Pandora (English Wikipedia)

Analysis of information sources in references of the Wikipedia article "Pandora" in English language version.

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  • πᾶν, δῶρον. Liddell, Henry George; Scott, Robert; A Greek–English Lexicon at the Perseus Project; Evelyn-White, note to Hesiod, Works and Days Schlegel and Weinfield, "Introduction to Hesiod" p. 6; Meagher, p. 148; Samuel Tobias Lachs, "The Pandora-Eve Motif in Rabbinic Literature", The Harvard Theological Review, Vol. 67, No. 3 (July 1974), pp. 341–345. JSTOR 1509228.
  • Grimal, Pierre (1990). "Pandora". In Kershaw, Stephen (ed.). A concise dictionary of Classical Mythology. A. R. Maxwell-Hyslop (translator). Oxford: Basil Blackwell Ltd. ISBN 0-631-16696-3.
  • The Works of M. de Voltaire, London 1762, pp.221-51
  • The Masque of Pandora and Other Poems, Boston 1876, pp.3-54

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books.google.com

  • πᾶν, δῶρον. Liddell, Henry George; Scott, Robert; A Greek–English Lexicon at the Perseus Project; Evelyn-White, note to Hesiod, Works and Days Schlegel and Weinfield, "Introduction to Hesiod" p. 6; Meagher, p. 148; Samuel Tobias Lachs, "The Pandora-Eve Motif in Rabbinic Literature", The Harvard Theological Review, Vol. 67, No. 3 (July 1974), pp. 341–345. JSTOR 1509228.
  • Regarding line 96. Verdenius, p. 66 says that Hesiod "does not tell us why elpis remained in the jar. There is a vast number of modern explanations, of which I shall discuss only the most important ones. They may be divided into two classes according as they presume that the jar served (1) to keep elpis for man, or (2) to keep off elpis from man. In the first case the jar is used as a pantry, in the second case it is used as a prison (just as in Hom. E 387). Furthermore, elpis may be regarded either (a) as a good, or (b) as an evil. In the first case it is to comfort man in his misery and a stimulus rousing his activity, in the second case it is the idle hope in which the lazy man indulges when he should be working honestly for his living (cf. 498). The combination of these alternatives results in four possibilities which we shall now briefly consider."
  • Sophocles: Fragments, Volume 3, pp.251-3
  • Susan B. Matheson, Polygnotos and Vase Painting in Classical Athens, University of Wisconsin1995, pp.261-2
  • Liam Lennihan,"The Writings of James Barry and the Genre of History Painting", Routledge 2017, p.186
  • John Barrell, James Barry, the birth of Pandora and the division of knowledge, Macmillan 1992, ch.7
  • Stella P. Revard, "Milton and Myth" in Reassembling Truth: Twenty-first-century Milton, Susquehanna University 2003, p.37
  • Pamela Norris, Eve: A Biography, New York University 2001, p.125
  • Enciclopedia Akal de Emblemas Españoles Ilustrados, Madrid 1999, Emblem 1260
  • Line Cottegnies, Sandrine Parageau, Women and Curiosity in Early Modern England and France, Brill 2016, p.12
  • David Jonathan Hildner, Reason and the Passions in the Comedias of Calderón, John Benjamin's Publishing Co. 1982, pp.67-71
  • Jean-François de La Harpe, Cours de littérature ancienne et moderne: Dix-huitième siècle, Paris 1825, pp.102-106
  • Charles-Pierre Colardeau, Les Hommes de Prométhée (1774), p. 16
  • Colardeau, Charles Pierre (1775). "Les hommes de Promethée, poëme. Par m. Colardeau".
  • Script and score on Google Books
  • Goethe, Verse Plays and Epic, Princeton University 1887, pp.209-246
  • Albert Bielschowsky, The Life of Goethe, ch.XIII "Pandora" pp.388-404
  • Margaret Ross Griffel, Operas in English: A Dictionary, Scarecrow Press 2013, p.309
  • James Robinson Planché, Charles Dance, Olympic Revels, or Prometheus and Pandora, a mythological, allegorical burletta in one act, London 1834
  • Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, Cambridge University 2004, pp.192 – 214

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  • Cesare Scarton, Il melologo: una ricerca storica tra recitazione e musica, Edimond 1998, p.43

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