Relevant bibliographies by topics / Patroclus (Greek mythology) in art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Patroclus (Greek mythology) in art'

Author: Grafiati
Published: 29 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Patroclus (Greek mythology) in art"

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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 (January 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 (March 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 (March 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 (July 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 (June 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 (December 2014): 1336–41. http://dx.doi.org/10.1213/ane.0000000000000416.

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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 (September 2006): S255b—S255. http://dx.doi.org/10.1016/s1090-3801(06)60990-7.

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Katzive, Bonnie. "Looking, Writing, Creating." Voices from the Middle 4, no. 3 (September 1, 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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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 of classical traditions. Expanding the contextual perspectives puts the artwork on a wider stage of the society of the time and examines the semiotics within this sculpture that show the unique Renaissance interpretation. The Renaissance concept about secularism, rationalism, and individualism is also explained through the iconography analysis and the comparison with the ancient artwork. With the help of useful references, this dissertation incorporates aspects like art, mythology, literature, politics, social psychology, and ideology to offer some knowledge of the sculpture by Cellini as well as the Renaissance world.
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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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Dissertations / Theses on the topic "Patroclus (Greek mythology) in art"

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Vollkommer, Rainer. "Herakles in the art of classical Greece." Oxford : Oxford University Committee for Archaeology, 1988. http://books.google.com/books?id=ur2fAAAAMAAJ.

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Dipla, Anthi. "Images of revolt : women of myth in the art of classical Athens." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297329.

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Servadei, Cristina. "La figura di Theseus nella ceramica attica : iconografia e iconologia del mito nell'Atene arcaica e classica /." Bologna : Ante Quem, 2005. http://catalogue.bnf.fr/ark:/12148/cb40201611c.

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Texte remanié de: Tesi di dottorato--Archeologia--Padova--Università degli studi, 1997.
La p. de titre porte en plus : "Alma mater studiorum, Università di Bologna, Dipartimento di archeologia" Bibliogr. p. 217-234.
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Pierce, Karen. "Images of Argive Helen from birth to death." Thesis, University of Wales Trinity Saint David, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683213.

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Rosenzweig, Rachel. "Aphrodite in Athens : a study of art and cult in the classical and late classical periods /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.

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Thesis (Ph. D.)--University of Oregon, 1999.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-237). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.
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Roos, Bonnie. "Reviving Pygmalion : art, life and the figure of the statue in the modernist period /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3045092.

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Thesis (Ph. D.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 277-283). Also available for download via the World Wide Web; free to University of Oregon users.
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Von, Solms Charlayn Imogen. "Ingenuity's engine : an overview of the history and development of the concept of the muse." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/16468.

