IMAGINES – CLASSICAL RECEPTIONS IN THE VISUAL AND PERFORMING ARTS
Series editors: Filippo Carlà-Uhink and Martin Lindner
This series seeks to broaden the scholarly community’s understanding of the reception of classical antiquity in the visual and performing arts. A particular focus will be drawn on the 20th and 21st centuries and on media that have been traditionally neglected because considered “commercial” and/or “popular”, such as comics, advertising, digital media, design, fashion, and theme parks. It challenges traditional, and still very widespread, assumptions that distinguish “high” from “popular” culture, but also demonstrates the indisputable importance that classical antiquity enjoys in the modern and postmodern world, and all across the planet, carefully looking at forms of Classical Receptions outside the “traditional” regions object of such studies. Through a consistent shift from the traditional, academic approach, the series is the product of a continuous dialogue between scholars on the one side, and “producers” of classical reception – painters, sculptors, photographs, architects, designers, etc. –on the other, who write about their mechanisms of appropriation of the Ancient world . Each book highlights the popularity of antiquity today and reveals the forms and mechanisms of its reception. The series thus explains the choice of subjects and motives, the elaboration and re-mediatization processes taking place in the creative act, as well as the complexity of the “reception chains”, which make it today impossible, for instance, to visualize the ancient world without the filter of historical movies.
If you are interested in submitting a proposal or if you have a ready manuscript you would like to submit, please feel free to email our series editors: Filippo Carlà-Uhink (University of Potsdam): firstname.lastname@example.org ; Martin Lindner (University of Göttingen): email@example.com
Link to the series site, (pre-order and purchase)
A Homeric Catalogue of Shapes. The Iliad and Odyssey Seen Differently
Author: Charlayn von Solms
Date of publication: Autumn 2019
In the popular imagination, Homer as author of the Iliad and the Odyssey, epitomises poetic genius. So, when scholars proposed that the Homeric epics were not the unique creation of an individual author, but instead reflected a traditional compositional system developed by generations of singer-poets, swathes of assumptions about the poems and their ‘author’ were swept aside and called into question. Much had to be re-evaluated through a new lens.
The creative process described by scholars for the Homeric epics shares many key attributes with the modern visual art-forms of collage and its less familiar variant: sculptural assemblage. A Homeric Catalogue of Shapes describes a series of twelve sculptures that together function as an abstract portrait of Homer: not a depiction of him as an individual, but as a compositional system. The technique by which the artworks were produced reflects the poetic method that scholars termed oral-formulaic. In both of these creative processes the artwork is constructed from pre-existing elements: such as phrases, characters, and plot-lines in the epics; and objects, fragmented items, and borrowed forms in the sculptures. The artist/author presents a largely unknown characterisation of Homeric poetics in a manner that emphasizes the extent and complexity of this Homer’s artistry.
List of Illustrations
Chapter 1: Seeing Differently
Chapter 2. A Homeric Object
Chapter 3: Sculptural Assemblage and the Composite Object Portrait
Chapter 4: Homeric Iconographies
Chapter 5: A Catalogue of Shapes 2010-13: Descriptive Catalogue of Artworks
Chapter 6: A Composite Object Portrait of an Oral-Formulaic Homer
Classical Antiquity in Heavy Metal Music
Edited by: K. F. B. Fletcher and Osman Umurhan
Publication date: Autumn 2019
This book demonstrates the rich and varied ways in which heavy metal music draws on the ancient Greek and Roman world. Bands including Italy’s Stormlord and Heimdall, Greece’s Kawir, Switzerland’s Eluveitie and Celtic Frost, Norway’s Theatre of Tragedy, Sweden’s Therion, Germany’s Blind Guardian, Canada’s Ex Deo and the UK’s Iron Maiden and Bal-Sagoth are shown to draw inspiration from classical literature and mythology such as Homer’s Iliad, Virgil’s Aeneid and Caesar’s Gallic Wars and from historical peoples such as the Scythians, ancient Egypt and Roman emperors.
