| Sonstiges: |
- Nachgewiesen in: BASE
- Sprachen: English
- Collection: Universidad Complutense de Madrid (UCM): Revistas Científicas Complutenses
- Document Type: article in journal/newspaper
- File Description: application/pdf
- Language: English
- Relation: https://revistas.ucm.es/index.php/AMAL/article/view/58836/4564456548043; Baer, E. (1965). Sphinxes and Harpies in Medieval Islamic Art: An Iconographical Study. (Oriental Notes and Studies, 9.) Jerusalem: The Israel Oriental Society.; Berg, Adam (1996). “Perseus’ Hysteria”.27 Leonardo, 29(1): 72–3.; Berndt, Ronald M. (1958). “A Comment on Dr. Leach’s ‘Trobriand Medusa’”.28 Man, 58, item 65: 65–6.; Berthold, Dennis. (1997). “Melville, Garibaldi, and the Medusa of Revolution”.29 American Literary History, 9(3): 425–59.; Borge, J.L. and Guerrero, M. (1957). Manual de zoologia fantastica. México: Fundo de Cultura Económica.; Brener, Ann (1994). “Portrait of the Rabbi as Young Humanist: A Reading of Elijah Capsali’s Chronicle of Venice”, Italia: Studi e Ricerche sulla Storia, la Cultura e la Letteratura degli Ebrei d’Italia (Jerusalem), 11: 37–60.; Capsali, Elia (1975–1983 [1520s]). Seder Eliyahu Zuta: History of the Ottomans and of Venice and that of the Jews in Turkey, Spain and Venice. (In Hebrew, 3 vols.). A. Shmuelevitz, S. Simonsohn and M. Benayahu (eds.). Jerusalem: The Ben-Zvi Institute of Yad Ben-Zvi and the Hebrew University, and Tel-Aviv: The Diaspora Research Institute, Tel-Aviv University.; Carr, J.L. (1963). “Gorgons, Gormogons, Medusists and Masons”.30 The Modern Language Review, 58(1): 73–8.; Cheney, Liana De Girolami. (2004). “Edward Burne-Jones’ Andromeda: Transformation of Historical and Mythological Sources”.31 Artibus et Historiae, 25(49): 197–227.; Cherry, John, ed. (1995). Mythical Beasts. London: British Museum Press.; Coleman, Kathleen M. (ed., trans.) (2006). Liber Spectaculorum by Martial [on the jacket, vs. frontispiece: M. Valerii Martialis Liber spectaculorum]. Oxford: Oxford University Press.; Cixous, Hélène. (1975). “Le Rire de la Méduse”. L’Arc, 61: 39–54.; Cixous, Hélène. (1976). “The Laugh of the Medusa”.32 Keith Cohen and Paula Cohen (trans.). Signs, 1(4): 875–93.; Clark, Raymond J. (2003). “The Cerberus-Like Function of the Gorgons in Virgil’s Underworld (Aen. 6.273–94)”.33 The Classical Quarterly, 53(1): 308–9.; Coffler, Gail H. (1985). Melville’s Classical Allusions: A Comprehensive Index and Glossary. Westport, CT: Greenwood Press.; Croon, J.H. (1955). “The Mask of the Underworld Daemon: Some Remarks on the Perseus-Gorgon Story”.34 The Journal of Hellenic Studies, 75: 9–16.; Cropper, Elizabeth. (1991). “The Petrifying Art: Marino’s Poetry and Caravaggio”.35 Metropolitan Museum Journal, 26: 193–212.; Dawkins, Richard McGillivray. (1924). “Ancient Statues in Mediaeval Constantinople”, Folklore, 35(3): 209–48.; Day, Peggy L. (1992). “Anat: Ugarit’s ‘Mistress of Animals’”.36 Journal of Near Eastern Studies 51(3): 181–190.; Defendi, Adrienne S. (2000). “Arturo Graf’s Medusa: Toward a Demystification of Myth”.37 Italica, 77(1): 26–44.; de Gubernatis, Angelo, Count [1840–1913]. (1872). Zoological Mythology (2 vols.). London: Trübner. Also, edn. in German: Die Thiere in der indogermanischen Mythologie . Aus dem Englischen übersetzt von M. Hartmann. Autorisirte, mit Verbesserungen und Zusätzen versehene deutsche Ausgabe. Walluf [Rheingau-Taunus-Kreis in the Regierungsbezirk of Darmstadt in Hesse, Germany] & Nendeln [in the municipality of Eschen, in Liechtenstein]: Dr. Martin Sändig, 1978.; Dolmage, Jay. (2009). “Metis, Mêtis, Mestiza, Medusa: Rhetorical Bodies across Rhetorical Traditions”.38 Rhetoric Review, 28(1): 