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Thesis (MPhil)--University of Stellenbosch, 2003.
ENGLISH ABSTRACT: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Many metaphors relating to creativity are too misleading, confusing, and restricted in scope for a meaningful exploration of the phenomenon and its fluctuating social and cultural contexts. Given the Muse's long-term association with literature, philosophy, education, and more recently, the fine arts and other "creative" fields, an analysis of this concept may provide a unique opportunity to gain insight into the "mechanisms" underlying the creative process. Since affiliation with the Muse appears to have signalled attainment of critical cultural and/or social status by cultural practitioners in various societies, from the ancient to the present (a category which was broadened substantially), it is thus logical to assume this concept encompasses and has accumulated characteristics particular to the creative process as historically and currently valued in Western culture. Given the limited scope of the thesis, I have focused on specific concerns: 1) Provide an overview of the history, origin and development of the concept via specific examples ranging from antiquity, the medieval period, and the modern. 2) Assess the changes which have occurred in the development of the concept, and postulate likely causes: such as for example, the impact of an increased focus on the visual - and by extension, the physical - due to a more literate populace, on a concept originally conceived of as experienced through predominantly audial means. 3) Identify closely related concepts, the characteristics of which may have played a role in the formulation of the initial concept, along with those integrated into it, to form the modern version of the Muse: examples include the influence of the myth of Pygmalion on notions regarding the poet's relationship with both material and Muse; and the consequences of an amalgamation of characteristics of Aphrodite with those of the pastoral Muse. 4) Explore the extent to which the Muse-poet interaction can reveal fundamental aspects of the creative process and its main components: the differences between the public invocation and experience of the Muse in an oral context, as opposed to the privately experienced Muse of the literate poet; also, the changes imposed on the concept's perceived means of functioning due to its extension to the practice of the visual arts; and the correlation between the Jungian notion of the anima and aspects of the Muse. 5) Postulate the fundamental aspects of the creative process as revealed by analysis of the concept of the Muse for further investigation. In brief then, the main intention of this thesis is simply to examine by analysis of particular examples, the feasibility of applying the concept of the Muse as metaphor through which to identify for further exploration, issues and themes relating to the production and changes in social assessment of creative enterprises.
AFRIKAANSE OPSOMMING: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Menige metafore verbonde aan kreatiwiteit is te misleidend, verwarrend, of beperk in omvang vir 'n betekenisvolle ondersoek van díe verskynsel en die fluktueerende sosiale en kulturele kontekste daarvan. Gesien in die lig van die Muse se langtermyn assosiasie met letterkunde, filosofie, opvoedkunde en meer onlangs, the skone kunste en ander "kreatiewe" velde, mag 'n analise van die konsep moontlik 'n unieke geleentheid bied om insig te verkry in die onderliggende "meganismes" van die kreatiewe proses. Aangesien affiliasie met die Muse blyk om die bereiking van kritiese kulturele en/of sosiale status, deur kulturele praktisyne in verskeie samelewings, van die antieke tot die huidige ('n kategorie wat aansienlik uitgebou is) aan te dui, is dit dus logies om te aanvaar dat die konsep alomvattend is van eienskappe kenmerkend van die kreatiewe proses, soos geskiedkundig en huidig op prys gestel in die Westerse kultuur. Gegewe die beperkte bestek van die tesis, is gefokus op spesifieke kwessies: 1) Verskaf 'n oorsig van die geskiedenis, oorsprong, en ontwikkeling van die konsep deur spesifieke voorbeelde, in omvang vanaf die antieke, die middeleuse periode, en die moderne. 2) Evalueer die veranderinge wat voorgekom het in die ontwikkeling van die konsep, en veronderstel moontlike redes daarvoor: soos byvoorbeeld, die impak van vermeerderde fokus op die visuele - en daarby die fisiese - as gevolg van 'n meer geletterde bevolking, op 'n konsep wat aanvanklik hoofsaaklik ouditief ondervind is. 3) Identifiseer verwante konsepte, die eienskappe waarvan moontlik 'n rol kon gespeel het in die formulasie van die aanvanklike konsep, asook die wat daarby geintegreer is, om die moderne weergawe van die Muse te vorm: voorbeelde sluit in, die invloed van die mite van Pigmalion op begrippe aangaande die digter se verhouding met beide die materiaal en Muse; en die gevolge van 'n samesmelting van Aphrodite se karaktertrekke met die van die pastorale Muse. 4) Ondersoek die mate waartoe die Muse-digter verhouding fundamentele aspekte van die kreatiewe proses en sy hoof komponente kan ontbloot: soos die verskille tussen die publieke invokasie en ervaring van die Muse in 'n verbale konteks, in teenstelling met die geletterde digter wat die Muse privaat ondevind; asook die veranderinge temeegebring op die persepsies aangaande die konsep se funksionering as gevolg van die uitbreiding daarvan tot die visuele kunste; en die korrelasie tussen die Jungiaanse idee van die anima, en aspekte van die Muse. 5) Veronderstel die fundamentele aspekte van die kreatiewe proses, soos ontbloot deur analise van die konsep van die Muse vir verdere ondersoek. Kortliks dan, die hoof voorneme van hierdie tesis is om deur analise van spesifieke voorbeelde, die uitvoerbaarheid te ondersoek om die konsep van die Muse toe te pas as metafoor vir verdere navorsing waardeur kwessies en temas, aangaande die produksie en veranderinge in sosiale waardering van kreatiewe ondernemings, ge-identifiseer kan word.
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Mance-Coniglio, Melissa. "Falling mythologies /." Online version of thesis, 2008. http://hdl.handle.net/1850/7750.

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Posthumus, Liane. "Hybrid monsters in the Classical World : the nature and function of hybrid monsters in Greek mythology, literature and art." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6865.

