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Artículos de revistas sobre el tema "Fabulae"

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Publicado: 11 de marzo de 2023

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1

Budzowska, Malgorzata. "Medea w tradycji przedeurypidejskiej". Collectanea Philologica 8 (1 de enero de 2004): 73–82. http://dx.doi.org/10.18778/1733-0319.08.05.

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Materia dissertationis nostrae sunt fabulae et opera sriptorum Gracorum ante Euripidem, quae ad personam Medeam perinent. Implicandum fabulas cum rebus gestis nationis Minyadum, qui Argonautae putantur, signatur. Primum tamen mutatio aspectus Medeas in litteris Graecis notatur.
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2

Palmer, D. W. "Fabulae". History of European Ideas 22, n.º 2 (marzo de 1996): 113. http://dx.doi.org/10.1016/s0191-6599(96)90001-7.

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3

Heise, Pedro F. "Le “Fabulae” di Boccaccio". Revista de Italianística, n.º 29 (12 de junio de 2015): 71. http://dx.doi.org/10.11606/issn.2238-8281.v0i29p71-83.

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No Proêmio do Decameron, Boccaccio aponta que contará “cem novelas, ou fábulas, ou parábolas, ou histórias que queiramos dizer”, termos sinonímicos que reforçam a novidade do gênero “novela”. Na Genealogia deorum gentilium, porém, o poeta retoma o termo latino “fabula”, que é mais ainda especificado em quatro sentidos diferentes, cada um dos quais com a intenção de definir da melhor maneira possível o próprio trabalho de Boccaccio, isto é, as suas “fabulae”. Neste artigo o leitor encontrará uma discussão acerca dos quatro sentidos do termo, assim como algumas relações possíveis com a obra italiana do certaldense
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4

Regtuit, R. F. "Aristophanis fabulae". Mnemosyne 64, n.º 3 (2011): 486–93. http://dx.doi.org/10.1163/156852511x548243.

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5

Kopff, E. Christian, Hugh Lloyd-Jones, N. G. Wilson y Malcolm Davies. "Sophoclis fabulae". American Journal of Philology 114, n.º 1 (1993): 155. http://dx.doi.org/10.2307/295389.

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6

Mann, Kristin. "Reading Gender in Phaedrus’ Fabulae". Classical Journal 115, n.º 2 (2019): 201–27. http://dx.doi.org/10.1353/tcj.2019.0013.

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7

Bisson, Alain-François. "Juris civilis fabulae secundum Petrum Magnum". Revue générale de droit 27, n.º 3 (1996): 405. http://dx.doi.org/10.7202/1035786ar.

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8

Giglioni, Guido. "Historia and Materia: The Philosophical Implications of Francis Bacon's Natural History". Early Science and Medicine 17, n.º 1-2 (2012): 62–86. http://dx.doi.org/10.1163/157338212x631783.

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AbstractThis article examines the philosophical implications underlying Bacon's views on historical knowledge, paying special attention to that variety of historical knowledge described by Bacon as “natural.” More specifically, this article explores the interplay of history (historia) and fable (fabula). In the sphere of thought, fabula is the equivalent to materia in nature. Both are described by Bacon as being “versatile” and “pliant.” In Bacon's system of knowledge, philosophy, as the domain of reason, starts from historiae and fabulae, once memory and the imagination have fulfilled their cognitive tasks. This means that, for Bacon, there is no such thing as a pure use of reason. He advocates a kind of reason that, precisely because it is involved with matter's inner motions (its “appetites,” in Bacon's characteristic language), is constitutively 'impure'. The article shows how the terms historia and fabula cover key semantic areas in defining Bacon's philosophy: historia may mean “history” as well as “story,” fabula “myth” as well “story.” In both cases, we can see significant oscillations from a stronger meaning (close to those of matter and nature) to a weaker one (connected to wit and imagination), as if the power of nature decreases moving from histories and myths to stories. On the other hand, there are cases in which Bacon seems to stick to a diachronic view of the meaning of fables and histories, such that the transition from myths to history, especially natural history, is described as a collective effort towards reality and enlightenment.
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9

Pappalardo, Lucia. "Fabulae and Imaginatio in Gianfrancesco Pico’s Thought". Renaissance and Reformation 42, n.º 4 (9 de abril de 2020): 61–83. http://dx.doi.org/10.7202/1068575ar.

