Musée des monumens français, ou Description historique et chronologique des statues en marbre et en bronze, bas-reliefs et tombeaux des hommes et des femmes célèbres, pour servir à l'histoire de France et à celle de l'art; ornée de gravures; et augm. d'une dissertation sur les costumes de chaque siècle;

"Notes historiques sur les exhumations faites on 1793, dans l'Abbaye de Saint-Denis": v. 2, p. [cvi]-cxxxii.

Hekate, de deusa ctônica dos atenienses do período clássico à deusa da feitiçaria no imaginário social do Ocidente

Nosso eixo temático se desenvolve a partir do questionamento do epíteto de Deusa da Feitiçaria atribuído tardiamente à deidade grega Hekate. A partir do período Clássico em Atenas iniciaram-se críticas às práticas mágico-religiosas cujo objetivo era fazer mal ao inimigo; realizadas por indivíduos (mágoi - magos) os quais também sabiam utilizá-las para a cura, como o uso das phármaka (ervas). O desenvolvimento da Escola de Medicina Hipocrática, no período Clássico, e seus tratados médicos, se configuram como uma das críticas direcionadas aos mágoi e das divindades que evocavam em suas práticas mágicas. Um tratado em especial, Da Doença Sagrada, combate a divinização da epilepsia e as práticas curativas desta enfermidade através da persuasão dos deuses. Platão também teceu críticas aos que ofereciam seus serviços mágicos de porta em porta por uma pequena quantia. Acreditamos que a partir dessas críticas se desenvolveu no imaginário social ateniense a relação entre a deusa grega Hekate e a magia de fazer mal ao inimigo cuja permanência é observada nos dias atuais. Nosso arcabouço teórico constitui-se dos conceitos desenvolvidos pelo filósofo polonês Bronislaw Baczko no verbete imaginação social na Enciclopedia Einaudi.

Asclepius; a collection and interpretation of the testimonies,

Mode of access: Internet.

Dionysiac sarcophagi in Baltimore,

Bibliographical footnotes.

Le grand Pan /

"Le grand Pan.": p. i-lxxxiv.

Die Hermen der Agora zu Athen,

Bibliographical foot-notes.

Die Religiöse seite der grossen Pythien.

At head of title: Zur öffentlichen Prüfung aller Classen des Elisabet-gymnasiums am 6. und 7. April und zur Entlassung der Abiturienten am 8. April 1870 ...

Kantharos; studies in Dionysiac and kindred cult,

Mode of access: Internet.

Griechische Götter und Heroen; eine Untersuchung ihres ursprünglichen Wesens mit hülfe der Vergleichenden mythologie,

Mode of access: Internet.

Le culte de Castor et Pollux en Italie,

"Catalogue des monuments figurés qui représentent Castor et Pollux": p. 119-169.

La nascita di Venere : (Aphrodite Anadyomene) /

Mode of access: Internet.

Prometheus und sein Mythenkreis. Mit Beziehung auf die Geschichte der griechischen Philosophie, Poesie und Kunst. Nach dem Tode des Verfassers

Mode of access: Internet.

Le culte d'Apollon Pythien à Athènes,

Mode of access: Internet.

Hestia-Vesta : ein Cyclus religionsgeschichtlicher Forschungen /

Includes bibliographical references.

Luctus est istic tuus,/ crimen novercae. Boskie i ludzkie szaleństwo Heraklesa na podstawie tragedii Eurypidesa i Seneki

One of the main, initial thesis of the article is that in the tragedies `Hρακλής μαινόμενος by Euripides and Hercules Furens by Seneca the main character falls into the madness twice. The first madness is sent by Hera/ Juno and is here defined, because of its origin, as a divine madness. The second one is so called human madness and Heracles/ Hercules is most probably overcome by it, after he has recognised, that he, driven by the involuntary fury, killed his own wife and sons. This state of the psyche of the hero is already independent from the deity and originates in such deeply human feelings like despair, anger, pain, shame. The strongly stirred hero plans to commit a suicide. According to the contemporary psychology this situation can be, because of some reasons analysed in the article, recognised as a symptom of irrationality. In the drama by Seneca Amfithryon, the father of the hero also defines the state of Hercules, who has become aware of the truth about his deeds, outright as furor. There is in the drama by Euripides, however, no reference to this second madness, which is connected with the somewhat different mentality that the drama originated in (the still kept in memory Homeric ethos and the attitudes towards the issues of honour, suicide etc. determined by it). Seneca as a stoic noticed and emphasized – although he generally also accepted the suicide – that Hercules, because of the anger, acts irrationally and, as a result, is in fact mentally unable to decide about his life and death. In the article is also presented in what an interesting way the above mentioned differences in the mentality of Euripides and Seneca manifest themselves in the case of the divine madness (among other things, the difference between Greek Lyssa and Roman Furor).