Articles de revues : « Alcmena »

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Russo, Sergio. « Espressioni documentarie del culto eroico di Alcmena ». Helmántica 66, n^o 196 (1 juillet 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, n^o 1 (août 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 (30 août 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, n^o 23 (29 décembre 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, n^o 1 (14 octobre 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, n^o 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, n^o 62 (22 janvier 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, n^o 28 (18 octobre 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, n^o 2 (31 décembre 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, n^o 2 (22 novembre 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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De Barros Dias, Isabel Maria. « «Parir por la boca». vicisitudes de un tema sorprendente del imaginario de la comadreja ». Lectura y Signo, n^o 10 (29 décembre 2015) : 73. http://dx.doi.org/10.18002/lys.v0i10.2652.

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Resumen Estudio de un motivo impactante recurrente en bestiarios: la comadreja que da a luz a través de la boca. Se muestran diferentes variantes de este topos y se debate su origen, probablemente una anécdota procedente de la mitología antigua, específicamente la historia de Galantis, sierva de Alcmena, que ayudó en el nacimiento de Hércules. Esta historia fue versificada por Ovidio de forma magistral y se encuentra también en Eliano. Su recuerdo persistió aún en algunos textos medievales. Palabras Clave: comadreja; bestiario; motivos literarios; fuentes; mitología clásica Abstract Study of an impressive recurrent motif in Bestiaries: the weasel that gives birth through the mouth. Different variants of this topos are shown and its origin is discussed, probably a tale from Ancient mythology, specifically the story of Galanthis, servant of Alcmene, who helped the birth of Hercules. This story was masterfully versified by Ovid, and it can also be found in Aelianus. Its memory still lasted in some medieval texts. Key Words: weasel; bestiary; literary motifs; sources; classical mythology

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Jiménez Cortés, Rocío. « Contributions of the Research Line on Literacy and Digital Inclusion of Women : Overcoming Digital Divides and Obtaining Real Benefits in their Daily Lives ». EDEN Conference Proceedings, n^o 1 (21 octobre 2020) : 350–58. http://dx.doi.org/10.38069/edenconf-2020-rw-0038.

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This research follows a trajectory of work in the field of women’s studies and learning with digital technologies. The research is undertaken by the DIME HUM 833 research group from University of Seville (Spain). Extensive research projects have basically focused on: (a) characterize the processes of digital inclusion and know how women (with different profiles professionals, entrepreneurs, unemployed, students ...) learn with technologies and overcome digital divides (MAIA Project), (b) to value the processes of participation and learning in social networks and their influence on the subjective and emotional well-being of women (RURAL WOMEN Project). A third research in process is presented on the line (ALCMENA Project). The aim of this project is (c) describe the situation of middle-aged and older women in the Andalusian Digital Society and learn about their experiences with digital technologies. Mixed-type research has been developed from a survey studies and qualitative studies based on techno-autobiographical interviews and thinking aloud protocols. The final sample was made up of 1340 women for the MAIA Project and specifically 478 in rural areas for the RURAL WOMEN Project. The results show a moderate degree of digital inclusion of women. The results point to the research offers a detailed knowledge of the role that current digital technologies are playing in the lives of a wide diversity of women. The results show different learning ecologies from the women with different profiles. The results are shown in detail in the book Jiménez-Cortés et al. (2016). At the same time, the research shows that participation in democratic processes online has the potential to improve the quality of life of women and gives them greater control over their lives and satisfaction. This knowledge allows women to prepare for an active and full digital citizenship, which brings them well-being. The results are shown in detail in other papers (Jiménez-Cortés, 2015; 2016). The expected results of the ALCMENA Project will show processes of digital empowerment and strategies of middle-aged and older women that serve as a reference to guide the actions of interested social agents and institutions.

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Silk, M. S. « Heracles and Greek Tragedy ». Greece and Rome 32, n^o 1 (avril 1985) : 1–22. http://dx.doi.org/10.1017/s0017383500030096.

