Academic literature on the topic 'Antieroe'
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Journal articles on the topic "Antieroe"
Mercado, Tununa, and Peter Kahn. "Antieros." Grand Street, no. 63 (1998): 153. http://dx.doi.org/10.2307/25008271.
Full textMercado, Tununa. "Antieros." Gastronomica 2, no. 3 (2002): 25–28. http://dx.doi.org/10.1525/gfc.2002.2.3.25.
Full textRetief, F. P., and L. Cilliers. "Vergiftiging in antieke Rome." Suid-Afrikaanse Tydskrif vir Natuurwetenskap en Tegnologie 19, no. 1 (July 15, 2000): 10–17. http://dx.doi.org/10.4102/satnt.v19i1.736.
Full textHenderson, W. J. "Die antieke Griekse lofgedig." Literator 17, no. 1 (April 30, 1996): 153–68. http://dx.doi.org/10.4102/lit.v17i1.592.
Full textHenderson, W. J. "Die antieke Griekse ‘religieuse’ liriek." Literator 16, no. 1 (April 30, 1995): 163–77. http://dx.doi.org/10.4102/lit.v16i1.602.
Full textBruycker, Chris De. "Moderne regie en antieke teksten." Documenta 7, no. 3 (May 3, 2019): 137–52. http://dx.doi.org/10.21825/doc.v7i3.11036.
Full textBeerden, Kim. "Religieus geweld in de antieke wereld." Tijdschrift voor Geschiedenis 134, no. 2 (August 1, 2021): 318–19. http://dx.doi.org/10.5117/tvg2021.2.010.beer.
Full textMachin, Annéli. "Review: Die Binnewerk van Antieke Grieks." Acta Theologica 34, no. 2 (February 3, 2016): 214. http://dx.doi.org/10.4314/actat.v34i2.15.
Full textJedan, Christoph. "Cruciale Teksten: De Grieks-Romeinse consolatio." NTT Journal for Theology and the Study of Religion 68, no. 1 (February 18, 2014): 165–73. http://dx.doi.org/10.5117/ntt2014.68.165.jeda.
Full textHenderson, W. J. "Die klassiflkasie van die antieke Griekse liriekvorms." Literator 15, no. 1 (May 2, 1994): 145–58. http://dx.doi.org/10.4102/lit.v15i1.656.
Full textDissertations / Theses on the topic "Antieroe"
Lisi, Andrea. "La figura del super-antieroe nella letteratura per l’infanzia. Proposta di adattamento di Superpaco y los niños poseídos di Juana Cortés Amunarriz." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/17623/.
Full textWesseling, Berber. "Leven, liefde en dood zelfmoord, vermeende dood, huwelijk en dood : motieven in antieke romans /." [S.l. : [Groningen] : s.n.] ; [University Library Groningen] [Host], 1993. http://irs.ub.rug.nl/ppn/124636810.
Full textBritz, Beate. "History as a rhetorical instrument in Tertullian's Ad Nationes : a critical investigation / Beate Britz." Thesis, North-West University, 2011. http://hdl.handle.net/10394/8528.
Full textThesis (MA (Latin))--North-West University, Potchefstroom Campus, 2012
Peixoto, Guilherme Gomes. "Assinaturas de sinais de radar de alvos simples e de modelos de alvos complexos: um estudo na banda X em câmara anecóica." Instituto Tecnológico de Aeronáutica, 2006. http://www.bd.bibl.ita.br/tde_busca/arquivo.php?codArquivo=334.
Full textvan, Eeden Fay Clare. "Illness and health care in ancient Israel : the role of the social-cultural context in interpreting 2 Chronicles 26:11-23." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23979.
Full textDissertation (MA)--University of Pretoria, 2010.
Ancient Languages
unrestricted
Smit, Gerrit Daniel Stephanus. "Mens en natuur 'n bronnestudie oor die Bybelse en na-Bybelse perspektiewe /." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-03122004-114003/.
Full textClaassens, Susandra Jacoba. "Posisie van die antieke Mesopotamiese versamelings en inskripsies binne die antieke Mesopotamiese regstradisies." Diss., 2007. http://hdl.handle.net/10500/2216.
