Bibliographies thématiques / Laocoonte

Littérature scientifique sur le sujet « Laocoonte »

Auteur : Grafiati
Publié le 10 mars 2023

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Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Laocoonte ».

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Articles de revues sur le sujet "Laocoonte"

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Sepp, Hans Rainer. « El Greco : Laocoonte ». Investigaciones Fenomenológicas, no 11 (29 janvier 2021) : 17. http://dx.doi.org/10.5944/rif.11.2014.29549.

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En este artículo, Hans Rainer Sepp estudia el cuadro de El Greco, Laocoonte, pasando desde la descripción puramente formal del cuadro (análisis de capas, juegos entre naturaleza, ciudad, cielo y Laocoonte y sus hijos) y el análisis simbólico del mismo (anticipación de la caída de Troya) hasta el análisis fenomenológico del conjunto pictórico. Análisis que reflejará no sólo la realidad de un mundo cambiante que se mueve entre el todo y la nada sino también la presencia del autor dentro del cuadro, creando un mundo aparente, una Troya toledana, que refleja el drama del artista, hostigado por el compromiso ético y la alternativa de la huída. Por ello, tal vez Laocoonte pueda ser visto como la respuesta de El Greco ante el dilema de la obra de arte. In this paper, Hans Rainer Sepp studies El Greco's Laocoon, from the purely formal description (layer analysis, games between nature, city, sky and Laocoon and his sons) and symbolic analysis (anticipation of the fall of Troy) to the phenomenological analysis of the pictorial whole. Analysis that highlights not only the reality of a changing world that moves between all and nothing, but the author's presence in the picture, creating a seeming world, a Troy-Toledo, and reflecting the drama of the artist, harassed by the ethical commitment and the alternative of the escape. Perhaps Laocoon can be seen as El Greco's answer to the dilemma of art.
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Laocoonte, Revista. « Laocoonte ». Laocoonte. Revista de Estética y Teoría de las Artes, no 5 (13 décembre 2018) : 1. http://dx.doi.org/10.7203/laocoonte.0.5.13581.

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Ferrer Mas, Anacleto. « Laocoonte. Presentación ». Laocoonte. Revista de Estética y Teoría de las Artes, no 8 (19 décembre 2021) : 7. http://dx.doi.org/10.7203/laocoonte.0.8.22143.

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Lucarelli, Franco Andrés. « Ecos de la tragedia fragmentaria de Sófocles y Eurípides : Laocoonte, Sinón, Los frigios y Filoctetes en la Eneida (2, 1-227) ». Argos, no 46 (22 septembre 2022) : e0035. http://dx.doi.org/10.14409/argos.2021.46.e0035.

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En este trabajo analizaremos algunos aspectos de la tragedia fragmentaria de Sófocles (Laocoonte, Sinón, Los frigios) y Eurípides (Filoctetes), apropiados por Virgilio para la narración de la caída de Troya (específicamente, A. 2, 1-227). Es nuestro objetivo identificar y examinar diversos elementos intertextuales que componen los pasajes protagonizados por Laocoonte y Sinón. Intentaremos demostrar, por un lado, que el episodio del sacerdote sugiere algunas respuestas posibles a interrogantes sobre el Laocoonte de Sófocles; por otro, el intenso apego de Virgilio al material fragmentario de ambos trágicos para configurar el personaje del embustero griego, Sinón.
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Greenberg, Clement. « Hacia un nuevo Laocoonte ». Co-herencia 17, no 33 (30 octobre 2020) : 19–39. http://dx.doi.org/10.17230/co-herencia.17.33.1.