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Heracles was the greatest and the strangest of all the Greek heroes. A long list of superhuman acts of strength and courage stood to his name, and above all else the famous twelve labours, which began with the killing of the Nemean lion and.ended in the capture of the monstrous watchdog Cerberus in Hades. He was a great slayer of monsters, also a great civilizer, founding cities, warm springs, and (as Pindar was fond of reminding his audiences) the Olympic festival. He suffered prodigiously, and he maintained prodigious appetites, for food, drink, and women. He may have had friends, but none close (as, say, Patroclus and Achilles were close), but he did have one implacable and jealous enemy, the goddess Hera. He had two marriages: the first set of wife and children he killed in a fit of madness; the second brought about his own death. He was the son of a mortal woman, Alcmena, and the god Zeus, with Amphitryon as a second, mortal, father; and after his death (by most accounts) he became a god himself and lived on Olympus.

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Ruiz, Gustavo R. S., et Antonio D. Brescovit. « Redescription and resolution of some Neotropical species of jumping spiders described by Caporiacco and description of a new species (Araneae : Salticidae) ». Revista Brasileira de Zoologia 25, n^o 3 (septembre 2008) : 487–94. http://dx.doi.org/10.1590/s0101-81752008000300013.

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Type specimens of some of Caporiacco's Neotropical species are revised. The taxonomy of his species from French Guiana, whose type specimens are lost, is considered. The types of Corythalia hadzji Caporiacco, 1947, Corythalia luctuosa Caporiacco 1954, Hypaeus barromachadoi Caporiacco, 1947 and Naubolus melloleitaoi Caporiacco, 1947 are redescribed.The following new synonymies are established: Freya guianensis Caporiacco,1947 = Chira spinipes (Taczanowski, 1871) syn. nov.; Hypaeus bivittatus Caporiacco, 1947 = Hypaeus barromachadoi Caporiacco, 1947 syn. nov. New combinations are:Agelista petrusewiczi Caporiacco,1947 = Noegus petrusewiczi (Caporiacco,1947) comb. nov. .;Albionella chickeringi Caporiacco, 1954 = Mago chickeringi (Caporiacco,1954) comb. nov.;Asaracus pauciaculeis Caporiacco,1947 = Mago pauciaculeis (Caporiacco, 1947) comb. nov.; Cerionesta leucomystax Caporiacco, 1947 = Sassacus leucomystax (Caporiacco, 1947) comb. nov.; Lapsias guianensis Caporiacco, 1947 = Cobanus guianensis (Caporiacco, 1947) comb. nov.; Phiale modestissima Caporiacco, 1947 = Asaracus modestissimus (Caporiacco, 1947) comb. nov. The species Noegus lodovicoi sp. nov. is also described, based on an ex-syntype of Agelista petrusewiczi. The following nominal species are considered species inquirendae: Albionella guianensis Caporiacco, 1954, Alcmena trifasciata Caporiacco, 1954, Amycus effeminatus Caporiacco, 1954, Capidava variegata Caporiacco, 1954, Corythalia variegata Caporiacco, 1954, Dendryphantes coccineocinctus Caporiacco, 1954, Dendryphantes gertschi Caporiacco, 1947, Dendryphantes spinosissimus Caporiacco, 1954, Ilargus modestus Caporiacco, 1947, Lapsias melanopygus Caporiacco, 1947 = Frigga melanopygus (Caporiacco, 1947) comb. nov., Lurio splendidissimus Caporiacco, 1954, Nagaina modesta Caporiacco, 1954, Amycus patellaris (Caporiacco, 1954), Phidippus triangulifer Caporiacco, 1954 and Tutelina iridea Caporiacco, 1954.

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Lovatt, Helen. « Statius on parade : performing Argive identity inThebaid6.268–95 ». Cambridge Classical Journal 53 (2007) : 72–95. http://dx.doi.org/10.1017/s1750270500000051.