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In Renaissance philosophy, the term fabula is often used to mean a poetic or fantastic tale that conceals the truth beneath metaphorical language. This article will focus on a rather different concept of fabula found in Gianfrancesco Pico della Mirandola’s works. To the younger Pico, the entire tradition of Greek and Latin poetry is a fabula: that is, a false and immoral narration inspired by demons. In the first part of this article, I will trace the origin of this use of fabula to the early Christian apologists. I will argue that Gianfrancesco’s intention was to build on this idea through an interpretation of ancient thought that differed from the historiographical model of prisca theologia proposed by Marsilio Ficino and Giovanni Pico. In the second part, I will show the close relationship, in Gianfrancesco’s philosophy, between fabula and imaginatio.
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10

Mann. "Reading Gender in Phaedrus' Fabulae". Classical Journal 115, n.º 2 (2019): 201. http://dx.doi.org/10.5184/classicalj.115.2.0201.

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11

Hays, Gregory. "Did Chrétien de Troyes Know Hyginus’ Fabulae?" Romance Philology 62, n.º 1 (enero de 2008): 75–81. http://dx.doi.org/10.1484/j.rph.2.305845.

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12

Amann, Petra. "Ilaria Domenici: Etruscae Fabulae. Mito e rappresentazione." Gnomon 85, n.º 3 (2013): 249–53. http://dx.doi.org/10.17104/0017-1417_2013_3_249.

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13

Torrano, Jaa. "As Suplicantes, de Eurípides". CODEX -- Revista de Estudos Clássicos 7, n.º 2 (31 de diciembre de 2019): 122–63. http://dx.doi.org/10.25187/codex.v7i2.30552.

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A presente tradução segue o texto de J. Diggle – Euripidis Fabulae tomus II (Oxford, 1981) e onde este é lacunar recorremos a restaurações propostas por outros editores, cujos nomes se assinalam à margem direita do verso traduzido.
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14

Gärtner, Ursula. "Phaedrus, Fabulae Aesopiae. Recensuit et adnotavit Giovanni Zago." Gnomon 94, n.º 7 (2022): 602–8. http://dx.doi.org/10.17104/0017-1417-2022-7-602.

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15

Chauty sj, Erwan. "“Jérémie rejoint Guedalias: deux récits, combien de fabulae?”1". Scandinavian Journal of the Old Testament 31, n.º 2 (3 de julio de 2017): 202–12. http://dx.doi.org/10.1080/09018328.2017.1333763.

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16

Mann, Kristin. "Phaedrus' Double Dowry: Laughter and Lessons in the Fabulae Aesopiae". Classical World 114, n.º 2 (2021): 201–25. http://dx.doi.org/10.1353/clw.2021.0003.

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17

Zimmermann, Bernhard. "Aristophanis fabulae. Recognovit brevique adnotatione critica instruxit N. G. Wilson." Gnomon 88, n.º 1 (2016): 5–14. http://dx.doi.org/10.17104/0017-1417-2016-1-5.

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18

Salvo, Lucia Di. "Gesine Manuwald: Fabulae praetextae. Spuren einer literarischen Gattung der Römer". Gnomon 76, n.º 1 (2004): 37–40. http://dx.doi.org/10.17104/0017-1417_2004_1_37.

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19

Ehrman, Radd K. "Is All That Glitters the Lex Oppia?" Mnemosyne 70, n.º 5 (13 de septiembre de 2017): 808–19. http://dx.doi.org/10.1163/1568525x-12341978.

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AbstractThe lex Oppia of 215 bc is known largely through Livy’s report of the debate centering on its repeal 20 years later. The details of the legislation are somewhat sketchy but it has become a focal point for discussing fragments of the fabulae togatae which refer to gold and purple. In this piece pertinent fragments of the Barbatus of Titinius are examined to see whether or not perceived allusions to the law are sound.
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20

Marshall, C. W., Euripidea, James Diggle, Euripidea y James Diggle. "Euripides: "Fabulae." Vol. 3. Helena, Phoenissae, Orestes, Bacchae, Iphigenia Aulidensis, Rhesus". Classical World 91, n.º 5 (1998): 448. http://dx.doi.org/10.2307/4352149.

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21

Noonan, J. D. "Mettius Fufetius in Livy". Classical Antiquity 25, n.º 2 (1 de octubre de 2006): 327–49. http://dx.doi.org/10.1525/ca.2006.25.2.327.