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El modernismo es una teoría de la relación del arte con su medio, y en ningún lugar se ve esto más claro que en el pensamiento de Clement Greenberg (1909-1994). Greenberg fue probablemente el crítico de arte más influyente del siglo xx, uno de los responsables del reconocimiento del impresionismo abstracto y de la pintura de campos de color, así como del desplazamiento del centro del mundo del arte desde París a Nueva York. Su práctica como crítico de arte estaba, además, fundada en una ambiciosa teoría del modernismo artístico y, en particular, pictórico. “Towards a Newer Laocoön”, aparecido originalmente en 1940 y que se publica aquí por primera vez en español, forma parte del puñado de ensayos imprescindibles para comprender su pensamiento estético (la lista incluye “Vanguardia y kitsch” [1939], “Pintura modernista” [1962] y, quizá, el “Seminario 1” [1973] y el “Seminario 6” [1976]).
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Peter, Christian. « Imágenes de Laocoonte n. 7 ». Laocoonte. Revista de Estética y Teoría de las Artes, no 7 (21 décembre 2020) : 44. http://dx.doi.org/10.7203/laocoonte.0.7.19307.

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Peris, Vicent. « Imágenes de Laocoonte n. 8 ». Laocoonte. Revista de Estética y Teoría de las Artes, no 8 (19 décembre 2021) : 44. http://dx.doi.org/10.7203/laocoonte.0.8.22146.

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(Javier Infante), Jante. « Ilustraciones de Laocoonte n. 4 »,. Laocoonte. Revista de Estética y Teoría de las Artes, no 4 (12 décembre 2017) : 50. http://dx.doi.org/10.7203/laocoonte.0.4.11059.

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Gonzaga, Isadora. « Imágenes de Laocoonte n. 6 ». Laocoonte. Revista de Estética y Teoría de las Artes, no 6 (16 décembre 2019) : 96. http://dx.doi.org/10.7203/laocoonte.0.6.16265.

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Barbon, Marco. « Imágenes de Laocoonte n. 9, Cronotopie ». Laocoonte. Revista de Estética y Teoría de las Artes, no 9 (19 décembre 2022) : 35. http://dx.doi.org/10.7203/laocoonte.0.9.25702.

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Thèses sur le sujet "Laocoonte"

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Berbara, Maria Cristina Louro. « Michelangelo e o Laocoonte : um aspecto da cristianização do mito antigo no renascimento italiano ». [s.n.], 1994. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280991.

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Orientador : Luiz Cesar Marques Filho
Dissertação (mestrado) - Universidade Estadual de Campinas, Institututo de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-07-19T00:51:46Z (GMT). No. of bitstreams: 1 Berbara_MariaCristinaLouro_M.pdf: 11878703 bytes, checksum: 65fd7bd0088cc78929273feff85798bc (MD5) Previous issue date: 1994
Resumo: Não informado.
Abstract: Not informed.
Mestrado
Mestre em História
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Crea, Luigi <1993&gt. « Il mercato dell'arte dall'antiquariato all'arte contemporanea : Le Gallerie W. Apolloni e del Laocoonte di Roma ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15281.

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La tesi si apre con una introduzione sulla storia del collezionismo, per indagare come è cambiato il ruolo e l'importanza della figura del mercante d'arte e dell'antiquario dall'Ottocento ad oggi, in particolare nell'ambito romano. L'elaborato si incentra sull'analisi della storia della Galleria d'antiquariato W. Apolloni, fondata nel 1926, affrontandone la storia, le mostre e le donazioni. A questo si aggiunge uno studio sulla galleria che nasce dalla W. Apolloni ma che si occupa di arte figurativa di primo Novecento, la Galleria del Laocoonte. Attraverso lo studio incrociato delle strategie espositive e promozionali delle due gallerie l'elaborato intende mettere in risalto le differenze gestionali tra le gallerie antiquariali e quelle contemporanee.
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Hwang, HyoSil Suzy. « Uncoiling the (Laocoon) revealing the statue group's significance in Augustan Rome / ». College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7808.

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Thesis (M.A.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Speidel, Klaus. « Narration visuelle et récit iconique : raconter une histoire en une image ». Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040195.