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In book 6 of theThebaid, Statius puts on a funeral for a baby prince (Opheltes) accidentally crushed by the flick of a giant serpent's tail, while his nurse is busy telling her life story to the leaders of the Argive army on their way to Thebes. The Argives hold full-scale funeral games, which represent an opportunity to play with epic predecessors and create a new world between Greece and Rome, epic and reality. At 268–95, nine days after Opheltes' funeral pyre has burnt out, after the crowd have arrived for the games and before the chariot race, Statius stages a procession. I give the full passage:exin magnanimum series antiqua parentuminuehitur, miris in uultum animata figuris.primus anhelantem duro Tirynthius angenspectoris attritu sua frangit in ossa leonem.haud ilium impauidi quamuis et in aere suumqueInachidae uidere decus. pater ordine iunctolaeuus harundineae recubans super aggere ripaecernitur emissaeque indulgens Inachus urnae.Io post tergum, iam prona dolorque parentis,spectat inocciduis stellatum uisibus Argum.ast illam melior Phariis erexerat aruisIuppiter atque hospes iam tunc Aurora colebat.Tantalus inde parens, non qui fallentibus undisinminet aut refugae sterilem rapit aera siluae,sed pius et magni uehitur conuiua Tonantis.parte alia uictor curru Neptunia tenditlora Pelops, prensatque rotas auriga natantesMyrtilos et uolucri iam iamque relinquitur axe.et grauis Acrisius speciesque horrenda Coroebiet Danae culpata sinus et in amne repertotristis Amymone, paruoque Alcmena superbitHercule tergemina crinem circumdata luna.iungunt discordes inimica in foedera dextrasBelidae fratres, sed uultu mitior astatAegyptus; Danai manifestum agnoscere fictoore notas pacisque malae noctisque futurae.mille dehinc species, tandem satiata uoluptaspraestantesque uiros uocat ad sua praemia uirtus.(Thebaid6.268-95)

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Body, Jacques. « Pour Alcmène ». Revue de littérature comparée 301, n^o 1 (2002) : 27. http://dx.doi.org/10.3917/rlc.301.0027.

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Dalby, Andrew. « The vineyards of Laconia ». Classica - Revista Brasileira de Estudos Clássicos 11, n^o 11/12 (4 décembre 2017) : 281. http://dx.doi.org/10.24277/classica.v11i11/12.464.

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Uma demonstração do método pelo qual detalhes da história social da Grécia arcaica podem ser obtidos a partir de fragmentos da literatura perdida. Em um estudo de Alcman, fr. 92 Davies, o texto, os aromas de vinhos e as origens geográficas de vinhos são consideradas em sequência. A gastronomia de Alcman é colocada no contexto de outras obras de Alcman e da cultura hedonística da antiga Esparta.

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Kousoulini, Vasiliki. « Alcman in Pergamon ». Acta Classica 60, annual (2017) : 178–87. http://dx.doi.org/10.15731/aclass.060.10.

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Bonnafé, Marie. « Entre Sosie et OEdipe, Alcmène ». Revue française de psychanalyse 59, n^o 1 (1995) : 149. http://dx.doi.org/10.3917/rfp.g1995.59n1.0149.

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Chong-Gossard, J. H. Kim On. « The Silence of the Virgins : Comparing Euripides' Hippolytus and Theonoe ». Antichthon 38 (2004) : 10–28. http://dx.doi.org/10.1017/s0066477400001477.

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One of the most pleasurable features of the plays of Euripides is his exploration of a wide range of character types, each of whom has the potential to be more exciting than the previous one. The fictional Aeschylus in the underworld of Aristophanes'Frogs(1043) remembers in particular the wicked women (Stheneboea, Phaedra), but Euripides also had his share of pious and self-sacrificing virgins (Macaria, Polyxena, Iphigenia), faithful wives (Helen in her name play, Andromache, Alcestis, Evadne), shrewd matriarchs (Hecuba, Jocasta, Aethra, Alcmene), and priestesses (Cassandra, Iphigenia inI. T., Theonoe, the Pythia).

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Gambón, Lidia. « LA TRAGEDIA FRAGMENTARIA GRIEGA Y LAS VERSIONES DEL MITO DE ALCMEÓN ». Argos 1, n^o 40 (29 mai 2020) : 9–28. http://dx.doi.org/10.14409/argos.v1i40.9276.

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Partiendo de la vitalidad del estudio de la tragedia griega fragmentaria en los últimos decenios, el presente artículo remarca su valor con relación a los textossupérstites del pasado, y se detiene en el análisis del tratamiento trágico del mito de Alcmeón. Su profusa presencia en la escena del período clásico contrasta con el hecho de que no ha sobrevivido, sin embargo, ninguna obra completa. Pese a la escasez de los fragmentos y los problemas textuales y contextuales que se plantean, el relevamiento lexical de las versiones sofocleas y euripideas permite dar cuenta de los hitos fundamentales de la biografía trágica de Alcmeón. Revela, asimismo, la necesidad de una mirada inquisidora en torno a la memoria de las historias conservadas, y de aquellas que se han perdido.

