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The appearance of a new religion, the christianity, did not represent a rupture with the greco-roman culture and art. Contrarily, it was verified the appropriation of symbols and images, that go to be integrated in new composite plans and endowed with one meaning distinct in correspondence with the new doctrinal principles. In this picture the image of the Kriophorus has particular evidence greco-latin, whose formal model was perpetuated in the christian art under the form of the Good Shepherd.

The text studies the inscriptions of Olisipo's theatre (Prouincia Lusitania), which document C. Heius Primus, augustalis perpetuus; the text also deals with the nomen Heius in the Roman world.

The landscape of 21st century, along with scientific advancements, have significant implications for the way we organize schools and student learning experiences. This conceptual article elevates findings from the science of learning and  development (SoLD)—a groundbreaking, interdisciplinary research syntheses—to articulate the bourgeoning scientific knowledge of the ways that young people develop and its concrete implications for the ways that schools can be effectively designed to optimize learning, success, and well-being. It concludes with a discussion of emerging research on effectively professionalization to support SoLD-aligned transformation, noting how targeted, ongoing, and immersive professional learning experiences are essential to enabling teacher and school leaders to bring about sustainable and equitable change.

In Classical Antiquity, the Greeks considered that the author of  Iliad, of Odyssey, and of many other similar texts was a blind poet, possibly from Chios and named Homer. We do not know anything about him today, but the Antiquity thought they knew him well. This led to many biographies about Homer that followed an old tradition, that was possibly born of mis readings, but that also relied on a strong nationalist component, of the new born cities os the archaic age that proudly clamied to be a homeland of the more divine poets. We know of these so-called biographies troungh a collection of texts from a later period, called Vitae Homeri, whose main information we present in this article. We can not confirm whether or not this information is historical.

Aves Ilustradas, written by Soror Maria do Céu and printed in 1734, presents a group of speeches, in which fourteen birds provide information to the religious sisters of the monasteries. This literary work represents one of the best examples in Portuguese literature of the use of the fable as a didactical means, and of the allegorical tradition recovered from Classical and Medieval literature by the Barroque allegorical literature, in a reiteration context of the Horatian principle prodesse and delectare.  

António Feliciano de Castilho, in his work, often reveals great admiration towards ancient authors. When he speaks about the country and rustic life, the reminiscenses are obvious, often quoting Horace, Virgil and Ovid.  

Frequently, Mallarmé’s modernism is referred to critics as a complex game of signs and as a closed concept of literature. In his 1876 article about the adaptation of the classical tragedy Erechtheus by Ch. Algernon Swinburne, the French poet valued the innovative aspects of Swinburne’s works, adapting a position which revealed a fascinating classical-modern equilibrium. Due to the inter and intra-textual ties that this article created alongside other Mallarmé’s fictional and meta-discursive texts, we discover how the question of theatre influenced his global project of literature. A project which attempted to decipher the mystery of the world through language.  

Among the versions concerning the myth of Tahiti, those of the XIXth and XXth century introduce a clear perspective change in relation to previous visions. Les Immémoriaux de Victor Segalen treat the myth from an anthropological and scientific point of view. The European culture, through the english missionaries, becomes the exotic other. This vision leads Tahitians to forget their rituals and their ancient genealogies. The European culture destroyed then that paradise it wanted to recover.

This essay draws a parallel among three romantic works of the first half of the 19th- century: a novel, Notre-Dame de Paris; a play, Le roi s’amuse by Victor Hugo; and Alexandre Herculano’s Portuguese novel, O Bobo. The opposing and complementary aspects of the sublime and the grotesque, which characterize the romantic production of the period, are simultaneously stressed in the essay. These two sides are analysed bearing in mind different components of the three literary works: the characters, the described situations, the represented environments and their atmosphere, among others. A brief reference to the condition of the aforementioned works’ production reveals why in different countries a literary movement e artists and the writers to revolutionize the arts, and, particularly, the writing process, thus proposing new aesthetic concepts that break with Classicism.  

Much has been speculated about the reasons that led to the creation of the poem “Asphopel, That Greeny Flower”. Even more has been written about it not having been included in William Carlos Williams’ most important piece of work, especially since this poem was apparently produced with the intention of concluding the long poem about life which is Paterson.

In Lincoln, a historical novel published in 1984, Gore Vidal refines his politics of representation that focuses on the reconstruction of national memory through the revision of Abraham Lincoln’s historiography. In this essay I examine how Vidal revisits the myth created by the historical discourse. Moreover, I analyse the ideological implications of this rewriting process as far as the American political metamorphoses are concerned.

The novel Jazz (1992), by black author Toni Morrison, depicts the existence of African Americans in multi-ethnic Harlem, in New York, during the roaring twenties. In this essay, I show how the African American experience in the city differs from their life in the rural area; I analyze the reconfiguration of the community’s habits and values; I explore the theme of the reconstruction of the family and the improvisation of the black identity in Harlem. For that purpose, I resort to the analysis of the novel and to the opinion of several essayists.

The present paper reflects on the transgenerational transmission of memory and guilt, and the consequent problem of constructing an identity among a generation whose parents survived the Holocaust, in the Austrian post war context. The reflections and the analysis are part of my case study of the novel Suche nach M., by Doron Rabinovici.

The research object of the cognitive sciences is the human mind, both in its biological and cultural dimensions. Its study requires an interdisciplinary approach. Simultaneously, there has been a development in the culture of knowledge, which has evolved towards an integration of natural and human sciences. The phenomenon of scientific culture is a symptom of this change in the information society, for which the technological progress has contributed. For this evolution to continue towards the knowledge society, learning has to be promoted and to be given proper attention. Cognitive sciences can help in this process: by providing more knowledge about the human mind, they can help render learning a more successful process.

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In this paper my aim is to study Gore Vidal’s novel Hollywood, published in 1990, in order to examine how the writer associates the capital of American politics with the capital of popular entertainment and how the historical novel becomes a controversial medium/space for the representation of war and its interaction with film. I am particularly interested in analysing how Vidal discusses the major political and ideological role played by cinema, so that American people could be persuaded to give support to the country’s participation in the unpopular First World War. Moreover, I intend to discuss how Vidal addresses the ideological consolidation of the American empire and its political implications through the screening of history, thus questioning how literature and movies might be considered contentious political instruments.

This paper has the aim to show that Laclo's novel Les Liaisons dangereuses is not only a handbook of sexual licentiousness and a bible of debauchery, but is is rather a complex and subtle description of the condition of french women in the eighteenth-century. From all the female characters, we have isolated two symbolic representations: the victim (Mme de Tourvel) and the young girl (Cécile), because they are the weakest ones and they have in common their monastic education which was a factor of alienation. We have showed that Laclo's three essays, Des Femmes et de leur education, are not only a logical continuation of the novel but also its theoretical counterpart. In relation to the condition of women and their education, the three essays and the novel allow us to confirm that Laclos does not only criticize the society he lives in but preconizes a feminine rebellion which will effectivelly occur later.