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A l’occasion de l'analyse de la question des capacités de l’image immobile isolée de « raconter une histoire », l’auteur développe les bases d’une narratologie fondamentale renouvelée, revisite la sémiotique du texte et les théories de l’image et réalise un déplacement méthodologique qui remplace l’approche sémiotique de la question du récit et de la narrativité par une approche en termes d’effets et de réception. La réflexion croise plusieurs disciplines : l’histoire de l’art, la narratologie, la sémiotique, mais aussi la philosophie et l’esthétique. Si l'auteur se propose bien de reconstruire les fondements même de la théorie de la narration visuelle, il ne cherche pas cependant à remplacer les théories existantes par un nouveau paradigme construit ex nihilo. Les bases nouvelles émergent au fil d’un travail sur les théories développées à ce jour ainsi qu'un corpus divers d'images narratives. Les théories critiquées se voient intégrées plutôt que niées dans le déplacement opéré. Pour résoudre le principal problème pour le récit iconique, celui du temps, l'auteur propose une nouvelle conceptualisation de la structure temporelle de l'image fixe unique. Celle-ci prend en compte le temps représenté et la durée perceptive. La dernière partie de l'ouvrage est consacrée à une relecture du Laocoon (1766) de G. E. Lessing, ouvrage largement responsable de la conception actuelle selon laquelle le récit iconique serait impossible. L'auteur montre que le débat autour des thèses de Lessing a été faussé par une confusion entre la question des possibilités/impossibilités de l’image comme telle et celle des « fins propres » de l’image dès lors qu’elle est artistique
Based on his analysis of the possibility of iconic narrative – « telling a story » with a single still picture – Klaus-Peter Speidel develops a new foundation for visual narratology based on cognitive theory and reception aesthetics. Speidel's work is at the intersection of various disciplines : art history, literary theory, semiotics, philosophy of art and picture theory. While the thesis aims at reconstructing the foundations of a theory of visual narrative, the author does not try to replace the existing approaches with a new theory created ex nihilo. The new foundations emerge from his analysis of existing theories as well as a diverse array of pictures which play an important role in the argument. Classical theories of narrative are absorbed rather than rejected. In order to solve the main problem for visual narrative, the problem of time, the author offers a new conceptualisation of the temporal structure of still images. His taxonomy takes into account both the chronology of the story being told and perception time. The final part of the work offers a reinterpretation of G. E. Lessing's Laocoon (1766) a work that has played a major role for modern scepticism concerning the possibility of telling a story with a picture. The author shows that the discussion around Lessing has been biased by a confusion between the possibilities of the picture as such and the aims of artistic pictures. According to Speidel, Lessing's theory has lost much of its value as a theory of art but is still valuable as a theory for certain kinds of pictures, namely pictures that aim at “transparency”
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Kellett, Lucy. « "Enough ! or too much" : forms of textual excess in Blake, Wordsworth, Coleridge and De Quincey ». Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:641b0fe2-3b07-46cf-94b6-7d27a2878686.

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My thesis explores the potential and the peril of Romantic literature's increasingly complex forms through a close comparative study of the works of William Blake, William Wordsworth, Samuel Taylor Coleridge and Thomas De Quincey. These writers exemplify the Romantic predicament of how to make vision manifest – how to communicate one's imaginative and intellectual expansiveness without diminishing it. They sought different strategies for increasing the capacity of literary form, ostensibly in the hope of communicating more: clarifying meaning, increasing accessibility and intensifying original experience. But textual expansion – materially, stylistically and intellectually – often threatens more opportunities for confused and partial meanings to proliferate, overwhelming the reader by dividing texts and undermining attempts at coherent thought. Expansion thus becomes excess, with all its worrying associations of superfluity. To further complicate matters, Burke's influential tenet of the Sublime makes a virtue out of excess and obscurity, raising the problematic spectre of deliberately confused/confusing texts that embody an aesthetic of incomprehension. I explore these paradoxes through four types of 'textual excess' demonstrated by the writers under discussion: firstly, the tension between poetry and prose adjuncts, such as prefaces and notes, in Wordsworth and Coleridge; secondly, De Quincey's indulgent verbosity and struggle to control the freeing shapelessness of prose; thirdly, Wordsworth's and De Quincey's parallel experiences of revision as both uncontrollably diffusive and statically concentrated; and lastly, Blake's more deliberate, systematic attempt to enact a literary Sublime in which the reader is forced out of passivity by the competing demands of verbal and visual media. All are motivated and thwarted in varying degrees by their anxious preoccupation with saying "Enough", and the difficulty of determining when this becomes “Too much”. These authorial dilemmas also incorporate larger concerns with man's (over)ambition at a time of rapid and unprecedented economic, social and intellectual acceleration from the Enlightenment to industrialism. The fear that the concept and process of 'progress', or 'improvement', marks deficiency rather than fulfilment haunts Romantic writers.
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SCATIZZI, SIMONA SELENE. « L'altra fonte del neoclassicismo. La fortuna in Italia del Laocoonte di Lessing tra il 1750 e il 1850 ». Doctoral thesis, 2003. http://hdl.handle.net/2158/628261.