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Thesis (MPhil (Ancient Studies))--University of Stellenbosch, 2011.
ENGLISH ABSTRACT: The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of manhorse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity. In aid of this definition, attention is also given to themes that recur when considering monster beings. This provides a basis from which the hybrid monsters of ancient Greece, the centaur and Minotaur in particular, can be considered. The next section of the thesis looks into the attitudes to animals prevalent in ancient Greece. The cultural value of certain animal types and even certain body parts have to be taken account, and the degree to which these can be traced to the nature and actions of the hybrid monster has to be considered. The main argument is divided in two sections. The first deals with the centaur as challenger to Greek cultural taxonomy. The centaur serves as an eminent example of how human-animal hybrid monsters combine the familiar and the foreign, the Self and the Other into a single complex being. The nature of this monster is examined with special reference to the ways in which the centaur, as proponent of chaos and wilderness, stands in juxtaposition to the ideals of Greek civilisation. The second section consists of an enquiry into the purpose of the hybrid monster and considers the Minotaur’s role as a facilitator of transformation. The focus is directed towards the ritual function of monsters and the ways in which monsters aid change and renewal both in individuals and in communities. By considering the Theseus-myth and the role of the Minotaur in the coming-of-age of the Attic hero as well as the city of Athens itself, the ritual theory is given application in ancient Greece. The conclusion of this thesis is that hybrid monsters, as manifestations of the internal dichotomy of man and the tenuous relationship between order and chaos, played a critical role in the personal and communal definition of man in ancient Greece.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie tesis is om die sin van monsters te ondersoek deur te kyk na die verhouding wat bestaan tussen hierdie wesens en die gemeenskappe waarbinne hulle hul ontstaan het. Die tesis fokus spesifiek op die mens-dier hibriede monster in die mitologie, literatuur en kuns van antieke Griekeland. Dit probeer om tot ‘n slotsom te kom oor die bestaansrede van monsters deur te kyk na die aard van die man-perd monster. Hierdie wese se tweeledige samestelling – met betrekking tot beide sy interne en eksterne komposisie – het ‘n wesenlike bedreiging ingehou vir die kulturele taksonomie van die antieke Grieke. Die tesis kyk ook na die rol, van monsters in die konteks van rituele gebeure. Die mite van Theseus as ‘n mite met rituele verbintenisse, en die Minotaurus as hibriede monster, word dan oorweeg om te bepaal wat die ooreenstemming is met die verwagtinge wat daargestel is vir rituele monsters. Ten einde ‘n redelike definisie van monsteragtigheid daar te stel, begin die ondersoek deur oorweging te skenk aan die geskiedenis en die gebruike van die woord “monster”. Ter ondersteuning van hierdie definisie word daar ook aandag geskenk aan sekere temas wat herhaaldelik opduik wanneer monsters ter sprake kom. Dit skep ‘n basis vir die ondersoek na die hibriede monsters van antieke Griekeland, en meer spesifiek na die kentaurus en die Minotaurus. Die tesis oorweeg ook die houding van die antieke Griekse beskawing teenoor diere. Die kulturele waarde van sekere soorte diere, en selfs seker ledemate van diere, moet in ag geneem word wanneer die hibriede monsterfiguur behandel word. Aandag moet geskenk word aan die maniere waarop die assosiasies wat die Grieke met diere gehad het, oorgedra word na die aard en handelinge van die monsterfiguur. Die hoofargument van die tesis word in twee dele uiteengesit. Die eerste gedeelte behandel die kentaurus as uitdager van die kulturele taksonomie van die antieke Grieke. Die kentaurus dien as ‘n uitstekende voorbeeld van die manier waarop die mens-dier monster dit wat bekend is en dit wat vreemd is, die Self en die Ander, kombineer in een komplekse wese. Die aard van hierdie wese word ondersoek met spesifieke verwysing na die maniere waarop die kentaurus, as voorstander van die ongetemde en van chaos, in teenstelling staan teenoor die ideale van die Griekse beskawing. Die tweede gedeelte vors die doel van die hibriede monster na en oorweeg die Minotaurus se rol as bevorderaar van transformasie. Hier word gefokus op die rol van die monster in ’n rituele konteks en die maniere waarop monsters verandering en vernuwing teweegbring in enkelinge sowel as in gemeenskappe. Hierdie teorie word van toepassing gemaak op antieke Griekeland deur die mite van Theseus en die rol van die Minotaurus te oorweeg binne die konteks van die proses van inburgering wat beide die held en sy stad, Athene, ondergaan. Die gevolgtrekking van hierdie tesis is dat hibriede monsters, as uitbeeldings van die interne tweeledigheid van die mens sowel as van die tenger verband tussen orde en chaos in die wêreld, ‘n noodsaaklike rol gespeel het in die persoonlike en sosiale definisie van die individu in antieke Griekeland.
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Totskas, George. "Penthesilea : woman as hero /." Online version of thesis, 1990. http://hdl.handle.net/1850/11327.