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Abstract This essay makes the case that Livy's version of the tale of Mettius Fufetius transmits certain facts that relate to inherited ritual practices (horse-sacrifice among them) along with formulas used in early law and diplomacy. Although the author may not be fully aware of the original meaning of all he is handing down (e.g., the etymology of mitis) because he has simply taken materials from his sources without much critical investigation, the traditional elements are important to him because they seem to authenticate this legend about the reign of Tullus Hostilius. For the moralizing historian that Livy certainly is, the treason of Mettius Fufetius and his execution at the command of the Roman king comprise the starting point of a remarkable sequence of episodes in his narrative that demonstrate the dishonorable behavior of Rome's chief rivals in Italy. The legend of Mettius Fufetius thus embodies a kind of ““original sin”” in the political realm, and becomes the paradigm for Rome's harsh dealing with faithless allies over the next five centuries. The essay concludes that this story typifies many Roman fabulae, insofar as they were often composed on the basis of outdated or unfamiliar idionyms, toponyms, ceremonial words and phrases, and ancient legal terms. In such fabulae characters like Tullus Hostilius and Mettius Fufetius, perhaps mere names in annals and king-lists, become the performers whose ceremonial acts turn into the foundational moments of Rome's public life.
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22

Zalewska-Jura, Hanna. "W sidłach "libido". Motywy seksualne w greckim dramacie satyrowym". Collectanea Philologica 15 (1 de enero de 2012): 15–22. http://dx.doi.org/10.18778/1733-0319.15.02.

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Cum fabulae satyricae nomen suum a choro satyrorum, quorum natura ad sexum conciliata semper hominibus in mentem veniebat, accepissent, materia sexualis in dramatibus invenienda erat. Notandum est choreutis unicum vestimentum peridzoma cum magno pene a fronte fuisse. Qua de causa iam imago speciesque participum chori obscoena fuisse videbatur. At in hac disputatione de lascivia et iocis sexualibus textis fabularum insertis narratur. Exempla a fragmentibus Dictyulcorum et Amymonae Aeschyli, Achillis amatores Sophoclis atque Sylei et Cyclopis Euripidis deducta quo modo tres tragici materia sexuali uti sint ad lusum hilarem construendum demonstrant.
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23

Collard, Christopher. "Euripidis Fabulae, Tomus I - James Diggle: Euripidis Fabulae, Tomus I: Cyclops, Alcestis, Medea, Heracleidae, Hippolytus, Andromacha, Hecuba. (Oxford Classical Texts.) Pp. xvi+398. Oxford: Clarendon Press, 1984. £7.90." Classical Review 36, n.º 1 (abril de 1986): 17–24. http://dx.doi.org/10.1017/s0009840x00104822.

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24

Moro, Stella Maris y María Eugenia Martí. "El motivo del tiempo en Stichus de Plauto". Auster, n.º 25 (17 de diciembre de 2020): e059. http://dx.doi.org/10.24215/23468890e059.

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Duckworth1 reconoce en Stichus tres fabulae constitutivas. En este artículo se analiza el rol que el tiempo juega en cada una de ellas: primero, el conflicto suscitado por una perspectiva dispar asumida respecto de la mutabilidad o inmutabilidad de las relaciones sociales, instituciones tales como el matrimonio y valores como la pietas; segundo, las quejas del parasitus en torno a los tiempos actuales de hambre y carencia, contrapuestos a un pasado “generoso” de convites; finalmente, una jornada de libertad concedida a los esclavos, espacio de celebración efímera, cuya fugacidad implica la inminencia del retorno al orden social establecido.
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25

Mégier, Elisabeth. "Fabulae ou historiae? Mythologie grecque et exégèse typologique dans la chronique d'Otton de Freising". Mediaevistik 15, n.º 1 (1 de enero de 2002): 15–30. http://dx.doi.org/10.3726/83996_15.

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26

Baruzzo, Barbara. "‘Ten Little Fabulae’: Ovidian Tales of Love and Metamorphosis in a Midsummer Night's Dream". Cahiers Élisabéthains: A Journal of English Renaissance Studies 45, n.º 1 (abril de 1994): 21–32. http://dx.doi.org/10.1177/018476789404500106.