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Froio, Camilla. « La fortuna del Laokoon di G.E. Lessing in Nord America : alle origini del modernismo di Clement Greenberg ». Doctoral thesis, 2020. http://hdl.handle.net/2158/1184499.

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Il saggio del critico d'arte Clement Greenberg, Verso un più nuovo Laocoonte, pubblicato nell'estate 1940, rappresenta un significativo caso di riattualizzazione del celebre trattato di estetica Laocoonte, ovvero dei confini della pittura e della poesia di Gotthold Ephraim Lessing edito nel 1766. L'intenzione di Greenberg di riproporre il Laocoonte lessinghiano non è senza precedenti nella storia letteraria statunitense: il precendente più immediato è lo scritto di Irving Babbitt The New Laokoon: an Essay on the Confusion of the Arts, pubblicato a Boston nel 1910. Fin dal titolo del saggio, Greenberg rende esplicito il proprio riferimento a questa seconda lettura del classico di Lessing e propone un confronto con l'intepretazione offerta da Babbitt. Quest'ultimo, massimo esponente della corrente neo umanista americana, riconosce in Lessing il simbolo di una rettitudine etica che si riflette anche nelle sue scelte artistiche: secondo Babbitt, infatti, la separazione tra arti visive e arti verbali non è altro che espressione dello spessore morale della persona del Lessing. L'interpretazione offerta da Irving Babbitt non rappresenta un unicum bensì è da considerarsi come erede di una lunga tradizione precedente di studi americani dedicati alla figura e all'opera del filosofo tedesco. A partire dalla metà del XIX secolo, infatti, la cultura americana, attraverso saggi e articoli, scopre e poi rilegge il Laokoon in chiave morale, come appello rivolto contro la confusione tra le arti visive e verbali. Questa lunga tradizione di studi lessinghiani, passando attraverso il manifesto di Babbitt, giunge fino a Clement Greenberg, autore di una innovativa rilettura del trattato in chiave avanguardista e marxista. Per Greenberg, l'originaria distinzione lessinghiana tra arti dello spazio e arti del tempo si presta a una interpretazione moderna che permette di ricodificare il linguaggio dell'arte astratta.
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謝佳娟. « Lessing''s "Laocoon : an essay on the limits of painting and poetry" -- changes of "ut pictura poesis" within the eighteenth-century conception of the beaux-arts ». Thesis, 2000. http://ndltd.ncl.edu.tw/handle/62219037039216340267.