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Books on the topic "Patroclus (Greek mythology) in art"

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Barber, Antonia. Apollo & Daphne: Masterpieces of Greek mythology. Los Angeles: J. Paul Getty Museum, 1998.

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Frontisi-Ducroux, Françoise. L' homme-cerf et la femme-araignée: Figures grecques de la métamorphose. Paris: Gallimard, 2003.

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Frontisi-Ducroux, Françoise. L' homme-cerf et la femme-araignée: Figures grecques de la métamorphose. Paris: Gallimard, 2003.

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Nyenhuis, Jacob E. Myth and the creative process: Michael Ayrton and the myth of Daedalus, the maze maker. Detroit, MI: Wayne State University Press, 2002.

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Carpenter, Thomas H. Art and myth in ancient Greece: A handbook. New York: Thames and Hudson, 1990.

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Carpenter, Thomas H. Art and myth in ancient Greece: A handbook. London: Thames and Hudson, 1991.

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Vollkommer, Rainer. Herakles in the art of classical Greece. Oxford: Oxford University Committee for Archaeology, 1988.

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Francesco, De Angelis, Muth Susanne, Hölscher Tonio, and Deutsches Archäologisches Institut. Römische Abteilung., eds. Im Spiegel des Mythos: Bilderwelt und Lebenswelt : Symposium, Rom 19.-20. Februar 1998 : immaginario e realtà. Wiesbaden: L. Reichert, 1999.

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Kauffmann-Samaras, Aliki. Hē thalassa: Theōn, hērōōn kai anthrōpōn stēn archaia hellēnikē technē = La mer : des dieux, des héros et des hommes dans l'art grec antique. Athēna: Ekdoseis Kapon, 2008.

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Moret, Jean-Marc. Œdipe, la Sphinx et les thébains: Essai de mythologie iconographique. [Rome]: Institut suisse de Rome, 1985.

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Book chapters on the topic "Patroclus (Greek mythology) in art"

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Huang, Juan. "Influence of greek mythology on modern art." In Engineering Technology, Engineering Education and Engineering Management, 61–63. CRC Press, 2015. http://dx.doi.org/10.1201/b18566-17.

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Neils, Jenifer. "Myth and Greek Art: Creating a Visual Language." In The Cambridge Companion to Greek Mythology, 286–304. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521845205.011.

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"Poetic Imagination and Cultural Memory in Greek History and Mythology." In Imagination and Art: Explorations in Contemporary Theory, 50–66. Brill | Rodopi, 2020. http://dx.doi.org/10.1163/9789004436350_004.

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Moland, Lydia L. "Classical Art." In Hegel's Aesthetics, 78–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847326.003.0004.

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Hegel claims that the human body is the only physical form that can fully embody the divine. Classical Greek artists perfectly depicted this embodiment in their mythology and statues. Hegel traces the emergence of the human out of earlier evocations of nature as the divine and argues that the perfect repose of Phidian sculpture represents the complete interpenetration of spirit and nature. But once human subjectivity begins to develop, it ruptures this unity and precipitates classical art’s decline. Aristophanes, Hegel claims, achieved a late example of classical perfection in his comedies. But soon afterward, classical art dissolves into incomplete forms such as satire, domestic comedy, and merely pleasant sculpture. After this decline, art will never again achieve the highest level of beauty or regain its prominence in human culture.
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Stamos, Nikolaos Ath. "Portraits Historiques in Education: Seeing Greek Mythology Through Renaissance Flemish Paintings." In Ways of Seeing: The Book of Selected Readings 2024, 130–42. International Visual Literacy Association, 2024. http://dx.doi.org/10.52917/ivlatbsr.2024.020.