These interactions are often concerned with the nature of paganism, the occult and barbarism, nationalism, the conflict between East and West, as well as developing powerful evocations of brutality and femininity. The contributors frequently weave in comparisons with the reception of antiquity in painting and literature to show how the genre of heavy metal brings its own perspectives to classical reception but also shows strands of continuity of practice. They show how this musical genre – often dismissed as lowbrow – engages in sophisticated dialogue with ancient texts, myths, and historical figures, revealing aspects of Classics’ continued appeal while also arguing that the engagement with myth and history is a defining characteristic of heavy metal music, especially in countries that were once part of the Roman Empire.
List of Illustrations
Introduction: Where Metal and Classics Meet
1. Vergil’s Aeneid and Nationalism in Italian Metal
2. Eternal Defiance: Celtic Identity and the Classical Past in Heavy Metal
3. Screaming Ancient Greek Hymns: The Case of Kawir and the Greek Black Metal Scene
4. Cassandra’s Plight: Gender, Genre, and Historical Concepts of Femininity in Goth and Power Metal
5. Heavy Metal Dido: Heimdall’s “Ballad of the Queen”
6. A Metal monstrum: Ex Deo’s Caligula
7. Occult and Pulp Visions of Greece and Rome in Heavy Metal
8. “When the Land was Milk and Honey and Magic was Strong and True”: Edward Said, Ancient Egypt, and Heavy Metal
9. Coda: Some Trends in Metal’s Use of Classical Antiquity
Orientalism and the Reception of Powerful Women from the Ancient World
Editors: Filippo Carlà-Uhink and Anja Wieber
Date of publication: February 2020
Why is Cleopatra, a descendent of Alexander the Great, a Ptolemy from a Greek-Macedonian family, in popular imagination an Oriental woman? True, she assumed some aspects of pharaonic imagery in order to rule Egypt, but her Orientalism mostly derives from ancient (Roman) and modern stereotypes: both the Orient and the idea of a woman in power are signs, in Western tradition, of ‘otherness’ – and in this sense they can easily overlap and interchange.
This volume investigates how ancient women, and particular powerful women, such as queens and empresses, have been re-imagined in Western (and non-Western) arts, highlights how this re-imagination and re-visualization is, more often than not, the product of Orientalist stereotypes – even when dealing with women who had nothing to do with Eastern regions, and compares these images with examples of Eastern gaze on the same women. Through the chapters in this volume, readers will discover the similarities and differences in the ways in which women in power were and still are described and decried by their opponents.
Introduction: The Reception of Ancient Women between Gender and Orientalist Stereotypes Filippo Carlà-Uhink, Potsdam University, Germany & Anja Wieber, independent scholar
1. Semiramide riconosciuta: The Reception of an Ancient Oriental Queen in the OperaKerstin Droß-Krüpe, Universität Kassel
2. Behind the Veil: The Ambivalent Reception of Queen Shirin in modern Iran Irene Madreiter, Universität Innsbruck
3. Carian Queens from Orient to Greece and Back: The Reception of Artemisia I and Artemisia II Irene Berti, independent scholar
4. The Barbarian Bride: Portraits of Roxane in the 20th and 21st Century Ann-Cathrin Harders, Universität Bielefeld
5. Drypetis in Fact and (Fan) Fiction Sabine Müller, Universität Marburg
6. Lady Catherine Stepney and Cleopatra Mary Hamer, Kipling Society
7. Exotic, Erotic, Heroic? Women of Carthage in Western Imagination Marta García Morcillo, University of Roehampton
8. Colon(ial)izing Fulvia: (Re)Presenting the Military Woman in History, Fiction, and Art Peter Keegan, Macquarie University
9. The Oriental Empresses of Rome: Severan Women in Literature and the Arts Martijn Icks, University of Amsterdam
10. Zenobia of Palmyra: The Ianus-Headed Desert Queen and Different Strings of Reception Anja Wieber, independent scholar
11. Empresses from Late Antiquity Maria G. Castello, Università degli Studi di Torino
12. Theodora AP / Theodora AS: Metamorphoses of an Empress Filippo Carlà-Uhink, University of Exeter
13. Behind the Veil? Orientalist Stereotypes and Ancient Women – A Conclusion Beate Wagner-Hasel, Universität Hannover
The Ancient Mediterranean Sea in Modern Visual and Performing Arts: Sailing in Troubled Waters
Edited by: Rosario Rovira Guardiola
London-Oxford-New York-New Delhi-Sidney 2017 (paperback 2019)
When thinking about the Mediterranean, Fernand Braudel’s haunting words resound like an echo of the sea and its millenary history. From Prehistory until today, the Mediterranean has been setting, witness and protagonist of mythical adventures, of encounters with the Other, of battles and the rise and fall of cultures and empires, of the destinies of humans. Braudel’s appeal for a long durée history of the Mediterranean challenged traditional views that often present it as a sea fragmented and divided through periods.