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碩士
國立中央大學
藝術學研究所
88
Abstract For a long time the interest in Lessing''s Laocoon: an Essay on the Limits of Painting and Poetry has been focused on the claim that "successive" and "coexistent" are the distinguishing features of the media of poetry and painting respectively and thus should be characteristic of their respective objects. This critical essay has been considered putting an end to the long tradition of comparing poetry and painting (ut pictura poesis); it also has been viewed as leading the way of studying the arts from the perspective of the "signs (media)". The theme of my thesis is to analyze the criticism and underlying theory of Laocoon, and thus to observe what happened to the conceptions and relationship of poetry and painting which have been formed under the tradition of ut pictura poesis vis-a-vis the system and conception of the beaux-arts in the eighteenth century. Moreover, it''s also a task of this thesis to try to interpret and manifest the significance of Laocoon in and against the heredity of poetry-painting relationship discourses. In my opinion, it''s not enough just to look at the displayed attitude and statement as emphasizing "similarity" or "difference" between poetry and painting. My thesis proposes that within the conception of the beaux-arts of the eighteenth century could the matter (why Lessing set up rules according to the characteristics of each medium) be better explicated. The first chapter outlines "ut picture poesis": from the core of the tradition established on the basis of ancient authority to the prevalent "parallels" and comparison and distinction between poetry and painting in the late seventeenth and the first half of the eighteenth century. It''s worth noting that these distinctions are usually based on the three sets of opposite terms: artificial sign/natural sign, successive/coexistent, audible/visible. The second chapter studies the opinions of poetry and painting in Laocoon from the point of view of "picture." In this analysis, we display the way Lessing regards poetry and painting, and this is found to be relevant to his artistic ideal. Besides, we find out Lessing''s possible connection to the "ut pictura poesis" tradition, since the claim that poetry should "present images as vivid as pictures" is just the central concept of "ut pictura poesis." Taking this perspective, We go on exploring and organizing Lessing''s views on "poetic pictures" and "material pictures." The third chapter focuses on examining the important theoretical foundations supporting Lessing''s critical statements, namely, his views and reasoning on the signs (media) used by poetry and painting. In fact, Lessing''s aim is not simply picking out the differences between poetry and painting, but rather solving the problem that "what specific rules should each particular art follows in order to produce the greatest artistic effect" under the given premise of "the differences of media." In analyzing how Lessing applies "artificial signs" and "natural signs" to poetry and painting, we find that "natural signs" is the ideal Lessing holds for artistic signs (including both poetry and painting). And the meaning of the "natural signs" being the ideal forms of poetry and painting resides in the claim that signs or media become transparent and self-effacing during aesthetic perception. Therefore, the seers seem to see the things themselves directly, and have experience of illusion. On the whole, the discourses of "ut pictura poesis," in the middle of the eighteenth century when Lessing was situated, have the tendency to deal with the common ground of poetry and painting and the respective ranges of representation according to the differences of media, instead of the emulating relationship such as "as is painting, so is poetry" and vice versa. In accordance with this tendency is the change of the conception of art; the emphasis has been gradually transformed from the "art of poetry" and the "art of painting" to "the study of aesthetic perception and experience" and "the finding of the ways of construction of artistic signs which match this kind of experience." And even in the mode of discourses can we see the shift from "rhetoric" to "philosophical reasoning."
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Shaw, Rayford Wesley. « A Structural analysis and visual abstraction of the pictorial in the Aeneid, I-VI ». Thesis, 2000. http://hdl.handle.net/10500/16021.

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The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism.
Art
D. Litt. et Phil.
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Livres sur le sujet "Laocoonte"

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1964-, Romero Pedro G., et Steingress Gerhard 1947-, dir. Laocoonte salvaje. Cáceres : Editorial Periférica, 2012.

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Laocoonte : Loopoesía 2015. Barcelona, España : Versos & Reversos Editorial, 2015.

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Settis, Salvatore. Laocoonte, fama e stile. Roma : Donzelli, 1999.

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Antonia, Frías Sagardoy Ma. El Laocoonte y la arquitectura. [Pamplona, Spain] : Servicio de Publicaciones, Universidad de Navarra, 1992.

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Francesco, Buranelli, Nesselrath Arnold et Liverani Paolo, dir. Laocoonte : Alle origini dei Musei Vaticani. Roma : L'Erma di Bretschneider, 2006.