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27

Kovacs, D. "Euripidis fabulae, Tomus III: Helena, Phoenissae, Orestes, Bacchae, Iphigenia, Aulidensis, Rhesus. J Diggle (e.d)". Classical Review 48, n.º 2 (1 de febrero de 1998): 270–72. http://dx.doi.org/10.1093/cr/48.2.270.

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28

Flower, Harriet I. "Fabulae Praetextae in context: when were plays on contemporary subjects performed in Republican Rome?" Classical Quarterly 45, n.º 1 (mayo de 1995): 170–90. http://dx.doi.org/10.1017/s000983880004177x.

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The fabula praetexta is a category of Roman drama about which we are poorly informed. Ancient testimonia are scanty and widely scattered, while surviving fragments comprise fewer than fifty lines. Only five or six titles are firmly attested. Scholarly debate, however, has been extensive, and has especially focused on reconstructing the plots of the plays.1 The main approach has been to amplify extant fragments by fitting them into a plot taken from treatments of the same episode in later historical sources such as Livy, Dionysius, or Plutarch.2 This method was extended by Mommsen and others in their efforts to identify new titles and plots by isolating passages in the historians which seem written in a dramatic style, and could therefore be interpreted as derivations from historical plays.3 Such a line of approach is both risky and subjective. It is based on the desire to recover a lost genre, which modern scholars feel must or should have existed. It is tempting to imagine that the Romans would have encouraged a thriving national theatre on historical themes. Such a genre, it is argued, would have been influential in shaping the average Roman's view of past events and the treatment of famous episodes by later historians.4 The conclusions reached have virtually no basis in the ancient sources we actually have. The result is largely a fiction created by the scholarly imagination.
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29

Mastronarde, Donald J. "Euripidis Fabulae, Tomus I. Insunt "Cyclops," "Alcestis," "Medea," "Heraclidae," "Hippolytus," "Andromacha," "Hecuba". J. Diggle". Classical Philology 83, n.º 2 (abril de 1988): 151–60. http://dx.doi.org/10.1086/367096.

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30

Pons, Christian-Marie. "L’illitérature en images". Études littéraires 30, n.º 1 (12 de abril de 2005): 97–104. http://dx.doi.org/10.7202/501191ar.

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Interrogeant l'illustration paralittéraire (couvertures illustrées, bande dessinées) en regard de la Littérature, nous opposons à celle-ci le concept d'« illitérature ». Le néologisme vient de la sentence, « Pictura illiterato litteratura » d'Alcuin (VIIIe siècle) argument pour la sauvegarde des fresques dans les églises. L'illitérature renvoie moins à l'idée d'une littérature par absence qu'à celle d'une littérature dont l'accès est favorisé par l'image. Résonnance dans le terme même avec la dimension pragmatique de l'acte illocutoire ; une prévalence de l'illocutoire comme intention manifestée serait-elle un trait distinctif de la paralittérature ? L'image en hérite, au moins depuis la Renaissance; tout comme le dispositif paralittéraire (sérialité, récurrence des fabulae, hybridité sémiotique), elle simplifie la tâche du lecteur; l'importance accordée à ce dernier complète la convergence.
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31

Jiménez Ríos, Laura. "Hernán Ruiz de Villegas y Ravisio Textor: a propósito de las Aesopi fabulae". Euphrosyne 50 (enero de 2022): 287–98. http://dx.doi.org/10.1484/j.euphr.5.132023.

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32

Frank, Milena. "Creative imitatio and satirical configuration of donkeys in the fabulae of Phaedrus and The golden ass of Apuleius". Circe, de clásicos y moderno 24, n.º 1 (24 de julio de 2020): 29–41. http://dx.doi.org/10.19137/circe-2020-240102.

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33

Swain, Simon. "Arrian the epic poet". Journal of Hellenic Studies 111 (noviembre de 1991): 211–14. http://dx.doi.org/10.2307/631906.

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We know of several Greek translators of works originally written in Latin. Of non-Christian, purely literary material, we know of six. First, there is Claudius' powerful freedman, Polybius, who turned Homer into Latin prose and Vergil into Greek prose (SenecaConsol. ad Polyb. 8.2, 11.5). Then, under Hadrian we have Zenobius ‘the sophist’, who translates Sallust'sHistoriesand “so-called Wars’ (Suda Z 73). The translation into Greek of Hyginus' Fabulae can be dated precisely, for its unknown author tells us that he copied it up on 11th September 207 (CGILiii 56.3off.). Similarly, the extant translation of Eutropius'Breviariumby Paianios, probably a pupil of Libanius, can be dated securely to about 380. The translation of the same by Capito (SudaK 342), which survives in excerpts, is placed with some confidence at the beginning of the sixth century. The date and identity of the last of our translators, ‘Arrian the epic poet’, who rendered theGeorgicsof Vergil (SudaA 3867), is unclear.
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34

Harrison, S. J. "The Speaking Book: The Prologue to Apuleius' Metamorphoses". Classical Quarterly 40, n.º 2 (diciembre de 1990): 507–13. http://dx.doi.org/10.1017/s000983880004307x.

