcmene (mother of Heracles). This chapter also discusses the trope of alternative reports, used in the stories of both Romulus and the Matthean Jesus.
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"Alcman and the Image of Scythian Steed." In Pontus and the Outside World, 69–84. BRILL, 2004. http://dx.doi.org/10.1163/9789047412403_009.

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