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Spain), Artium (Vitoria-Gasteiz, DA2 (Salamanca Spain) et Centro José Guerrero (Granada, Spain), dir. Laocoonte devorado : Arte y violencia política. Vitoria-Gasteiz : Artium, 2004.

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Fullaondo, Juan Daniel. Laocoonte crepuscular : Conversaciones en torno a Eduardo Chillida. Madrid : Kain, 1991.

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Giorgio, Bejor, dir. Il Laocoonte dei Musei Vaticani : 500 anni dalla scoperta. Milano : Cisalpino, 2007.

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Gemma, Sena Chiesa, Gagetti Elisabetta et Albini Marcello 1965-, dir. Laocoonte in Lombardia : 500 anni dopo la sua scoperta. Milano : Viennepierre, 2007.

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Rebaudo, Ludovico. Il braccio mancante : I restauri del Laocoonte, 1506-1957. Trieste : Editreg, 2007.

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Chapitres de livres sur le sujet "Laocoonte"

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Most, Glenn W. « Laocoons ». Dans A Companion to Vergil's Aeneid and its Tradition, 325–40. Oxford, UK : Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444318050.ch22.

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Flach, Sabine. « Moving is in Every Direction ». Dans Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany : Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.

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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Lanzarone, Nicola. « Un’ipotesi sull’episodio di Metello in Lucano 3 ». Dans Antichistica. Venice : Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-557-5/007.

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This paper aims to demonstrate that the episode of Metellus in Lucan 3 is modelled on the episode of Laocoon in Virgil, Aeneid 2. Metellus’ opposition to Caesar is similar to Laocoon’s opposition to the wooden horse and the Greeks. What is more important is that Metellus’ defeat is much more far-reaching than Caesar’s plunder of the public treasure, and it marks the end of the Republic and Rome, just as Laocoon’s death marks the end of Troy.
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Berbara, Maria. « Arte e sacrifício : Laocoonte, Michelangelo, Marcus Curtius e a representação do sacrifício humano entre os astecas ». Dans História da arte : ensaios contemporâneos, 125–37. EDUERJ, 2011. http://dx.doi.org/10.7476/9786588808115.0011.

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Watney, Simon. « Laocoon ». Dans Impulse Archaeology, sous la direction de Eldon Garnet. Toronto : University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442627598-087.

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« 6. Jacopo Sadoleto's Laocoon ». Dans Words for Pictures : Seven Papers on Renaissance Art and Criticism. Yale University Press, 2003. http://dx.doi.org/10.37862/aaeportal.00179.008.

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Fowler, Don. « Laocoon’s Point of View : Walking the Roman Way ». Dans Classical Constructions, 2–17. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780199218035.003.0001.

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Brown, Amy. « Chapitre VII. Le Laocoon postcolonial : Omeros et le poème épique contemporain ». Dans Continuité, classicisme, conservatisme dans les littératures postcoloniales, 105–15. Presses universitaires de Rennes, 2013. http://dx.doi.org/10.4000/books.pur.54861.

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Paulin, Roger. « 4. Laocoon, Dante, Shakespeare, August Wilhelm Schlegel and the Overcoming of Tragedy ». Dans From Goethe to Gundolf, 59–77. Open Book Publishers, 2021. http://dx.doi.org/10.11647/obp.0258.04.

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Bonetti, Maria-Francesca. « Histoire et fortune photographique d’une œuvre d’art : le cas du Laocoon Vatican ». Dans Patrimoine photographié, patrimoine photographique. Publications de l’Institut national d’histoire de l’art, 2013. http://dx.doi.org/10.4000/books.inha.4410.

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Actes de conférences sur le sujet "Laocoonte"

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Paez, Rafael, et Miguel Torres. « Laocoonte : An agent based Intrusion Detection System ». Dans 2009 International Symposium on Collaborative Technologies and Systems. IEEE, 2009. http://dx.doi.org/10.1109/cts.2009.5067484.

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