1–28.; Edmunds, Lowell. (1981). The Sphinx in the Oedipus Legend. (Beiträge zur klassischen Philologie, 127.) Königstein/Ts: Hain (ca. 70 pp.).; Eiichirô, Ishida. (1950). “‘Kappa’ Legend. A Comparative Ethnological Study on the Japanese Water-Spirit ‘Kappa’ and Its Habit of Trying to Lure Horses into the Water”, Folklore Studies [Nanzan University], 9: i–vi, 1–152, 1–11.; Elworthy, F.T. (1903). “A Solution of the Gorgon Myth”.39 Folklore, 14(3): 212–42.; Ettinghausen, R. (1955). “The ‘Snake-Eating Stag’ in the East”, in K. Weitzmann (ed.), Late Classical and Medieval Studies in Honor of Albert Mathias Friend. Princeton, NJ: Princeton University Press: 272–86.; Faietti, Marzia. (2010). “«Gorgóneion» mantovano”.40 [In Italian.] Artibus et Historiae, 31(61): 27–42.; Farkas, Ann E., Prudence O. Harper and Evelyn Harrison, eds. (1987), Monsters and Demons in the Ancient and Medieval Worlds. Mainz: Philipp von Zabern.; Fear, A.T. (1992). “Bladud: The Flying King of Bath”.41 Folklore, 103(2): 222–24.; Fleming, James Dougal. (2002). “Meanwhile, Medusa in Paradise Lost”.42 ELH: A Journal of English Literary History, 69(4): 1009–28.; Freud, Sigmund (1959). “Medusa’s Head”. In his Collected Papers, Vol. 5. James Strachey (ed.). New York: Basic Books, 1959. Also in S. Freud, Sexuality and the Psychology of Love. Philip Rieff (ed.). New York: Macmillan, 1963: 212–3.; Fronthingham, A.L. (1911). “Medusa, Apollo, and the Great Mother”.43 American Journal of Archaeology, 15(3): 349–77.; Fronthingham, A.L. (1915). “Medusa II. The Vegetation Gorgoneion”.44 American Journal of Archaeology, 19(1): 13–23.; Garber, Marjorie and Vickers, Nancy J., eds. (2003). The Medusa Reader. New York & London: Routledge.; Gierlichs, J. (1993–1996 [1998]). “Drache, Sphinx und Doppeladler: Bemerkungen zur figürlichen Steindekoration der Seldschuken und Artuqiden“, Eothen: Jahreshefte der Gesellschaft der Freunde Islamischer Kunst und Kultur, 4–7: 33–7.; Gitter, Elisabeth G. (1984). “The Power of Women’s Hair in the Victorian Imagination”.45 PMLA, 99(5): 936–54.; González-Rivas Fernández, Ana and Lipscomb, Antonella (eds.). 2017. The Eternal Return of Myth: Myth Updating in Contemporary Literature. Special issue. Journal of Comparative Literature and Aesthetics (Cuttack, Odisha, India),46 40(2).; Graf, Arturo. (1890). Medusa [collected poems]. Reprinted, Anna Dolfi (ed.). Modena: Mucchi, 1990.; Harrison, Jane Ellen. (1924). Mythology. New York: Longmans, Green, & London: G. Harrap.; Hertz, Neil. 1983. “Medusa’s Head: Male Hysteria under Political Pressure”.47 Representations, 4: 27–54. Reprinted in The End of the Line: Essays on Psychoanalysis and the Sublime. New York: Columbia University Press, 1985: 161–92.; Hicks, Frederick C. (1920). “The Modern Medusa”.48 Bulletin of the American Library Association, 14(4): 145–51.; Hopkins, Clark. (1934). “Assyrian Elements in the Perseus-Gorgon Story”.49 American Journal of Archaeology, 38(3): 341–58.; Huot, Sylvia. (1987). “The Medusa Interpolation in the Romance of the Rose: Mythographic Program and Ovidian Intertext”.50 Speculum, 62(4): 865–77.; Jacobs, Carol. (1985). “On Looking at Shelley’s Medusa”.51 Yale French Studies, 69: 163–79.; Jacobs, Martin. (2005). “Exposed to All the Currents of the Mediterranean: A Sixteenth-Century Venetian Rabbi on Muslim History”, Association for Jewish Studies Review, 29: 33–60.; Judson, Barbara. (2001). “The Politics of Medusa: Shelley’s Physiognomy of Revolution”.52 ELH: A Journal of English Literary History, 68(1): 135–54.; Kaplan, Matt. 2012. The Science of Monsters: Why Monsters Came to Be and What Made Them So Terrifying. London: Constable, 2013 & New York: Scribner, 2012. Paperback, x+244 