Results 121 to 130 of about 265 (169)
Some of the next articles are maybe not open access.
2020
The Herakles passage in Homer’s Odyssey 11.601–4 has been seen as problematic because it is not one thing: the vision it gives of Herakles’ place in the afterlife is double—his eidōlon (“image”) and the autos (“self”); the underworld and the heavens.
exaly +2 more sources
The Herakles passage in Homer’s Odyssey 11.601–4 has been seen as problematic because it is not one thing: the vision it gives of Herakles’ place in the afterlife is double—his eidōlon (“image”) and the autos (“self”); the underworld and the heavens.
exaly +2 more sources
American Journal of Archaeology, 1984
Representations of Herakles' combat with Kyknos on Attic blackand early red-figure vases depend more closely on the pseudo-Hesiodic Shield of Herakles than has previously been recognized. Lydos had a major role in shaping the iconography of the myth. The great popularity of the scene in Attica, despite the relative unimportance of the story in Herakles'
openaire +1 more source
Representations of Herakles' combat with Kyknos on Attic blackand early red-figure vases depend more closely on the pseudo-Hesiodic Shield of Herakles than has previously been recognized. Lydos had a major role in shaping the iconography of the myth. The great popularity of the scene in Attica, despite the relative unimportance of the story in Herakles'
openaire +1 more source
Numen, 1970
AbstractFor reasons of symmetry between Zeus and Hera, Hera is identified with the night sky; further arguments in favour of this interpretation are the myth about the origin of the Milky Way, Hera's epitheton bo-opis (with the great shining eye, the Moon) and the etymological argument, that old-indian svarga means the sky.
openaire +1 more source
AbstractFor reasons of symmetry between Zeus and Hera, Hera is identified with the night sky; further arguments in favour of this interpretation are the myth about the origin of the Milky Way, Hera's epitheton bo-opis (with the great shining eye, the Moon) and the etymological argument, that old-indian svarga means the sky.
openaire +1 more source
The Journal of Hellenic Studies, 1979
Athenaeus (474e) quotes the description of the karchesion cup by Kallixeinos of Rhodes, a third-century B.C. author: ‘a tall cup, slightly contracted at the middle with handles which extend down to the base’. Scholars have easily recognised in this a variety of kantharos, a cup with two vertical handles and either with a low foot or the footless ...
openaire +1 more source
Athenaeus (474e) quotes the description of the karchesion cup by Kallixeinos of Rhodes, a third-century B.C. author: ‘a tall cup, slightly contracted at the middle with handles which extend down to the base’. Scholars have easily recognised in this a variety of kantharos, a cup with two vertical handles and either with a low foot or the footless ...
openaire +1 more source
2000
Abstract Immediately after the parabasis (lines 738 ff.), Aristophanes’ Frogs starts over with a new “prologue” symptomatic of the play’s double plan that has long troubled critics. First, there is the retrieval of Euripides played out in two sequences involving katabasis and comic business at the door to Hades.
openaire +1 more source
Abstract Immediately after the parabasis (lines 738 ff.), Aristophanes’ Frogs starts over with a new “prologue” symptomatic of the play’s double plan that has long troubled critics. First, there is the retrieval of Euripides played out in two sequences involving katabasis and comic business at the door to Hades.
openaire +1 more source
2010
Wilamowitz-Moellendorff's edition of Herakles was published in 1895. The renowned German philologist delivers a detailed reading and translation of Euripides' classic tragedy, and also provides the reader with an introduction to the context in which the tragedy unfolds. Volume 1 is divided into three parts.
openaire +2 more sources
Wilamowitz-Moellendorff's edition of Herakles was published in 1895. The renowned German philologist delivers a detailed reading and translation of Euripides' classic tragedy, and also provides the reader with an introduction to the context in which the tragedy unfolds. Volume 1 is divided into three parts.
openaire +2 more sources
The American Journal of Philology, 1975
William R. Nethercut, G. Karl Galinsky
openaire +1 more source
William R. Nethercut, G. Karl Galinsky
openaire +1 more source