1,720,974 research outputs found
E. Franchini, Ferecrate, Krapataloi – Pseudherakles (frr. 85–163). Introduzione, Traduzione, Commento. Con la collaborazione di M. Napolitano (fr. 155), Göttingen 2020
No full textK. Tsantsanoglou, Tragic papyri: Aeschylus' Theoroi, Hypsipyle, Laios, Prometheus Pyrkaeus, and Sophocles' Inachos, Berlin-Boston 2022
No full textTra manipolazione del mito e satira mitologica: il caso di Prometeo creatore ‘imperfetto’
No full textThis paper focuses on the development of the topic of Prometheus as πρῶτος εὑρετής, and imperfect creator of mankind (and, in particular, of women) throughout Greek and Roman literature
Note critico-esegetiche a Men. inc. fab. fr. 665 K.–A. = Critical-exegetical Notes on Men. inc. fab. fr. 665 K.-A.
No full textThis paper aims to offer a fresh interpretation of Men. inc. fab. fr.
665 K.-A., including a detailed discussion of metrical problems of the ll. 2-3
Aristofane. Frammenti. Testo, traduzione e commento a cura di M. Pellegrino, Lecce-Rovato (Brescia) 2015
No full text
Com.Adesp. fr. 1001 K.-A.: un esempio di monologo ‘visivo’
No full textCom.Adesp. fr. 1001 K.-A. is preserved on the recto of P.Didot, a papyrus dating from around 160 B.C. and containing some poetic extracts written by three different scribes. The comic fragment, in iambic trimeters, comes from a monologue of a male speaker, who addresses the audience directly and talks about being reborn into new life. The style and the content of this text suggest an author of the fourth or third century, quite possibly a New Comedy playwright, but its authorship is far from certain. The references to the sanctuary of Asklepios at l. 9 and to the Acropolis and the nearby theatre at l. 15 indicate that the setting of the performance of this speech was the Theatre of Dionysus, on the southern slopes of the Acropolis of Athens
(Ri)comporre una tetralogia ‘legata’: il caso della presunta tetralogia odissiaca di Eschilo (Ψυχαγωγοί, Πηνελόπη, Ὀστολόγοι, Κίρκη σατυρική)
No full textThe idea of grouping the four dramas Ψυχαγωγοί, Πηνελόπη, Ὀστολόγοι and Κίρκη σατυρική, documented in the fragmentary production of Aeschylus, into a thematically ‘connected’ tetralogy dedicated to the Odyssean myth dates back to Ulrich von Wilamowitz-Moellendorff. Due to the authority of its proponent, this hypothesis profoundly influenced the opinion of the philological community over the past two centuries: in fact, it has become (also through the mediation of Timothy N. Gantz’s article “The Aischylean Tetralogy: Attested and Conjectured Groups”, AJPh 101 [1980], 133-164) an almost manualistic notion. The aim of the present contribution is to shed light on the content of the fragments that survived from the aforementioned four dramas, investigating the common thread that would have united these pièces into a solid tetralogical structure. Some final remarks are devoted to the concluding slot of this tetralogy and its potential satyric occupants
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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