Full textOld Testament and Ancient Near East Studies
M.A. (Ancient Near East Studies)
Marco, Favaro. "La Maschera dell’Antieroe. Evoluzione della Mitologia e della Filosofia del Supereroe in Fumetti e Graphic Novel, dalla Dark Age a Oggi." Doctoral thesis, 2021. http://hdl.handle.net/11562/1043823.
Full textThe project “The Mask of the Antihero. Evolution of the Mythology and Philosophy of the Superhero in Comics and Graphic Novels, from the Dark Age to the Present” aims to analyse and explore philosophical aspects inside the superheroes’ narrative, by considering comics and graphic novels, without neglecting the most recent manifestations of the phenomena like film and series. The objective is to define the structures of the superhero’s genre and the implicit philosophical concepts. The method is not to consider a specific author to analyse the superhero figure, but rather to start from comics and graphic novels themselves and gradually reveal their philosophy. Thus, as it is evident from the bibliography, it was necessary to consider various authors. In this work, the superhero’s narrative is considered a Stendhalian “mirror” of the western world and society. The genre starts with Superman, who appears for the first time on Action Comics #1 in 1938. The “superhero” did not remain unchanged since the so-called Golden Age, but he evolved together with the society in which he was born. The first two Ages of superheroes’ history (Golden and Silver Age) are taken into account, but the exam starts with the Dark Age (early 1980s). The Dark Age’s transformation is today still considered the biggest (sometimes even the last) revolution of the genre, which defines the superhero as he is today. The Dark Age’s revolution is directly linked with a profound crisis of US-society during the 1960s and 1970s. This crisis affected the superhero’s world and forced a deconstruction of the superhero figure. The “Good” the superhero embodied is questioned, and new antiheroes arise and dominate these years. Graphic novels like Alan Moore’s Watchmen and Frank Miller’s The Dark Knight Returns are emblematic milestones of this Age. It is observed that Dark Age’s characteristic aspects have reappeared, mutatis mutandis, today: after a transitional period in the 1990s, the figure of the superhero and the hero is again controversial and sometimes ambiguous, while antiheroes are increasingly successful. For these and other reasons, the contemporary Age is designated with the term Post-heroic Age. The thesis is divided into four main sections. The first concerns the superhero, and it considers the basic structures and concepts of superhero’s narrative. The key to understanding the superhero’s figure is its dualism and its relationship with the mask. The mask is intended as an idol and double identity; it is the genre’s clearest marker. Superheroes do not just “hide” behind a mask: they assume a whole new identity linked to a symbol and a different Weltanschauung. The double identity defines superhero’s relation with society and thanks to it the character can remain in a liminal state, in a balance between the human world, the society he protects, and the “super”, inhuman one, the world of the mask. The relation with the mask shows the contradictions and the aporias, which the superhero figure implies, especially in connection with law and morality. The superhero fights to defend the status quo, Justice and “Good”, but his mission requires that he acts outside the law. He is – and must be – a criminal. Only thanks to his liminal state he can operate despite this critical contradiction. If the superhero loses this state, he could become an antihero or even a villain. The works of Friedrich Nietzsche and Jean-Paul Sartre are fundamental to define the concept of “mask”. Another significant element examined is the superhero’s relationship with violence, analysed mainly through René Girard’s work. What are the methods used by the hero, and what do they involve? How far can the superhero go to defend the “Good”? Furthermore, what exactly is this “Good”? These questions guide this point of the analysis. The second section is regarding the villain. The relation between hero and villain is crucial, and the two figures prove to be less different as they seem at the beginning. There are different villain types: this distinction is methodologically useful for examining aspects revealed by a particular villain category. For example, the Doppelgänger and the Archenemy studies help define the relationship between superhero and supervillain. The other villain types are the Monster, the Enemy Commander, the Common Super-Criminal, and