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at ego tibi sermone isto Milesio varias fabulas conseram auresque tuas benivolas lepido susurro permulceam, modo si papyrum Aegyptiam argutia Nilotici calami inscriptam non spreveris inspicere. figuras fortunasque hominum in alias imagines conversas et in se rursum mutuo nexu refectas, ut mireris, exordior. ‘quis ille?’ paucis accipe. Hymettos Attica et Isthmos Ephyrea et Taenaros Spartiatica, glebae felices aeternum libris felicioribus conditae, mea vetus prosapia est; ibi linguam Atthidem primis pueritiae stipendiis merui, mox in urbe Latia advena studiorum Quiritium indigenam sermonem aerumnabili labore nullo magistro praeeunte aggressus excolui. en ecce praefamur veniam, si quid exotici ac forensis sermonis rudis locutor offendero. iam haec equidem ipsa vocis immutatio desultoriae scientiae stilo quern accessimus respondet. fabulam Graecanicam incipimus. lector intende: laetaberis.
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35

ADAMSKI, DAVID. "Review of Glyphidocera Walsingham of Costa Rica (Lepidoptera: Gelechioidea: Glyphidoceridae)". Zootaxa 858, n.º 1 (16 de febrero de 2005): 1. http://dx.doi.org/10.11646/zootaxa.858.1.1.

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The genus Glyphidocera (Glyphidoceridae) of Costa Rica is reviewed. Eighty-eight new species are described: Glyphidocera adrogantiae, G. advenae, G. aediculae, G. aedis, G. ambrosiae, G. amitae, G. ancillae, G. animae, G. arae, G. arakawae, G. arenae, G. asymmetricae, G. audaciae, G. brumae, G. burpurae, G. barbae, G. capsae, G. cauponae, G. caveae, G. cellae, G. cenae, G. cenulae, G. cerula, G. ciatae, G. clavae, G. comae, G. contionis, G. coquae, G. corniculae, G. coronae, G. cotis, G. coturnicis, G. crepidae, G. dictionis, G. diciae, G. eminetiae, G. fabulae, G. faecis, G. ferae, G. fidem, G. formae, G. gazae, G. gemmae, G. glaebae, G. gloriae, G. harenae, G. infulae, G. lanae, G. laricae, G. lawrenceae, G. lupae, G. luxuriae, G. minarum, G. notae, G. novercae, G. nubis, G. olivae, G. ollae, G. operae, G. orae, G. paenulae, G. pali, G. personae, G. pilae, G. placentae, G. plebis, G. plumae, G. positurae, G. raedae, G. ranae, G. reginae, G. rodríguezi, G. rubetae, G. sapphiri, G. sardae, G. scuticae, G. sollertiae, G. spathae, G. speculae, G. staerae, G. terrae, G. tibiae, G. umbrae, G. vappae, G. virgulae, G. vocis, G. zamia, and G. zothecuale. Glyphidocera illiterata Meyrick, 1928, from Panama; G. zophocrossa Meyrick, 1929, from Trinidad; G. vestita Walsingham, 1911, from Panama; and G. guaroa Adamski 2002, from Costa Rica are redescribed. Diagnoses, descriptions, and type information are provided for each species. Photographs of holotypes, illustrations of head, wing venation, and male and female genitalia, digitized distribution maps, and a key to all Glyphidocera found in Costa Rica are included.Resumen.— Los Glyphidocera (Glyphidoceridae) de Costa Rica son revisados. En este trabajo ochenta y ocho especies nuevas son descritas: Glyphidocera adrogantiae, G. advenae, G. aediculae, G. aedis, G. ambrosiae, G. amitae, G. ancillae, G. animae, G. arae, G. arakawae, G. arenae, G. asymmetricae, G. audaciae, G. brumae, G. burpurae, G. barbae, G. capsae, G. cauponae, G. caveae, G. cellae, G. cenae, G. cenulae, G. cerula, G. ciatae, G. clavae, G. comae, G. contionis, G. coquae, G. corniculae, G. coronae, G. cotis, G. coturnicis, G. crepidae, G. dictionis, G. diciae, G. eminetiae, G. fabulae, G. faecis, G. ferae, G. fidem, G. formae, G. gazae, G. gemmae, G. glaebae, G. gloriae, G. harenae, G. infulae, G. lanae, G. laricae, G. lawrenceae, G. lupae, G. luxuriae, G. minarum, G. notae, G. novercae, G. nubis, G. olivae, G. ollae, G. operae, G. orae, G. paenulae, G. pali, G. personae, G. pilae, G. placentae, G. plebis, G. plumae, G. positurae, G. raedae, G. ranae, G. reginae, G. rodríguezi, G. rubetae, G. sapphiri, G. sardae, G. scuticae, G. sollertiae, G. spathae, G. speculae, G. staerae, G. terrae, G. tibiae, G. umbrae, G. vappae, G. virgulae, G. vocis, G. zamia, and G. zothecuale. Glyphidocera illiterata Meyrick, 1928, de Panamá; G. zophocrossa Meyrick, 1929, de Trinidad; G. vestita Walsingham, 1911, de Panamá; y G. guaroa Adamski de Costa Rica Adamski son redescritas. Diagnosis, descripciones e información de los holotipos son provistas para cada especie.
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Carvalho, Janete Magalhães y Camilla Borini Vazzoler Gonçalves. "As crianças e suas fabulações". Revista Digital do LAV 14, n.º 2 (30 de agosto de 2021): 263–80. http://dx.doi.org/10.5902/1983734865448.