pages. ISBN 978-1-47210-115-0.; Kruk, Remke. (2001). “Of Rukhs and Rooks, Camels and Castles”, Oriens, 36: 288–99.; Leach, E.R. (1954). “A Trobriand Medusa?”53 Man, 54, item 158: 103–5.; Malamud, Martha. (2003). “Pompey’s Head and Cato’s Snakes”.54 Classical Philology, 98(1): 31–44.; Mansfield, Margaret Nossel. (1970). “Dante and the Gorgon Within”.55 Italica, 47(2): 143– 60.; Marin, Louis. (1977). Détruire la peinture. Paris: Galilée.; Marini, Maurizio (with an added note by Sir Denis Mahon). (2004). “Caravaggio, Murtola e ‘la chioma avvelenata di Medusa’”.56 Artibus et Historiae, 25(49): 175–84.; Masini, Ferruccio. (1997). Lo sguardo della Medusa. Bologna: Cappelli.; Mayor, Adrienne (1994). “Guardians of the Gold”, Archaeology (November–December): 52–9.; Mayor, Adrienne. (2000). The First Fossil Hunters. Princeton, NJ: Princeton University Press.; Mayor, Adrienne. (2014). The Amazons: Lives & Legends of Warrior Women across the Ancient World. Princeton, NJ: Princeton University Press.; Mazzucco, Melania. (1995). II bacio della Medusa. [A novel.] Milano: Baldini e Castoldi.; McGann, Jerome J. (1972). “The Beauty of the Medusa: A Study in Romantic Literary Iconology”. Studies in Romanticism, 11: 3–25.; Meskill, Lynn Sermin. (2005). “Exorcising the Gorgon of Terror: Jonson’s Masque of Queenes”. 57 ELH: A Journal of English Literary History, 72(1): 181–207.; Mirsky, Aharon (1990). “Shirát Sfarád — tkhanéiha vesugéiha” (Hebrew: “The [Hebrew] Poetry from Spain: Its Subjects and Genre”), in A. Mirsky, HaPiut: The Development of Post Biblical Poetry in Eretz Israel and the Diaspora. Jerusalem: The Magnes Press, The Hebrew University: 573–652.; Murray, A.S. (1889). “The Aegis of Athene”.58 The Classical Review, 3(6): 283–4.; Nissan, Ephraim. (2009a). “Deadly Flowers and Lethal Plants: A Theme in Folklore, Fiction and Metaphoric Imagery”, Fabula, 50(3/4): 293–311.; Nissan, Ephraim. (2009b). “An Insidious Rose, Lethal Flowers or Plants: A Version of the Death of Moses, and a Sanfedist Trick from the Napoleonic Wars”. Fabula, 50(1/2): 111–17.; Nissan, Ephraim. (2012). “The Cyclical Snake: Occurrences in Jewish Sources Are Sporadic and Disconnected”, MHNH [μηνη, mene]: revista internacional de investigación sobre magia y astrología antíguas (Málaga), 12: 101–50.; Nissan, Ephraim (2013–2014). “The Cyclical Snake in Jewish Sources: An Examination of Occurrences of the Ouroboros”, Korot (Jerusalem), 22: 3–63.; Oakley, K.P. (1975). Decorative and symbolic uses of vertebrate fossils. (Pitt Rivers Museum, 12.) Oxford: Oxford University Press.; Oakley, K.P. (1985). Decorative and Symbolic Uses of Fossils: Selected Groups, Mainly Invertebrate. (Occasional Papers on Technology, 13.) Oxford: Pitts Rivers Museum, University of Oxford.; Obeyesekere, Gananath. (1981). Medusa’s Hair: An Essay on Personal Symbols and Religious Experience. Chicago: University of Chicago Press.; Otto-Dorn, Katharina. (1994). “The Griffin-Sphinx Ensemble”, in Robert Hillenbrand (ed.), The Art of the Saljūqs in Iran and Anatolia: Proceedings of a Symposium held in Edinburgh in 1982. Costa Mesa, California: Mazda Publishers: 303–11.; Paudice, Aleida (2006). “Elia Capsali (b. ca. 1485–90 – d. > 1550)”. Biography (in English) posted online59 inside the “Ottoman Historians / Osmanli Tarihçileri” website.; Phinney, Jr., Edward (1971). “Perseus’ Battle with the Gorgons”. Transactions and Proceedings of the American Philological Association, 102: 445–63. http://www.jstor.org/stable/2935950; Potts, D.T. (2010). “Cylinder Seals and Their Use in the Arabian Peninsula”, Arabian Archaeology and Epigraphy, 21: 20–40.; Praz, Mario. 