the Heroic Villain. The Monster (also in a moral sense) is the basis of the analysis regarding the villain. The Monster is also a crucial figure to study the inhuman dimension connected to the mask and, consequently, to the superhero. The third section is the “heart” of this work, and it is focused on the antihero. This figure proved to be central to comprehend and define the superhero today. The following questions do not have an easy answer: “Why do we define a character an antihero? Why a villain or a superhero?” Key elements to define an antihero are his mask, the relationship with his society, and the moral conflict he usually causes. The antiheroic figures defined as “Rebels” and “Revolutionaries” are fundamental for understanding what an antihero is: they are characters such as V (V for Vendetta), Rorschach (Watchmen) or The Punisher (Marvel universe). From a philosophical point of view, Albert Camus’ The Myth of Sisyphus and The Rebel and the Nietzschean Übermensch are crucial at this point of the analysis. Other types of antiheroes taken into consideration are the “Parodies” (such as Deadpool or the Italian Rat-Man), the “Non-heroes”, (characters who reject the role of hero and the mask, like many mutants of the Marvel universe or Jessica Jones) and finally the antiheroines. The chapter about the antiheroines opens the last section, which considers the superheroine and the superwoman in general. It is necessary to consider superwomen separately because they present important peculiarity compared to supermen, and they had a different evolution. The superheroes’ universe was, and in part still is, male-dominated and sometimes even sexist. The issues concerning the sexism present in superhero fiction and the stereotypes related to women often forced to assume the stereotypical roles of the victim, girlfriend, or femme fatale, are described and deepened. A fundamental aspect revealed is the link that female figures have with antiheroes, as characters of rupture and criticism of a predominantly male universe. Superwoman’s analysis also provides an opportunity to retrace the ages of superhero comics and the issues addressed in the course of the work to show the similarities and differences in heroines and villainesses’ specific case. In particular, the body’s theme is studied, concerning both superwomen and superheroes. This theme closes the work by reconnecting directly with that of the mask.
marco, favaro. "La Maschera dell'Antieroe. Evoluzione della Mitologia e della Filosofia del Supereroe in Fumetti e Graphic Novel, dalla Dark Age a Oggi." Doctoral thesis, 2021. http://hdl.handle.net/11562/1043825.
Full textThe project “The Mask of the Antihero. Evolution of the Mythology and Philosophy of the Superhero in Comics and Graphic Novels, from the Dark Age to the Present” aims to analyse and explore philosophical aspects inside the superheroes’ narrative, by considering comics and graphic novels, without neglecting the most recent manifestations of the phenomena like film and series. The objective is to define the structures of the superhero’s genre and the implicit philosophical concepts. The method is not to consider a specific author to analyse the superhero figure, but rather to start from comics and graphic novels themselves and gradually reveal their philosophy. Thus, as it is evident from the bibliography, it was necessary to consider various authors. In this work, the superhero’s narrative is considered a Stendhalian “mirror” of the western world and society. The genre starts with Superman, who appears for the first time on Action Comics #1 in 1938. The “superhero” did not remain unchanged since the so-called Golden Age, but he evolved together with the society in which he was born. The first two Ages of superheroes’ history (Golden and Silver Age) are taken into account, but the exam starts with the Dark Age (early 1980s). The Dark Age’s transformation is today still considered the biggest (sometimes even the last) revolution of the genre, which defines the superhero as he is today. The Dark Age’s revolution is directly linked with a profound crisis of US-society during the 1960s and 1970s. This crisis affected the superhero’s world and forced a deconstruction of the superhero figure. The “Good” the superhero embodied is questioned, and new antiheroes arise and dominate these years. Graphic novels like Alan Moore’s Watchmen and Frank Miller’s The Dark Knight Returns are emblematic milestones of this Age. It is observed that Dark Age’s characteristic aspects have reappeared, mutatis mutandis, today: after a transitional period in the 1990s, the figure of the superhero and