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Artykuły w czasopismach na temat "Metamorphosis – Mythology – Poetry"
Vasylenko, Vadym. "THE POETRY BY MYKHAILO OREST: IDEAS AND FIGURATIVE STRUCTURE". Слово і Час, nr 2 (30.04.2024): 51–69. http://dx.doi.org/10.33608/0236-1477.2024.02.51-69.
Pełny tekst źródłaΦερεντίνου, Βικτώρια. "ΒΙΚΤΩΡΙΑ ΦΕΡΕΝΤΙΝΟΥ, Τα συγκοινωνούντα δοχεία μιας υβριδικής ποιητικής: Ο μύθος ως διακαλλιτεχνική και διαπολιτισμική ώσμωση στο έργο του Νίκου Εγγονόπουλου". Σύγκριση 31 (28.12.2022): 28–41. http://dx.doi.org/10.12681/comparison.31272.
Pełny tekst źródłaPopović-Bodroža, Ana. "Constructing of the narcissistic artistic character in the autobiography of Salvador Dali: Salvador Dali with an insight into the painting metamorphosis of narcissus, and the Dali museum/bequests". Kultura, nr 170-171 (2021): 167–78. http://dx.doi.org/10.5937/kultura2171167p.
Pełny tekst źródłaFürst, Isidora. "Themis and Dike – Justice in Greek Myth and Tradition". Vesnik pravne istorije 2, nr 1 (18.12.2021): 9–39. http://dx.doi.org/10.51204/hlh_21101a.
Pełny tekst źródłaNeira, Julio. "Los mitos en la poesía de Caballero Bonald". Signa: Revista de la Asociación Española de Semiótica 28 (28.06.2019): 1181. http://dx.doi.org/10.5944/signa.vol28.2019.25115.
Pełny tekst źródłaRushton, Emily. "Meta/morphosis". Book 2.0 13, nr 2 (1.12.2023): 157–65. http://dx.doi.org/10.1386/btwo_00090_7.
Pełny tekst źródłaBorovskaya, A. A. "THE NATIVE CITY HISTORY AS A MACRO PLOT OF B. SHAKHOVSKY’S CYCLE OF “POEMS ABOUT ASTRAKHAN”". Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, nr 92 (2023): 72–78. http://dx.doi.org/10.37313/2413-9645-2023-25-92-72-78.
Pełny tekst źródłaStundžienė, Bronė. "Lithuanian Cultural Landscape in Folklore from the Perspective of Values". Vilnius University Open Series, nr 5 (4.12.2020): 81–101. http://dx.doi.org/10.15388/vllp.2020.5.
Pełny tekst źródła"Folklore and Mythological Symbolism of Lunar Images in the Poetry of Vasyl Holoborodko". Journal of V. N. Karazin Kharkiv National University, Series "Philology", nr 83 (2019). http://dx.doi.org/10.26565/2227-1864-2019-83-17.
Pełny tekst źródłaGoodall, Jane. "Looking Glass Worlds: The Queen and the Mirror". M/C Journal 19, nr 4 (31.08.2016). http://dx.doi.org/10.5204/mcj.1141.
Pełny tekst źródłaRozprawy doktorskie na temat "Metamorphosis – Mythology – Poetry"
Tronchet, Gilles. "La métamorphose à l'oeuvre recherches sur la poétique d'Ovide dans les "Métamorphoses /". Louvain ; Paris : Peeters, 1998. http://catalogue.bnf.fr/ark:/12148/cb36709145t.
Pełny tekst źródłaAraujo-Rousset, Anthony de. "Figures françaises de Dante : un mythe romantique". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3008.