1956. The Romantic Agony. New York: Meridian.; Preston, George Nelson (1975). “Perseus and Medusa in Africa: Military Art in Fanteland 1834–1972”.60 African Arts, 8(3): 36–41, 68–71, 91–2.; Resina, Joan Ramon. (1989). “Medusa en el laberinto: Locura y textualidad en el Quijote”.61 Modern Language Notes, 104(2), Hispanic Issue: 286–303.; Romm, James (1996). Review62 of Palaephatus: On Unbelievable Tales, trans. Jacob Stern (Bolchazy-Carducci Publishers, Wauconda, 1996). Bryn Mawr Classical Review,63 96.11.4.; Rose, H.J. [= Herbert Jennings]. (1928). Handbook of Greek Mythology, including its extensión to Rome. London: Methuen & Co.; Russo, Florence. (2012). “Cupiditas, the Medusean Heresy of Farinata”.64 Italica, 89(4): 442–63.; Salutati, Coluccio. (2003). “Medusa as Artful Eloquence”. In Marjorie Garber and Nancy J. Vickers (eds.), The Medusa Reader. New York: Routledge: 54–6.; Soria, Regina. (1964). “Mark Twain and Vedder’s Medusa”.65 American Quarterly, 16(4), “A Mark Twain Issue”: 602–6.; Sperber, Dan (1975). “Pourquoi les animaux parfaits, les hybrides et les monstres sont-ils bons à penser symboliquement?”, L’Homme, 15(2) : 5–24.; Sperber, Dan. (1986). Animali perfetti, ibridi e mostri (translated by Dario Sabbatucci). Roma: Edizioni Theoria.; Sperber, Dan (1996). “Why Are Perfect Animals, Hybrids, and Monsters Food for Symbolic Thought?”66 [revised version of Sperber 1975], Method & Theory in the Study of Religion, 8(2): 143–69.; Stafford, Barbara. (1972). “‘Medusa’ or the Physiognomy of the Earth: Humbert de Superville’s Cosmological Aesthetics”.67 Journal of the Warburg and Courtauld Institutes, 35: 308–38.; Stern, Jacob, ed., trans. (1996). Palaephatus: On Unbelievable Tales, Wauconda, Illinois: Bolchazy-Carducci Publishers.; Sturm-Maddox, Sara. (1987). “The Rime Petrose and the Purgatorial Palinode”.68 Studies in Philology, 84(2): 119–33.; Suhr, E.G. (1969). “The Daughter of the Dragon”.69 Folklore, 80(1): 1–11.; Tindale, Norman B. (1959). “A Trobriand Medusa?”70 [Correspondence]. Man, 59, item 66: 49–50.; Tittemore, Margaret B. (1998). “Medusa, Myself”.71 Frontiers: A Journal of Women Studies, 19(1), issue on “Identity, the Body, and the Menopause”: 81–4.; Topper, Kathryn. (2007). “Perseus, the Maiden Medusa, and the Imagery of Abduction”.72 Hesperia: The Journal of the American School of Classical Studies at Athens, 76(1): 73–105.; van der Sluijs, Marinus A. and Anthony L. Peratt. (2009). “The Ourobóros as an Auroral Phenomenon”, Journal of Folklore Research, 46(1): 3–41.; Vickers, Nancy J. (2003). “The Face of Medusa”. In Marjorie Garber and Nancy J. Vickers (eds.), The Medusa Reader. New York: Routledge: 232–7.; Viti, Elizabeth R. (1994). “Marcel and the Medusa”. Dalhousie French Studies, 26: 61–8.; Vogel, Jean Philippe [1871–1951]. (1926). Indian Serpent-lore: Or, The Nāgas in Hindu Legend and Art. London: Arthur Probsthain, 1926; repr. Varanasi, India: Publ. by Gajendra Singh for Indological Book House, 1972; repr. New Delhi: Asian Educational Services, 1995.; Wheatley, Natasha. (2010). “‘It Is the Hunter and You Are the Harpooned Dolphin’: Memory, Writing, and Medusa — Amos Oz and His Women”.73 The Jewish Quarterly Review, 100(4): 631–48.; Wilson, Lillian M. (1920). “Contributions of Greek Art to the Medusa Myth”.74 American Journal of Archaeology, 24(3): 232–40.; Wittkower, Rudolf. (1938). “‘Roc’: An Eastern Prodigy in a Dutch Engraving”, Journal of the Warburg Institute (London), 1(3): 255–57 (being part 2 in Wittkower’s “Miraculous Birds”: 253–57).; Wittkower, Rudolf. (1939). “Eagle and Serpent: A Study in the Migration of Symbols”, Journal of the Warburg Institute, 2(4): 293–325.; https://revistas.ucm.es/index.php/AMAL/article/view/58836
|