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Neste artigo, discute-se a brincadeira das crianças como processos não padronizáveis, visto que, em movimentos criativos, inventam tanto brinquedos como brincadeiras inusitadas nos centros de educação infantil. Problematiza-se, assim, os modos pelos quais as crianças atualizam o plano da virtualidade, abrindo-se para outros mundos a serem habitados. Como estratégia metodológica, adota-se a pesquisa cartográfica, acompanhando processos ocorridos no cotidiano escolar. Ao longo desta investigação, argumenta-se que o fabular envolve ‘artistagens’ e encontros entre corpos, deslocando o pensamento ordinário para o extraordinário. Conclui-se que as crianças, ao fabularem, estimulam outros modos de existir e (re)existir na vida devido a sua força inventiva.
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37

McRoberts, Stephen S. "CAESAR'S ‘VIRGILIAN’ KATABASIS AT TROY IN LUCAN BELLVM CIVILE 9.950–99". Ramus 47, n.º 1 (junio de 2018): 58–77. http://dx.doi.org/10.1017/rmu.2018.7.

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Caesar's visit to Troy has always been something of an enigma. Historically, the episode is unattested. Caesar wanders through a congeries of sites at Troy ranging from Ajax's grave on the Rhoetium promontory at its beginning to Priam's Herceian altar at the end. Numerous interpretations have been offered. Bruère has argued for Aeneas' tour through the future site of Rome in Aeneid 8 as a backdrop. Ahl has noted the connection between the ruins of Italy described in Bellum Ciuile (B.C.) 7 and the ruins of Troy in B.C. 9. Rome/Italy and Troy merge in essence as vanishing fabulae, which the poet keeps alive. Zwierlein sees Caesar's visit as modeled on Alexander the Great's visit nearly three hundred years earlier. Caesar through this scene is established as a destroyer of empires, inferior only to Alexander. Ormand stresses Caesar as an authoritative reader of the ruins of Troy, where Caesar reads the Aeneid instead of the Iliad. Rossi similarly focuses on Caesar as reading Troy's ruins to the advantage of the Julian dynasty. Gergo has opened up the passage with the correct observation that Lucan has in mind Aeneas’ katabasis in Aeneid 6. But the relationship between the brief tour at Troy and Aeneid 6 is both more comprehensive and precise. Indeed this essay will present a systematic interpretation of Caesar's tour as a parallel to Aeneid 6 in its entirety, a parallel to which Lucan most likely does not give his character Caesar access.
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38

Maccioni, Franca. "Fabular la lengua. Consideraciones en torno al "origen anfibio de la lengua" en el pensamiento filosófico contemporáneo". LA PALABRA, n.º 26 (5 de marzo de 2015): 33. http://dx.doi.org/10.19053/01218530.3291.