This volume proposes a journey into the bright and dark sides of the ancient Mediterranean through the kaleidoscopic gaze of artists who from the Renaissance to the 21st century have been inspired by its myths and history. The view of those who imagined and recreated the past of the sea has largely contributed to the shaping of modern cultures which are inexorably rooted and embedded in Mediterranean traditions. The contributions look at modern visual reinterpretations of ancient myths, fiction and history and pay particular attention to the theme of sea travel and travellers, which since Homer’s Odyssey has become the epitome of the discovery of new worlds, of cultural exchanges and a metaphor of personal developments and metamorphoses.
List of Contributors
List of Illustrations
Rosario Rovira Guardiola, The British Museum, UK
The Mediterranean as a Geographical Space
1. Roman Adriatic ports and the antiquarian tradition
2. Chronotopes of Hellenic antiquity: The Strait of Reggio and Messina in documents from the Grand Tour era
Marco Benoît Carbone
3. The Eternal Words of the Latin Sea: Fedra by Mur Oti
Francisco Salvador Ventura, Universidad de Granada, Spain
Living and Dying in Troubled Waters
4. Quod mare non novit, quae nescit Ariona tellus? (Ov. Fast. II,83)
Dorit Engster, University of Göttingen, Germany
5. Ulysses in the cinema: the example of Nostos, il ritorno (Franco Piavoli, Italy 1990)
Óscar Lapeña Marchena, Universidad de Cádiz, Spain
6. A sea of metal plates: images of the Mediterranean from the XVIIIth century until post-modern theatre
Sotera Fornaro, Università di Sassari, Italy
7. Sailors on Board, Heroes en Route. From the Aegean World to Modern Stage
Erika Notti and Martina Treu, Università IULM – Milano, Italy
A Personal Sea. The Artist and the Sea
8. Ancient Seas in Modern Opera: Sea Images and Mediterranean Myths in Rihm’s Dionysos
Jesús Carruesco, Universitat Rovira I Virgili, Tarragona, Spain and Montserrat Reig, Catalan Institute of Classical Archaeology, Tarragona, Spain
9. A mirror to see your soul. The exile of Ovid in Eugene Delacroix’s painting
Rosario Rovira Guardiola, The British Museum, UK
10. Cinematic Romans and the Mediterrranean Sea
Cecilia Ricci, Università degli Studi del Molise, Italy
11. Changing their sky, not their soul. Lawrence Alma-Tadema’s vision of the ancient Mediterranean
Quentin Broughall, Independent scholar
12. The image of Phoenicians and Carthaginians in Modern Spanish History and Culture
Antonio Duplá Ansuategui, Univ. País Vasco/Euskal Herriko Unibertsitatea, Spain
13. Screening the Battle of Actium. Naval Victory, Erotic Tragedy, and the Birth of an Empire
Monica Silveira Cyrino, University of New Mexico, USA
Contemporary Uses of the Classical Mediterranean
14. Troubled Waters: Performative imaginary in the Project PI – Pequena Infância
Sofia de Carvalho, Elisabete Cação and Ana Seiça Carvalho, University of Coimbra – CECH, Portugal
15. Nem Gregos nem Troianos
“With its clever thematic foci and its wide geographical scope, this book makes an outstanding addition to the series Imagines – Classical Receptions in the Visual and Performing Arts. Readers of all levels will appreciate the strong thematic units and the harmonious blending of textual analysis with visual documentation and with evidence drawn from diverse performative contexts.” – Gonda Van Steen, Cassas Chair in Greek Studies, University of Florida, USA
“This book sets sail on a wide-ranging journey – from the ancient to the modern, and back again. Chapters navigate the sea of classical reception studies, demonstrating how ancient currents have continued to direct the course of the visual and performing arts. The result will be essential reading for anyone interested in the geopolitical and cultural bonds that connect modernity to its ancient Mediterranean heritage.” – Michael Squire, Reader in Classical Art, King’s College London, UK
Art Nouveau and the Classical Tradition
Author: Richard Warren
London-Oxford-New York-New Delhi-Sidney 2017
Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns – sexuality, death and the nature of art – its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau’s adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations.