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Gómez Fajardo, Carlos Alberto. « Alcmeón de Crotona, y la gran hazaña ». Revista Colombiana de Obstetricia y Ginecología 52, n^o 1 (30 mars 2001) : 17–18. http://dx.doi.org/10.18597/rcog.739.

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La "gran hazaña" del pensamiento médico griego, según Laín Entralgo, es el salto hacia una comprensión de la "Physis", (naturaleza), y su papel en el hecho de enfermar. Es un novedoso "modo de entender" el proceso salud-enfermedad. Es un pensamiento particular y originario de Grecia, diferente al pensamiento de todas las culturas previas a la civilización helénica. Hay aquí una "visión" del cosmos y del hombre radicalmente diferente a todo lo que la humanidad había conocido hasta entonces. Buena parte de esa colosal tarea se debió al médico Alcmeón de Crotona, del siglo VI antes de nuestra era. Recordemos algo de Grecia y de la medicina:

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Gentili, Bruno. « Addendum. A proposito del Partenio di Alcmane ». Quaderni Urbinati di Cultura Classica 39, n^o 3 (1991) : 69. http://dx.doi.org/10.2307/20547105.

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Most, W. Glenn. « Alcman's 'Cosmogonic Fragment (Fr. 5 Page, 81 Calame) ». Classical Quarterly 37, n^o 1 (mai 1987) : 1–19. http://dx.doi.org/10.1017/s000983880003161x.

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In 1957, Edgar Lobel published an Oxyrhynchus papyrus (P. Oxy. 2390) containing anonymous commentaries to poems of Alcman which has not ceased to fascinate philologists and historians of ancient philosophy.

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Calame, Claude. « Alcman and the Cosmos of Sparta ». Mnemosyne 64, n^o 4 (2011) : 661–64. http://dx.doi.org/10.1163/156852511x548333.

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Guillermo Gago, Luis. « Alcmeón de Crotona y el problema mente-cerebro ». Helmántica, n^o 174 (1 janvier 2006) : 387–417. http://dx.doi.org/10.36576/summa.29392.

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Barnes, Timothy G. « Alcman's Muses : Alcman PMGF 28 (85 Calame), The ΦΙ-Case and the Syntax of Divine Invocation in Greek and Indo-European ». Journal of Hellenic Studies 136 (2016) : 18–38. http://dx.doi.org/10.1017/s0075426916000033.

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Abstract:In this article a new interpretation of the problematic form (Alcman PMGF 28 (85 Calame)) is proposed on the basis of a both a fresh examination of the history and prehistory of the ϕι-case and an overview of the syntax of coordinated pairs in various Indo-European languages.

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Ferreira, Juliana Almeida, et Márcia Maria de Melo Araújo. « A DUALIDADE FEMININA EM NOITE NA TAVERNA DE ÁLVARES DE AZEVEDO ». Revista Mediação (ISSN 1980-556X) 16, n^o 2 (18 février 2022) : 10–26. http://dx.doi.org/10.31668/mediacao.2021.v16e2.12501.

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Álvares de Azevedo, escritor da 2ª. geração do Romantismo, conhecida como a era dos poetas ultrarromânticos, aborda em suas obras um amor intenso acompanhado de um desejo impetuoso pela figura feminina. Nesse sentido, este trabalho tem como foco a representação da mulher em Noite na Taverna (1855) ora apresentada de forma angelical ora má, indicativo da dualidade feminina presente nessa narrativa. Nota-se uma remissão às mulheres medievais, em especial, das cantigas de amigo, cuja dualidade pode ser satisfatoriamente comparada à apresentada na novela de Azevedo. Para sustentar a pesquisa, o aporte teórico embasa-se em A educação pela noite e outros ensaios (1987) de Antonio Candido, assim como em História concisa da Literatura Brasileira de Alfredo Bosi (2004), em Mulher Medieval e trovadorismo galego-português – o feminino e a feminização nas cantigas de amigo de Araújo e Fonseca (2015), em Poesia brasileira e estilos de época de Alcmeno Bastos (2012), entre outros.

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Stewart, Edmund. « ION OF CHIOS : THE CASE OF A FOREIGN POET IN CLASSICAL SPARTA ». Classical Quarterly 68, n^o 2 (décembre 2018) : 394–407. http://dx.doi.org/10.1017/s0009838819000016.