Pełny tekst źródłaThis work builds a transcendental dantology based on a leibnizian paradigm of a perennial philosophy. Dante's name and work get on gradually in the life of spirit and French culture, after the astonishment of the Revolution, with the birth, the apogee, the decline and the transformed sequels of Romanticism. One love submitted to the rule of divisibility in direction of some fragments of the Divine Comedy turns into a first dantology. Archetypal figures coming from heterogeneous domains provide a conceptual and poetical framework at this double-crossed spiral: the reading of Dante's texts enlightened by present-day criticism; and the understanding of the divergent morphologies of the various moments of Romanticism. Dante appears as a thinker of history, political stakes, Christianism even in his internal and external limits, initiatory fact, sexual difference in which A POET BECOMES TRANSHUMAN THANKS TO BEATRICE'S LOVE AND VIRGIL'S GUIDING. Chateaubriand, Balzac, Nerval and Hugo are the paragons of a reading going to a free use, inaccurate but highly creative. Fauriel, Ozanam and Aroux represent the quest of a reasoned criticism of the philosophical and theological dantean doctrine. Dante and his work got included in the heart of thousands occasions of unrest of a nineteenth century that reconfigure France and Europe. The persistence of the hope of a traveller attempting to see once more the stars and contemplate the Trinity influence the reminiscences of progressivism in many aspects. The brazen figure of an acrimonious and revengeful poet goes with disenchanted minds. The one that becomes a companion of the other gods after struggling with an ennobling and killing Lady inspire the mystics and those who look for a new spirituality. The faith apologist, once he has got back into the bosom of the Church thanks to the conversion of his love, warms up the Catholics. The man who divides into two the powers as the suns of Rome turns to a favoured speaker after the Empire. We don't look for an exhaustive, thematical, notional, chronological or nominal list. But, through examples as paradigms, it's shown how that union between knowledge and creative use builds, in less than a century, some figures of Dante that echo with the concerns and hopes, expectations and anguishes, of Romanticism. In this way Dante and his "Sacred Poem" aren't reductive to citations occasions. They become a myth at the heart of the relation between religious mystic and initiation thanks to the Eternal-Feminine, commitment in history and cult of Beauty, craving for a world-wide regenerative burst and being aware of the tragic scission between Ideal and Real, myth of the Tomb and promise of spiritual elevation. Among the various possibilities, WE DEFEND A DANTE DEVOTED TO THE INITIATORY CULT OF THE SEPULCHRE AND THE "LADIES WHO GOT THE INTELLECT OF LOVE." He belongs to a broadened, dilated Catholicism - the transcendental Catholicism by Maistre, that takes on his Arcanum esotericism based on the polysemy of the texts and the freedom granted by Dante to the commentary. The author of the Divine Comedy takes place in a more and more gloomy, antimodernist, Romanticism; BOTH THE ANAMNESIS POWER OF AN ABOLISHED GREATNESS AND THE PROPHET FOR WORLD IN GERMINATION that picks his themes up again: questions of laicity, popular language in front of the gods 'one, aspiration at the Ideal and at the link between visible and invisible, metaphysical power of the Lady. Our Dante is the one who has to take care of "the other path", the catabasis before the anabases; and who has to show up the highest devotion toward the shadows. Then, this Dante and this Romanticism don't journey to the "deep randomly": here they find, in particular thanks to the power of Speech, the promise of the Spirit
De, Araujo Rousset Anthony. "Figures françaises de Dante : un mythe romantique". Thesis, 2018. http://www.theses.fr/2018LYSE3008/document.
Pełny tekst źródłaThis work builds a transcendental dantology based on a leibnizian paradigm of a perennial philosophy. Dante's name and work get on gradually in the life of spirit and French culture, after the astonishment of the Revolution, with the birth, the apogee, the decline and the transformed sequels of Romanticism. One love submitted to the rule of divisibility in direction of some fragments of the Divine Comedy turns into a first dantology. Archetypal figures coming from heterogeneous domains provide a conceptual and poetical framework at this double-crossed spiral: the reading of Dante's texts enlightened by present-day criticism; and the understanding of the divergent morphologies of the various moments of Romanticism. Dante appears as a thinker of history, political stakes, Christianism even in his internal and external limits, initiatory fact, sexual difference in which A POET BECOMES TRANSHUMAN THANKS TO BEATRICE'S LOVE AND VIRGIL'S GUIDING. Chateaubriand, Balzac, Nerval and Hugo are the paragons of a reading going to a free use, inaccurate but highly creative. Fauriel, Ozanam and Aroux represent the quest of a reasoned criticism of the philosophical and theological dantean