The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement’s less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.
List of Illustrations
“This book vividly brings to light Art Nouveau artists’ turning to, and transformation of, classical sources in order to express life’s vitality in modern ways while coping with the anxious anticipation of a new era.” – Marice Rose, Associate Professor of Art History, Fairfield University, USA
“Offers a provocative re-assessment of Art Nouveau’s engagement with classical antiquity. Warren’s ground-breaking study examines afresh a deeply misunderstood chapter in the reception of the classics in the visual arts.” – Anastasia Bakogianni, Lecturer in Classical Studies, Massey University, New Zealand
Ancient Magic and the Supernatural in the Modern Visual and Performing Arts
Edited by Filippo Carlà and Irene Berti
Bloomsbury Studies in Classical Reception
London-New York 2015 (Paperback edition 2016)
Ancient Magic and the Supernatural in the Modern Visual and Performing Arts examines the impact of ancient religious, mythological and magical models on modern mentalities and ideologies as expressed in the visual and performing arts. To what extent did mythological figures such as Circe and Medea influence the representation of the powerful “oriental” enchantress in modern Western art? What role did the ancient gods and heroes play in the construction of the imaginary worlds of the modern fantasy genre? What is the role of undead creatures like zombies and vampires in mythological films? Looking across the millennia, from the distrust of ancient magic and oriental cults, seen as a menace by a new-born Christian religion, to the revival and adaptation of ancient myths and religion in the arts centuries later, this book offers an original analysis of the reception of ancient magic and the supernatural, across a wide variety of different media – from comics to film, from painting to opera. The authors of the essays come from different fields and countries, and aim to deconstruct certain scholarly traditions by proposing original interdisciplinary approaches and collaborations, showing to what extent the visual and performing arts of different periods interlink and shape cultural and social identities. The volume provides the reader with a clear insight into mechanisms of re-elaboration and reception which can be steadily seen at work in artistic and commercial productions. It also supplies new approaches to the most debated questions of the relationship between magic, religion and superstition in the ancient and in the modern worlds. It shows and discusses the shifting and biased interpretations of these concepts in modern visual culture.