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χαιρέτω ἡμέτερος βασιλεὺς σωτήρ τε πατήρ τε·ἡμῖν δὲ κρητῆρ’ οἰνοχόοι θέραπεςκιρνάντων προχύταισιν ἐν ἀργυρέοις· †ὁ δὲ χρυσὸςοἶνον ἔχων χειρῶν νιζέτω εἰς ἔδαφος.†σπένδοντες δ’ ἁγνῶς Ἡρακλεῖ τ’ Ἀλκμήνηι τε,Προκλεῖ Περσείδαις τ’ ἐκ Διὸς ἀρχόμενοιπίνωμεν, παίζωμεν· ἴτω διὰ νυκτὸς ἀοιδή,ὀρχείσθω τις· ἑκὼν δ’ ἄρχε φιλοφροσύνης.ὅντινα δ’ εὐειδὴς μίμνει θήλεια πάρευνος,κεῖνος τῶν ἄλλων κυδρότερον πίεται.May our king rejoice, our saviour and father; let the attendant cup-bearers mix for us a crater from silver urns; †Let the golden one with wine in his hands wash to the base† Pouring libations piously to Heracles and Alcmene, Procles and the sons of Perseus and Zeus first of all, let us drink, let us play, let our song rise through the night. Dance someone, willingly begin the festivities. And anyone who has a fair girl waiting to share his bed will drink more like a man than all the others.(Ion, fr. 27 West = fr. 90 Leurini)

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ARMITAGE, BRIAN J., YUSSEFF AGUIRRE, TOMÁS A. RÍOS GONZÁLEZ et ROGER J. BLAHNIK. « The Trichoptera of Panama. XVIII. Twelve first country records of macrocaddisflies (Insecta, Trichoptera) from the Republic of Panama ». Zootaxa 5168, n^o 5 (26 juillet 2022) : 578–88. http://dx.doi.org/10.11646/zootaxa.5168.5.6.

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Herein we add twelve first country records to Panama’s macrocaddisfly fauna (Insecta: Trichoptera): Calamoceratidae—Banyallarga acutiterga (Denning & Hogue 1983); Glossosomatidae—Protoptila bicornuta Flint 1963 and Protoptila jolandae Holzenthal & Blahnik 2006; Helicopsychidae—Helicopsyche rentzi Denning & Blickle 1979; Hydropsychidae—Calosopsyche sandrae (Flint 1967) and Smicridea acuminata Flint 1974; Leptoceridae—Oecetis hastapulla Quinteiro & Holzenthal 2017; Philopotamidae—Chimarra angustipennis Banks 1903; Polycentropodidae—Polyplectropus exilis Chamorro-Lacayo & Holzenthal 2004; and Xiphocentronidae—Caenocentron immaculatum Flint 1991, Caenocentron lausus Schmid 1982, and Xiphocentron alcmeon Schmid 1982.

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Campbell, David A. « Three Notes on Alcman 1 P. (= 3 Calame) ». Quaderni Urbinati di Cultura Classica 26, n^o 2 (1987) : 67. http://dx.doi.org/10.2307/20538984.

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Brown, Christopher, et Claudius Calame. « Alcman. Fragmenta edidit, veterum testimonia collegit Claudius Calame ». Phoenix 40, n^o 3 (1986) : 343. http://dx.doi.org/10.2307/1088850.

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Dangel, Jacqueline. « Andrès Masiá : Ennio, Tragedias. Alcmeo. El ciclo troyano ». Gnomon 80, n^o 7 (2008) : 593–96. http://dx.doi.org/10.17104/0017-1417_2008_7_593.

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Loney, Alexander C. « Grammatical and Ethical Ambiguities in Alcman 1.34–39 ». Classical Philology 106, n^o 4 (octobre 2011) : 343–49. http://dx.doi.org/10.1086/662041.

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Goušchin, Valerij. « Pisistratus’ leadership in A. P. 13.4 and the establishment of the tyranny of 561/60 b.c. » Classical Quarterly 49, n^o 1 (mai 1999) : 14–23. http://dx.doi.org/10.1093/cq/49.1.14.