the hero is again controversial and sometimes ambiguous, while antiheroes are increasingly successful. For these and other reasons, the contemporary Age is designated with the term Post-heroic Age. The thesis is divided into four main sections. The first concerns the superhero, and it considers the basic structures and concepts of superhero’s narrative. The key to understanding the superhero’s figure is its dualism and its relationship with the mask. The mask is intended as an idol and double identity; it is the genre’s clearest marker. Superheroes do not just “hide” behind a mask: they assume a whole new identity linked to a symbol and a different Weltanschauung. The double identity defines superhero’s relation with society and thanks to it the character can remain in a liminal state, in a balance between the human world, the society he protects, and the “super”, inhuman one, the world of the mask. The second section is regarding the villain. The relation between hero and villain is crucial, and the two figures prove to be less different as they seem at the beginning. There are different villain types: this distinction is methodologically useful for examining aspects revealed by a particular villain category. For example, the Doppelgänger and the Archenemy studies help define the relationship between superhero and supervillain. The other villain types are the Monster, the Enemy Commander, the Common Super-Criminal, and the Heroic Villain. The third section is the “heart” of this work, and it is focused on the antihero. This figure proved to be central to comprehend and define the superhero today. The following questions do not have an easy answer: “Why do we define a character an antihero? Why a villain or a superhero?” Key elements to define an antihero are his mask, the relationship with his society, and the moral conflict he usually causes. The antiheroic figures defined as “Rebels” and “Revolutionaries” are fundamental for understanding what an antihero is: they are characters such as V (V for Vendetta), Rorschach (Watchmen) or The Punisher (Marvel universe). From a philosophical point of view, Albert Camus’ The Myth of Sisyphus and The Rebel and the Nietzschean Übermensch are crucial at this point of the analysis. The chapter about the antiheroines opens the last section, which considers the superheroine and the superwoman in general. It is necessary to consider superwomen separately because they present important peculiarity compared to supermen, and they had a different evolution.
De, Bruin Gerhardus Stefanus. "Die antieke ruimtevaarder-teorie : 'n godsdienswetenskaplike studie (Afrikaans)." Thesis, 2001. http://hdl.handle.net/2263/23339.
Full textThesis (PhD (Science of Religion))--University of Pretoria, 2007.
Science of Religion and Missiology
unrestricted
Books on the topic "Antieroe"
Negri, Antimo. Il superuomo antieroe: Nietzsche, Stein, Bruno. Roma: SEAM, 2001.
Find full textNegri, Antimo. Il superuomo antieroe: Nietzsche, Stein, Bruno. Roma: SEAM, 2001.
Find full textAntieroe dai molti volti: Giuliano l'Apostata nel Medioevo bizantino. Udine: Forum, 2014.
Find full textLa "virtù eccellentissima": Eroe e antieroe nella letteratura italiana da Boccaccio a Tasso. Milano, Italy: FrancoAngeli, 2017.
Find full textLa guerra di Bruno: L'identità di confine di un antieroe triestino e sloveno. Roma: Donzelli editore, 2015.
Find full textPiperno, Alessandro. Proust antiebreo. Milano: F. Angeli, 2000.
Find full textSabben, Cees van. Antieke tegels. Rockanje: Testa Antiqua, 1987.
Find full textGeurts, Harry. Beschrijving antieke meetreeksen. De Bilt: Koninklijk Nederlands Meteorologisch Instituut, 1992.
Find full textVleugelhof, Lou. Mijn antieke vrienden: Gedichten. Amsterdam: Beuk, 1991.
Find full textKiefer e Feldmann: Eroi e antieroi nell'arte tedesca contemporanea. [Monza, Italy]: Johan & Levi, 2013.
Find full textBook chapters on the topic "Antieroe"
Molnár, Ildikó. "Deiodinase Enzymes and Their Activities in Graves’ Hyperthyroidism." In Graves' Disease [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.97007.
Full textTozzini, María Alma. "«No es fácil volver a nacer»: topologías de parentesco entre los Antieco de Costa del Lepá, noroeste de Chubut." In Parentesco y política, 113–35. Editorial UNRN, 2016. http://dx.doi.org/10.4000/books.eunrn.460.
Full textReports on the topic "Antieroe"
Yamamoto, Sota, Akinori Saito, Akinori Ishikawa, Koji Mizuno, and Eiichi Tanaka. Effects of Loading Direction on Antierior Cruciate Ligament Injury. Warrendale, PA: SAE International, May 2005. http://dx.doi.org/10.4271/2005-08-0067.
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