- Magic and the Supernatural: an Introduction, I. Berti and F. Carlà (Ruprecht-Karls-Universität Heidelberg, Germany, University of Exeter, UK)
- Gods and Demons in Texts: Figures and Symbols of the Defixion Inscriptions of the Nymphaeum of Anna Perenna at Rome, J. Blänsdorf (Johannes Gutenberg-Universität Mainz, Germany)
- Imaging Magic, Imaging Thinking: The Transmission of Greek Drama from Sophocles to Crimp, L. Hardwick (The Open University, UK)
- Celtic Magic and Rituals in The War Lord (F. Schaffner, 1965), D. Campanile (Università degli Studi di Pisa, Italy)
- Witch, Sorceress, Enchantress: Magic and Women from the Ancient World to the Present Time, G. Rocca and M. Treu (IULM Milano, Italy)
- Circe diva. The Reception of Circe in the Baroque Opera (17th Century), M. J. Castillo Pascual (Universidad de La Rioja, Spain)
- Medea, a Greek Sorceress in Modern Opera and Ballet: from Barber to Reimann, M. Reig and J. Carruesco (Universitat de Barcelona, Spain, Universitat Rovira i Virgili, Spain)
- Colchian Pharmaka: The Colours of Medea in 19th Century Painting in France and England, A. Grand-Clément and C. Ribeyrol (Université de Toulouse II – Le Mirail, France, Université Paris IV – Sorbonne, France)
- Canidia and Erichtho, C. Walde (Johannes Gutenberg-Universität Mainz, Germany)
- Project(ion) Wonder Woman – Metamorphoses of a Superheroine, M. Gindhart and A. Gietzen (Johannes Gutenberg-Universität Mainz, Germany)
- Ancient Horrors – Cinematic Antiquity and the Undead, M. Lindner (Georg-August-Universität Göttingen, Germany)
- The Phoenix, the Werewolf and the Centaur. The Reception of Mythical Beasts in the Harry Potter Novels and Their Film Adaptions, D. Hofmann (Universität zu Köln, Germany)
- Theoi becoming Kami. Classical Mythology in the Anime World, M. G. Castello and C. Scilabra (Università degli Studi di Torino, Italy)
- Every Pony Has a Story: Revisions of Greco-Roman Mythology in My Little Pony: Friendship is Magic, Priscilla Hobbs (Pacifica Graduate Institute, USA)
- The Depraved Devotion of Elagabalus. Images of the Priest-Emperor in the Visual and Performing Arts, M. Icks (Queen’s University Belfast, UK)
- Women and Religion in the Epic Films: The Fifties’ Advocate for Conversion and Today’s Pillar of Paganism?, A. Wieber (Westfalen-Kolleg Dortmund, Germany)
Book endorsements (Bloomsbury)
“This extraordinary collection marks a major development in the field of reception studies, as it uncovers the persistent ambiguity of classical antiquity in the modern imagination as not only the glittering paradigm of Western rational thought but also the dark wellspring of enigmatic and dangerous forces.” – Monica S. Cyrino, Professor of Classics, University of New Mexico, USA,
“This rich and diverse collection is a powerful reminder that the legacy of antiquity resides not just in a set of comfortable ideals, but that it lurks in some of the darkest and most irrational parts of our imagination. When we dream of the fabulous, the wicked, the monstrous, and the heroic, we are inevitably drawn to figures and motifs drawn from the classical world. As this book shows, we cannot resist these ancient enchantments.” – Alastair J.L. Blanshard, Paul Eliadis Professor of Classics and Ancient History, The University of Queensland, Australia.
- Classics for all Reviews (May 2015), by Cath Milnes
Seduction and Power: Antiquity in the Visual and Performing Arts
Edited by Silke Knippschild and Marta García Morcillo
London-New Delhi-New York-Sydney 2013 (Paperback 2015)
“Readers interested in the future of reception studies should bookmark the Project’s webpage and stay tuned.” – Genevieve S. Gessert, Hood College, USA, Bryn Mawr Classical Review
“This is an exceptionally lively and thought-provoking collection by an international team of scholars from the Imagines research project. The case studies bring evidence from an impressive range of examples into dialogue with the central themes of seduction and power, revealing in the process how power is itself a seductive force. Every reader will encounter something new. The editors’ concluding discussion explores how the individual essays combine to provide a map of the relationships between antiquity and the histories of the visual and performing arts.” – Lorna Hardwick, The Open University, UK,