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El presente artículo propone explorar el modo en que ciertos filósofos contemporáneos (en especial Pascal Quignard, Michel Foucault y Giorgio Agamben) fabulan un "origen anfibio de la lengua" en un intento por pensar una experiencia con el límite del lenguaje en donde vida y palabra se articulan necesariamente. Desarrollamos principalmente los lugares del pensamiento de estos autores en donde el origen-límite del lenguaje se postula como no-histórico, trazándose esencialmente como fabula (esto es, como palabra pero también como invención) que encuentra en el agua su materia imaginaria privilegiada. La propuesta, finalmente, es la de pensar que esta experiencia anfibia original (lógica y a-histórica) con el lenguaje, hace posible un recomienzo (histórico y parcial) de nuestra lengua en donde se conjuran ciertos rasgos de negatividad y muerte que se asocian al lenguaje humano articulado y significante.Palabras clave: Fábula; origen anfibio; experiencia del lenguaje; Michel Foucault, Pascal Quignard; Giorgio Agamben.
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39

Verdenius, W. J. "J. DIGGLE, Euripidis Fabulae, vol. II: Supplices, Electra, Hercules, Troades, Iphigenia in Tauris, Ion (Oxford Classical Texts). Oxford University Press, 1981. XIII, 373 pp". Mnemosyne 40, n.º 3-4 (1987): 439–40. http://dx.doi.org/10.1163/156852587x00661.

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40

Renehan, R. "Review Article: The New Oxford SophoclesSophoclis Fabulae. H. Lloyd-Jones , N. G. WilsonSophoclea: Studies on the Text of Sophocles. H. Lloyd-Jones , N. G. Wilson". Classical Philology 87, n.º 4 (octubre de 1992): 335–75. http://dx.doi.org/10.1086/367327.

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41

Renehan, Robert. "Review Article: The Euripidean Studies of James Diggle: Part IEuripidea: Collected Essays. James DiggleEuripides: Fabulae. Tomus III: "Helena," "Phoenissae," "Orestes," "Bacchae," "Iphigenia Aulidensis," "Rhesus". James Diggle". Classical Philology 93, n.º 2 (abril de 1998): 161–91. http://dx.doi.org/10.1086/449385.

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42

Renehan, R. "Review Article: The Euripidean Studies of James Diggle: Part IIEuripidea: Collected Essays. James DiggleEuripides: Fabulae. Tomus III: "Helena," "Phoenissae," "Orestes," "Bacchae," "Iphigenia Aulidensis," "Rhesus". James Diggle". Classical Philology 93, n.º 3 (julio de 1998): 249–70. http://dx.doi.org/10.1086/449396.

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43

Mordeglia, Caterina. "Fedro e Aviano presenze ‘fantasma’ nella Spagna medievale". Myrtia 34 (31 de enero de 2020): 131–46. http://dx.doi.org/10.6018/myrtia.412001.

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L’analisi della diffusione manoscritta delle favole di Fedro e Aviano e dei loro rifacimenti mediolatini nella Spagna medievale rivela una pressoché totale assenza di testimonianze che contrasta con il resto d’Europa. Si registrano solo timidi tentativi di penetrazione del genere attraverso i contatti culturali con il Sud della Francia, di cui l’esempio più significativo è offerto da due favole contenute nel ms. Madrid, RHA, 39 (s. XI), qui riportate con testo critico rivisto e la prima traduzione italiana. Tuttavia una presenza ‘sommersa’ del genere, precedente alla diffusione delle prime edizioni a stampa – anch’esse ricollegabili ad ambienti culturali italiani e nord-europei – è comprovata dalle reminiscenze favolistiche classiche nella Disciplina clericalis di Pietro Alfonsi (s. XII) e nel Libro de los gatos (s. XIV), versificazione in castigliano delle Fabulae di Oddone di Cheriton. The analysis of the manuscripts’ spread of Phaedrus and Avianus’ fables and their Latin rewritings in Spain during the Middle Ages reveals an almost total absence of witnesses, contrary to the rest of Europe. There are only shy attempts of penetration of the genre through the cultural contacts with Southern France. The main example is offered by two fables transmitted by the ms. Madrid, RAH, 39 (s. XI), here presented in a new critical edition with the first Italian translation. Anyway a ‘ghost’ presence of the Latin fables before their first printed editions – also due to the Italian and North-European cultural contacts – is confirmed by their tracks in the Petrus Alfonsi’s Disciplina clericalis (XIIth century) and the Libros de los gatos, a rhytmical translation in Castilian language of Odo of Cheriton’s Latin fables (XIVth century).
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44