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In this research, we deal with the connective way in which art can meet history in terms of methodology and multiliteracies. The historical framework of this study is the Renaissance in Flanders, the Dutch Golden Age, humanism (16th & 17th centuries A.D.), and the influence of Greco-Roman antiquity. Our aim was to determine if students can use Flemish paintings as an educational medium in order to selectively expand their visual and historical knowledge as they interpret portraits historiques (portraits of noble persons in mythological disguise). We examined the students’ observation-interpretation of these paintings and the way they could exhibit the development of visual-historical literacy. Within this study, we followed basic assumptions of Perkins (visual part) and Moniot (historical part). The case study method used here included 12-year-old students of a Greek primary school. Qualitative content analysis was performed on data from student interviews and student text production. Regarding the findings, students’ reading and interpretation of the image seemed to strengthen their visual literacy development, which in turn helped their historical literacy acquisition through a method of observing and comparing information.
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Winkler, Martin M. "Tragic Features in John Ford’s The Searchers." In Classical Myth & Culture in the Cinema, 118–47. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195130034.003.0007.

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Abstract One of the chief reasons for the lasting appeal of Greek tragedy lies in its mythical nature. With their archetypal qualities, myths are the foundation of tragedy. In modern societies, too, myths have preserved much of their appeal, although today they often appear in a diluted or not readily apparent form. In American culture, the mythology of the West has given twentieth-century literature and art one of its enduring new archetypes: that of the westerner. In ways comparable to the Greek tragedians’ use of received mythology for social, political, and moral reflection on their day and age, the myths of the West have frequently been used for similar purposes. In the words of director Sam Peckinpah: “The Western is a universal frame within which it is possible to comment on today.”1
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Grasskamp, Anna. "Shell Worlds: Maritime Microcosms in EurAsian Art and Material Culture." In Art and Ocean Objects of Early Modern Eurasia. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463721158_ch03.

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Asian shells were collected in early modern Europe, while Mediterranean coral was sought after in Asia. In both locations, artists and artisans created EurAsian objectscapes placing maritime material appropriated from abroad alongside local matter. Such painted and crafted shellscapes and coralscapes materialised ideas on the generation and transformation of matter. This chapter compares the cosmological ideas and material constituents that underlie artistic maritime microcosms and shows how their components echoed the material mapping of foreign spaces in the frameworks of European colonialism and Chinese tributary systems. Despite associations with culturally specific tropes in Greek mythology, Christianity, Daoism and Buddhism, the chapter argues that across Eurasia shells were believed to form gateways to underwater treasuries and give access to supernatural females.
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Cameron, Alan. "Myth and Society." In Greek Mythography in the Roman World, 217–52. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195171211.003.0009.

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Abstract What is the relevance or importance of Greek mythology in the vast world of the Roman empire? Moderns are understandably drawn to the way Roman poets and artists make use of particular myths: the vogue (for example) for the myth of the Golden Age in Catullus, Vergil, and Horace; the political exploitation of the gigantomachy myth for the victories of the princeps; more generally, the use of myth as source of imagery and exemplarity; or myth as allegory (whether physical, spiritual, or moral) in the essayists and philosophers; the development of certain mythical figures through different ages and literatures (the Ulysses theme, the Heracles theme, and so on); the sometimes puzzling myths chosen to decorate Roman sarcophagi. I myself have long been fascinated by the extraordinary vogue for the childhood rather than manhood of Achilles in the literature and (above all) art of the empire. No less intriguing in a different way is the negative attraction the old myths held for early Christians, who insisted on taking them literally, so that they could attack pagans for having unworthy gods (adulterers, parricides, crybabies). Obviously this can be seen as a sort of perverse tribute to their continuing power.
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Newman, William R. "Religion, Ancient Wisdom, and Newton’s Alchemy." In Newton the Alchemist, 45–63. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691174877.003.0003.