“Seduction challenges conventional relations of power, thus undermining tradition and leading to unexpected turns and dramas. This explains the fascination with this subject throughout the centuries. Some of the ancient seduction stories and their reception studied in this volume are familiar, others are not, but all of them are interesting. By focusing on the relation between seduction and power this volume makes an original contribution not only to reception studies but also to the diachronic study of gender and emotion.” – Angelos Chaniotis, Professor of Ancient History and Classics, Institute for Advanced Study, Princeton, USA,
“Silke Knippschild and Marta García Morcillo have brought together a remarkable company of leading scholars and inspiring new voices who explore how the persistent liaison between seduction and power is richly exposed in modern receptions of the myths, histories, and images emanating from the ancient world. In case studies extending from the Renaissance to the present day, in a variety of media from the performing and visual arts, the contributors to this volume reveal with compelling clarity and scholarly insight how the power of seduction continues to be wielded by ancient cultures, as their essays unpack the enduring fascination exerted by the charismatic men and alluring women of antiquity upon later artists and performers. This impressive collection represents an important contribution to the field of reception studies, since it offers an unfettered glimpse into our own fantasies and projections about the power and eroticism so often and so intimately linked with the ancient world.” – Monica S. Cyrino, Professor of Classics, University of New Mexico, USA,
“This collection of essays is the second publication to emerge from the innovative Imagines Project, a think tank of European scholars and practitioners devoted to the study of classical reception in the diverse media of the visual and performing arts. The impact and importance of the volume must instead be considered in conjunction with the entire output of the Imagines Project. . The fact that reception organically inspires innovative delivery strategies testifies to the seductive nature of the subject matter and the methodologies for its study, and to the powerful potential of the Imagines Project. Readers interested in the future of reception studies should bookmark the Project’s webpage and stay tuned.” – Genevieve S. Gessert, Bryn Mawr Classical Review
Imagines: La Antigüedad en las Artes Escénicas y Visuales
Edited by: María José Castillo Pascual, Silke Knippschild, Carmen Herreros and Marta García Morcillo
Universidad de la Rioja
La Universidad de La Rioja organiza el Congreso Internacional ‘Imagines. La Antigüedad en las artes escénicas y visuales’ que tendrá lugar del 22 al 24 de octubre. Este encuentro científico reunirá a expertos académicos de diversos campus de España, Italia, Alemania, Inglaterra y Francia en torno al legado artístico y cultural del mundo antiguo. Desde el siglo XVII, la Antigüedad se convirtió en un modelo a seguir, en una escuela de virtud pública y privada, tesoro de preceptos morales y personajes ejemplares. Esta circunstancia ha abierto una línea de investigación, todavía minoritaria, como es la ‘Recepción’ de la Antigüedad en ámbitos tan variados como la política, el derecho, el arte, la literatura. El Congreso Internacional ‘Imagines. La Antigüedad en las artes escénicas y visuales’ se entronca en esta línea de investigación. A lo largo de tres jornadas, del 22 al 24 de octubre, el programa académico se desarrollará en torno a tres ejes principales: el legado de la Antigüedad en las Artes Escénicas (Teatro, Cine y Opera); en las Artes Visuales (Arquitectura, Escultura, Pintura y Artes Decorativas); y el uso didáctico en los niveles de enseñanza secundaria y superior para mostrar la actualidad de “lo antiguo”.
Buy the book HERE
- Eleonora Cavallini: Appunti per una “performance” multimediale di testi: i “Dialoghi con Leucò” di Cesare Pavese.
- Sofía Eiroa Rodríguez, Jorge Alejandro Eiroa Rodríguez: La Antigüedad Clásica en el teatro del Siglo de Oro: Rojas Zorrilla.
- Ricardo del Molino: La Antigüedad Clásica en la Nueva Granada: teatro revolucionario e iconografía republicana.
- Filippo Carlà: Il modello di ogni caduta: il V sec. d. C. nelle sue riduzioni teatrali tra XIX e XX secolo.
- Irene Berti: Mito e politica nell'”Orestea” di Pasolini.
- María José Castillo Pascual: La antigüedad clásica de los poetas cesáreos pre-metastasianos
- Carmen Herreros González:El Sila de Gamerra
- Milena Melfi: Excavating opera: composers and archaelogists in 19th century Italy.
- Ana Paula Fontao: Lecturas románticas de un mito antiguo: Medea.
- Bernardo Sánchez Salas: “Ars gratia artis”.
- José Antonio Molina Gómez: A través del espejo: preocupaciones contemporáneas por la paz mundial en el cine histórico sobre la Antigüedad.