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It is well known from the sources that three Athenian factions were organized after Solon's reforms. Herodotus writes as follows:In the course of time there was a feud between the Athenians of the coast under Megacles son of Alcmeon and the Athenians of the plain under Lycurgus son of Aristolaides. Pisistratus then, having an eye to the sovereign power, raised up a third faction. He collected partisans and pretended to champion the hillmen (συλλέξαՏ δ σταƣώταՏ ĸαì τѽ λóγω τѽν ύπεραĸρíων προστάЅ). (Her. 1.59, trans. A.D. Godley [Loeb])

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Nobili, Cecilia. « Iambi in Sparta ». Greek and Roman Musical Studies 4, n^o 1 (24 février 2016) : 38–50. http://dx.doi.org/10.1163/22129758-12341266.

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Several sources attest that at the Spartan festival of the Gymnopaidia three choruses sang a song in iambic trimeters with skoptic content; Alcman also composed some iambic poems to be performed in the symposium. This demonstrates that iambic poetry was not unknown in Sparta, as is normally believed, and may be connected to the more general dynamics of praise and blame, which were very important in Sparta, especially in local symposia.

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Lillo, Antoio. « El hapax κλεννά y la lengua poética de Alcmán ». Emerita 63, n^o 1 (30 juin 1995) : 21–45. http://dx.doi.org/10.3989/emerita.1995.v63.i1.350.

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Ragusa, Giuliana. « Tramas de Afrodite e Eros : sedução e capitulação na mélica grega arcaica ». Nuntius Antiquus 7, n^o 1 (30 juin 2011) : 60–78. http://dx.doi.org/10.17851/1983-3636.7.1.60-78.

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This article presents a study of Aphrodite’s and Eros’s images in archaic Greek melic poetry, in some fragments where the “I”, as a result of their divine action, becomes a helpless victim of the power of erotic desire and/or a seducer/seductress in pursuit of the beloved one. These are the melic poets and fragments herein commented: Alcman (Fr. 59(a) Dav.), Sappho (Frs. 1, 102 Voigt), Ibycus (Frs. 286, 288, 287 Dav.).

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ECKERMAN, CHRIS. « Alcman and the Cosmos of Sparta by Gloria Ferrari ». Classical Journal 106, n^o 2 (2010) : 244–47. http://dx.doi.org/10.1353/tcj.2010.0000.

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Boterf, Nicholas. « Alcman Gourmand : The Politics of Eating in Archaic Sparta ». American Journal of Philology 138, n^o 2 (2017) : 205–42. http://dx.doi.org/10.1353/ajp.2017.0011.

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LADIANOU, KATERINA. « Alcman and the Cosmos of Sparta by Gloria Ferrari ». American Anthropologist 111, n^o 4 (17 novembre 2009) : 527. http://dx.doi.org/10.1111/j.1548-1433.2009.01161_4.x.

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Ennassiri, N., N. Tahiri, O. El Bounagui, H. Ez-Zahraouy et A. Benyoussef. « Magnetic, magnetocaloric and transport properties in AlCMn3 antiperovskite compound ». Journal of Alloys and Compounds 741 (avril 2018) : 1196–202. http://dx.doi.org/10.1016/j.jallcom.2018.01.223.

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Perczyk, Cecilia Josefina. « La locura trágica : el caso de las tragedias fragmentarias de Eurípides sobre el mito de Alcmeón ». Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos 31 (2 mars 2021) : 35–54. http://dx.doi.org/10.5209/cfcg.69967.

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En el presente trabajo me propongo analizar la representación de la locura en las dos tragedias fragmentarias que Eurípides dedicó a la saga de Alcmeón. Aun cuando los fragmentos conservados no tratan los ataques de manía del protagonista, es posible aportar al estudio de la enfermedad a partir de los datos ofrecidos sobre el origen y las consecuencias, en especial sobre el crimen asociado, que es el matricidio. Se interpretarán los fragmentos conservados a la luz de otras fuentes sobre el mismo mito y la tragedia que Eurípides dedicó a la locura de Orestes, debido a los puntos en común que tienen las dos sagas.

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Jüngst, Hans, et Hans Jungst. « Supposed References to Reaction Soldering in Alcman, Sophocles and Antiphanes ». American Journal of Archaeology 90, n^o 1 (janvier 1986) : 95. http://dx.doi.org/10.2307/505990.

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Gerber, Douglas E. « Alcman : Introduction, texte critique, temoignages, traduction et commentaire. Claude Calame ». Classical Philology 81, n^o 4 (octobre 1986) : 341–43. http://dx.doi.org/10.1086/367012.