doctrine. Dante and his work got included in the heart of thousands occasions of unrest of a nineteenth century that reconfigure France and Europe. The persistence of the hope of a traveller attempting to see once more the stars and contemplate the Trinity influence the reminiscences of progressivism in many aspects. The brazen figure of an acrimonious and revengeful poet goes with disenchanted minds. The one that becomes a companion of the other gods after struggling with an ennobling and killing Lady inspire the mystics and those who look for a new spirituality. The faith apologist, once he has got back into the bosom of the Church thanks to the conversion of his love, warms up the Catholics. The man who divides into two the powers as the suns of Rome turns to a favoured speaker after the Empire. We don't look for an exhaustive, thematical, notional, chronological or nominal list. But, through examples as paradigms, it's shown how that union between knowledge and creative use builds, in less than a century, some figures of Dante that echo with the concerns and hopes, expectations and anguishes, of Romanticism. In this way Dante and his "Sacred Poem" aren't reductive to citations occasions. They become a myth at the heart of the relation between religious mystic and initiation thanks to the Eternal-Feminine, commitment in history and cult of Beauty, craving for a world-wide regenerative burst and being aware of the tragic scission between Ideal and Real, myth of the Tomb and promise of spiritual elevation. Among the various possibilities, WE DEFEND A DANTE DEVOTED TO THE INITIATORY CULT OF THE SEPULCHRE AND THE "LADIES WHO GOT THE INTELLECT OF LOVE." He belongs to a broadened, dilated Catholicism - the transcendental Catholicism by Maistre, that takes on his Arcanum esotericism based on the polysemy of the texts and the freedom granted by Dante to the commentary. The author of the Divine Comedy takes place in a more and more gloomy, antimodernist, Romanticism; BOTH THE ANAMNESIS POWER OF AN ABOLISHED GREATNESS AND THE PROPHET FOR WORLD IN GERMINATION that picks his themes up again: questions of laicity, popular language in front of the gods 'one, aspiration at the Ideal and at the link between visible and invisible, metaphysical power of the Lady. Our Dante is the one who has to take care of "the other path", the catabasis before the anabases; and who has to show up the highest devotion toward the shadows. Then, this Dante and this Romanticism don't journey to the "deep randomly": here they find, in particular thanks to the power of Speech, the promise of the Spirit
Książki na temat "Metamorphosis – Mythology – Poetry"
Hofmann, Michael, 1957 Aug. 25- i Lasdun James, red. After Ovid: New metamorphoses. London: Faber and Faber, 1994.
Znajdź pełny tekst źródłaHofmann, Michael, 1957 Aug. 25- i Lasdun James, red. After Ovid: New metamorphoses. New York: Farrar, Straus, and Giroux, 1995.
Znajdź pełny tekst źródłaMetamorphoses: Poetry and translation. Manchester: Carcanet, 2003.
Znajdź pełny tekst źródłaMichael, Hofmann, i James Lasdun. After Ovid: New metamorphoses. New York: Noonday Press ; Farrar, Straus, and Giroux, 1996.
Znajdź pełny tekst źródłaOvid. The metamorphoses. New York: New American Library, 2009.
Znajdź pełny tekst źródłaOvid. Metamorphoses V-VIII. Warminster, Wiltshire: Aris & Phillips, 1992.
Znajdź pełny tekst źródłaOvid. Metamorphoses I-IV. Warminster, Wiltshire: Aris & Phillips, 1985.
Znajdź pełny tekst źródłaOvid. The essential Metamorphoses. Indianapolis, IN: Hackett Pub. Co., 2011.
Znajdź pełny tekst źródłaillustrator, Bachinski Walter, Butler Janis, Goodman Jon printer, Garth, Samuel, Sir, 1661-1719, translator, Shanty Bay Press i Press Collection (Library of Congress), red. Stories from the metamorphoses. Shanty Bay, ON: Shanty Bay Press, 2013.
Znajdź pełny tekst źródłaOvid. The metamorphoses of Ovid. [Lawrence, KS?]: Digireads.com, 2009.
Znajdź pełny tekst źródłaCzęści książek na temat "Metamorphosis – Mythology – Poetry"
Hardie, Philip. "The Metamorphoses of Sin". W Metamorphic Readings, 183–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864066.003.0010.
Pełny tekst źródłaFarrell, Joseph. "Ovid and Mythography". W The Oxford Handbook of Greek and Roman Mythography, 261—C19.P83. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.20.
Pełny tekst źródłaFahey, Diane. "Working with Greek Mythology: A Journey through Images". W Feminist Poetics of Sacredtne, 221–42. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195144680.003.0012.
Pełny tekst źródłaHejduk, Julia Dyson. "Ovid". W The God of Rome, 212–90. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607739.003.0006.
Pełny tekst źródłaKeith, Alison. "Labor and pestis in Ovid’s Metamorphoses". W Philosophy in Ovid, Ovid as Philosopher, 184–206. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197610336.003.0010.
Pełny tekst źródłaSolomon, Jon. "Mythography and the Reception of Classical Mythology in the Renaissance, 1340–1600". W The Oxford Handbook of Greek and Roman Mythography, 579—C40.P78. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.41.
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