- Gabriella Sciortino: Clio e “decima Musa”: il Mondo Antico attraverso le immagini della settima arte.
- Martin Lindner: Small Gods: (Halb-)Götter als figuren des antikfilms
- Oscar Lapeña Marchena: La ciudad antigua en el cine: mucho más que un decorado.
- Ana María Sedeño Valdellós: La tragedia en “Edipo Rey” de Pier Paolo Pasolini.
- Borja Antela Bernárdez, Alberto Prieto Arciniega: Alejandro Magno en el cine
- Silke Knippschild: El prestigio del pasado: la representación de la Antigüedad como signo de poder en la Inglaterra del siglo XVII.
- Carmen González Román: Modelos e imágenes del teatro antiguo en los palacios del renacimiento
- Christiane Kunst: Paestum imagery in european architecture
- Maria Elena Gorrini: L’Afrodite velata di Mantova: nuove osservazioni.
- Brigitte Ruck: Kolosse und ihre grossen Vorbilder aus der Antike
- Eduard Cairol: Un jardín de estatuas sin ojos: el legado de la antigüedad en la Viena fin-de-siglo.
- Rosario Rovira Guardiola: Museums and literature: Marguerite Yourcenar’s “Memoires d’ Hadrien”.
- María Dolores Villaverde Solar: La antigüedad como paradigma de la escultura gallega contemporánea
- José Mayor: El vínculo del arte griego con los tratados sobre morfología artística
- Jesús Martínez Oliva: Miradas transversales de la fotografía de desnudo masculino a la antigüedad clásica
- Isaac Sastre de Diego: Iconographic influences of roman aras in early christian altars: prevalence of formal and conceptual elements in “Hispania”.
- María del Carmen Heredia Moreno: La recepción del clasicismo en la platería española del siglo XVI
- James Lesher: Feuerbach’s “Das gastmahl des Platon” and Plato’s “Symposium”
- M. Isabel Valverde Zaragoza, Marina Picazo Gurina: ¿La reina vencida?: Cleopatra y el poder en el arte y la literatura.
- José María Blázquez Martínez: Mitos clásicos y naturaleza en la pintura y dibujos de Carlos Franco
- Antonio Joaquín Santos Márquez: Ornamentos y figuración de origen clásico en la obra de los Ballesteros
- Claudia Wagner: A picture-book of antiquity: the neoclassical gem collection of Prince Poniatowski.
- Thomas Mannack: The ancient world in miniature: flat german tin figures of the 19th and 20 th centuries.
- Javier Andreu Pintado: La antigüedad como argumento: su uso en la heráldica municipal de Navarra.
- Marta García Morcillo: La antigüedad clásica en el cartel político contemporáneo: de la Europa decimonónica a la guerra civil española.
- Audy Rodríguez: Les fêlures du miroir ou les dieux vecteur de mise en abîme: modali´tes, formes et enjeux de la transmisión de la référence antique. Un exemple, les dieux grecs.
- Adexe Hernández Reyes: Los mitos griegos en el manga japonés
- Pilar Iguacel de la Cruz: Tartessos: el mito en lenguaje de cómic.
- Miguel Ángel Novillo López: “Astérix en Hispania”: realidad histórica o realidad caricaturizada.
- Anna Pujadas: Desplegando el peplo: un ensayo sobre arte, moral, moda y danza.
- Joan Pagès, Teresa García Santa María: La imagen de la Antigüedad en la enseñanza de la historia
- Fernando Lillo Redonet: El cine de romanos y su aplicación didáctica
- Esther López Ojeda: Lorca y la tragedia griega: el caso concreto de “Bodas de sangre”.
- Mari Carmen Santapau: La recepción de la mitología clásica en la escultura del Barroco: aplicaciones didácticas.
- Daniel Becerra Romero, Soraya Jorge Godoy: El cómic como elemento de atracción para la enseñanza del mundo clásico: entre la literatura y la rigurosidad histórica.
- María Luz Husillos García: Publicidad y mitología: su uso en el aula.