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Andrade, Gabriel Simões de. « Nomenclatural and taxonomic notes on Alcmeone robusta (Butler) comb.n. (Hemiptera, Auchenorrhyncha, Membracidae) ». Revista Brasileira de Zoologia 16, n^o 1 (mars 1999) : 267–68. http://dx.doi.org/10.1590/s0101-81751999000100024.

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Larêdo, Filipe Nassar. « Memorial do convento : o romance histórico encontra a tragédia grega ». Revista Desassossego 11, n^o 20 (30 juin 2019) : 251–68. http://dx.doi.org/10.11606/issn.2175-3180.v11i20p251-268.

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O presente artigo nasce da hipótese de que o romance histórico Memorial do convento, de José Saramago, publicado em 1982, traz em sua composição traços característicos da tragédia grega que contribuem para a formação de caminhos para uma nova leitura do romance histórico, de modo que possam expandir a percepção do leitor sobre o gênero, por meio de reflexões despertadas pelos referenciais literários que a obra nos sugere. Sob tal perspectiva, e com o objetivo de aproximar os conceitos de tragédia grega ao romance histórico construído por Saramago, traremos os conceitos do historiador austríaco Albin Lesky que, em sua obra A tragédia grega, enxerga o trágico como um princípio filosófico revelador de uma visão específica do mundo. Como suporte para a reflexão aqui proposta, utilizaremos também os argumentos do historiador francês Jean-Pierre Vernant, os quais, cruzados com a perspectiva de Alcmeno Bastos sobre o romance histórico e com a de Benedito Nunes sobre o romantismo, encontrar-se-ão com os do inglês Terry Eagleton. Teresa Cristina Cerdeira da Silva, por sua vez, uma das maiores pesquisadoras da obra de Saramago, no Brasil, é outra referência em nossas reflexões, visto que, em alguns de seus estudos, ocorrem sugestões instigantes para uma aproximação entre o romance em questão e certos aspectos da tragédia.

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Ronzitti, Rosa. « Indo-Iranian Lullabies ». Indo-Iranian Journal 62, n^o 1 (20 mars 2019) : 7–18. http://dx.doi.org/10.1163/15728536-06104001.

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Abstract The following paper is concerned with a comparison between the Vedic hymn RV VII 55 and the Vīdēvdād chapter XVIII 16. It is argued that little lullaby-themes, aimed at quieting men as well as animals, have come to be included into sacral and religious texts from popular sources (e.g. magical charms to be performed on sleepless babies), revealing Proto-Indo-European formulae and stylistic patterns that can be reconstructed. A Hittite text and some fragments of Greek poems by Simonides and Alcman are also included in the list of the passages to be compared.

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Alves Ribeiro Jr., Wilson. « Os autores da Ifigênia em Áulis de Eurípides ». CODEX – Revista de Estudos Clássicos 2, n^o 2 (5 décembre 2010) : 57. http://dx.doi.org/10.25187/codex.v2i2.2811.

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<div class="page" title="Page 57"><div class="layoutArea"><div class="column">O texto da Ifigênia em Áulis, tragédia de Eurípides encenada pela primeira vez em 405 a.C., juntamente com Bacchae e Alcmeon, chegou até nós com inegáveis sinais de adulteração e de interpolações. No presente trabalho são discutidos os elementos mais importantes para a moderna abordagem do texto legado pela tradição medieval e para a identificação das passagens que podem ser atribuídas a Eurípides ou aos retractatores da Ifigênia em Áulis. <div class="page" title="Page 1"><div class="layoutArea"><div class="column">The authors of Euripides’ Iphigenia at Aulis Abstract The text of Iphigenia at Aulis, Euripides’ tragedy staged for the first time in 405 a.C. to- gether with Bacchae and Alcmeon, reached us with undeniable signs of adulteration and interpolations. This work presents and discuss the most important elements for a modern approach of the text received from medieval tradition and for identification of passages that can be ascribed to Euripides or to Iphigenia in Aulis retractatores. Keywords: Iphigenia at Aulis; Euripides; Greek tragedy; manuscripts </div></div></div> </div></div></div>

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Sinos, Dale, et D. A. Campbell. « Greek Lyric II : Anacreon, Anacreontea, Choral Lyric from Olympus to Alcman ». Classical World 84, n^o 4 (1991) : 326. http://dx.doi.org/10.2307/4350838.

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