Gwóźdź, Andrzej. "Ku Polsce, czyli obrazy powstań śląskich i plebiscytu w polskim filmie". Kwartalnik Filmowy, n.º 112 (31 de diciembre de 2020): 195–215. http://dx.doi.org/10.36744/kf.442.

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Autor śledzi wędrówki motywów powstańczo-plebiscytowych w powojennym kinie polskim i proponuje przegląd przedwojennych przejawów ich ekranowego życia. Oprócz Rodziny Milcarków Józefa Wyszomirskiego (1962) i Soli ziemi czarnej Kazimierza Kutza (1969), jedynie kilka odcinków serialu Blisko, coraz bliżej Zbigniewa Chmielewskiego (1982) zostało poświęconych tej tematyce. Swoje fabularne życie powstania zyskują też w innych filmach w formie retrospekcji czy aluzji. Ów skromny korpus dopełnia fabuła Bracia (2006) Józefa Kłyka. Powstania stanowią też temat dokumentów – instrumentalizujących je w duchu wykładni PRL, edukacyjnych bądź tematyzujących kino jako maszynerię pamięci. Ciągle jednak repertuar „krajobrazów pamięci” powstań i plebiscytu pozostaje do wypełnienia.
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45

Cristofolini, Paolo. "«Fabula narratur»". Cuadernos sobre Vico, n.º 32 (2019): 81–86. http://dx.doi.org/10.12795/vico.2018.i32.11.

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46

Rajan, S. "Fabula". Literary Imagination 11, n.º 2 (1 de enero de 2009): 213. http://dx.doi.org/10.1093/litimag/imp001.

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47

Flores-Silva, Dolores y Keith Cartwright. "Fabula". New Literary History 50, n.º 3 (2019): 387–91. http://dx.doi.org/10.1353/nlh.2019.0030.

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48

Vasconcelos, Mauricio Salles. "Falar, ver, fabular". Aletria: Revista de Estudos de Literatura 8 (2 de marzo de 2018): 77–88. http://dx.doi.org/10.17851/2317-2096.8..77-88.

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Resumo: Inspirado na filmografia de Jean Eustache, este ensaio focaliza seu trabalho sob os signos da fala, da visão e da fabulação, estudando, também, o romance Damien, de Lucile Laveggi, baseado na vida e nos filmes do cineasta.Palavras-chave: fala; visão; cinema; literatura.Abstract: Inspired on Jean Eustache’s filmography, this essay focuses on his work under the signs of speech, vision and fabulation, studying, too, the novel Damien, by Lucile Laveggi, based on the director’s life and films.Keywords: speech; vision; film; literature.
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49

Vasconcelos, Mauricio. "Falar, Ver, Fabular". Aletria: Revista de Estudos de Literatura 8 (31 de diciembre de 2001): 77. http://dx.doi.org/10.17851/2317-2096.8.0.77-88.

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Inspirado na filmografia de Jean Esustache, este ensaio focaliza se trabalho sob os signos da fala, da visão da fabulação, estudando, também, o romance Damien,, de Lucile Laveggi, baseado na vida e nos filmes do cineasta.
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50

Rokhmansyah, Alfian. "ORDE BARU SEBAGAI LANDASAN FABULA DALAM NOVEL ENTROK KARYA OKKY MADASARI: KAJIAN FORMALISME RUSIA". Journal of Culture, Arts, Literature, and Linguistics (CaLLs) 1, n.º 1 (24 de febrero de 2017): 39. http://dx.doi.org/10.30872/calls.v1i1.708.

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This study focused on the analysis of the facts used to form the fabula which was defamiliarized into sjuzet in the novel Entrok by Okky Madasari. To analyze the facts, Russian Formalism theory and objective approach were used in this study. The results showed that the story in the novel used historical facts from the new order to form fabula. Subsequently the fabula was defamiliarized into sjuzet.The results also indicated that there was a fictionalization process conducted by the author in creating the story which used historical facts.Keywords: fabula, the new order, russian formalism
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