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This chapter analyzes several related themes, considering, for example, the relationship between Newton's exegesis of biblical prophecy and his method of interpreting the textual riddles presented by writers on the philosophers' stone. It also examines Newton's views on ancient wisdom and mythology in their relation to the aurific art, since many alchemists believed that the entertaining tales of the Greek and Roman pantheon contained veiled instructions for preparing the great arcanum. Previous scholarship has tended to assume that Newton too upheld the belief that ancient mythology was largely encoded alchemy. However, this would have presented a sharp conflict with his views on ancient chronology and religious history. Further evidence shows that Newton may well have considered the mythological themes transmitted and analyzed by early modern alchemists as conventional puzzles reworked from antique sources rather than as true expressions of ancient wisdom.
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Borchmeyer, Dieter. "In Search of a Lost Style: Wagner’s Ideal of ‘Classical Form’." In Richard Wagner, 75–86. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780193153226.003.0007.

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Abstract In his open letter to Nietzsche of 12 June 1872 (a letter prompted by Ulrich von Wilamowitz-Moellendorffs critique of Nietzsche’s Die Geburt der Tragödie) Wagner voices his enthusiasm for ‘classical antiquity’, dating his interest in the language, mythology, poetry, and history of ancient Greece from his childhood years. Although he had been denied a thorough philological training, he had, he goes on, gradually distilled ‘an ideal perception of art’ (ix. 296) from his study of antiquity—by which he invariably meant Greek antiquity. (In general he held a low opinion of Roman antiquity, which he was even led, on occasion, to dismiss altogether.) In Mein Leben he traces in detail the Greek influences on his view of the world and on his aesthetic thinking, and it is significant that, as with Hölderlin, whose Hyperion he naturally held in low esteem (CT, 24 December 1873 and passim), these influences were mixed with contemporary impressions gained during childhood, notably his enthusiasm for the Greek War of lndependence.
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Conference papers on the topic "Patroclus (Greek mythology) in art"

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Wang, Ruishu, and Wanbing Shi. "Teaching Objectives and Strategies of Greek and Roman Mythology for College Students*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.141.

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Liu, Tianyi. "Reflections on Man and Nature in Greek Mythology: From the Name of Natural Creatures." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.019.

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Bondarenko, Igor. "The Ensemble of the Acropolis of Athens in the Light of Ancient Greek Mythology." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.6.

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Dimitrakopoulou, Georgia. "WILLIAM BLAKE�S: THE BOOK OF THEL. THE AESTHETIC VERSUS THE USEFUL?" In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.23.

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In The Book of Thel (The Book of ????, that is The Book of the Female), Blake�s main preoccupation, in my opinion focuses on the juxtaposition between the aesthetic and the useful, their antithesis and their synthesis to produce and explain the female identity. Knowing that Blake�s thought always moves in oppositional and synthetical structures, the useful versus the aesthetic is nothing more than the restless and perpetual fight of the dualisms of innocence and experience, energy and Urizen, imagination and reason. Taking into consideration that Blake�s dualisms are constructive rather than destructive, in The Book of Thel, he wonders and oscillates between the aesthetic and the useful. He attributes an indefinite, unclear kind of beauty to Thel, which is a progression of his thought since The Marriage of Heaven and Hell, where he associated the organs of reproduction with beauty, �the genitals Beauty�, the sublime and the beautiful together, that is the head and the genitals, a confirmation that �Man has no Body distinct from his Soul ��. This progression of his thought relates to the formation of what is commonly called beauty (aesthetic value), an ethical feminine development in contradistinction to use value the necessity of survival: �� without a use this shining woman liv�d, / Or did she live. to be at death the food of worms.� Nevertheless, the issue seems problematic. Thel, �the daughter of beauty,� finally is the �� beauty of the vales of Har.� (Har in Greek mythology, that is ????? is the ferryman who carried the dead to the underworld and the etymology of the word Har (X??-??) is an euphemism of the verb ?????, meaning enjoy, take pleasure in), thus signifying quite the opposite; that is the death of the aesthetic possibly in favour of the useful. Thel lives in a world of uselessness, depression, and oblivion. Thus, Blake�s Har and the Greek Har introduce death as Thel�s ultimate refuge. The question is: is Thel after having rejected the (her) use value, a mere aesthetic value belonging to Har? Or her aesthetic value in the real world, the world of experience equals death?
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