[1]
Solomon, J. 2001. Melpomene: Ancient Tragedy and the Satyricon. The ancient world in the cinema. Yale University Press. 259–274.
[2]
Aeschylus et al. 2003. The Oresteia. Oxford University Press.
[3]
Aitken, Ian 2001. European film theory and cinema: a critical introduction. Edinburgh University Press.
[4]
Alpers, S. 1991. The Museum as a Way of Seeing. Exhibiting cultures: the poetics and politics of museum display. Smithsonian Institution Press.
[5]
Anderson, R. G. W. and British Museum 2003. Enlightening the British: knowledge, discovery and the museum in the eighteenth century. British Museum Press.
[6]
Armstrong, Richard H. 2005. A compulsion for antiquity: Freud and the ancient world. Cornell University Press.
[7]
Ashton, Sally-Ann 2004. Roman Egyptomania. Golden House.
[8]
Aston, T. H. et al. 1986. The history of the University of Oxford: Vol.5: The eighteenth century. Clarendon.
[9]
Ayres, Philip J. 1997. Classical culture and the idea of Rome in eighteenth-century England. Cambridge University Press.
[10]
Bailey, Donald M. et al. 2008. Catalogue of the terracottas in the British Museum: Volume IV: Ptolemaic and Roman terracottas from Egypt. British Museum.
[11]
BAKOGIANNI, A. 2008. ALL IS WELL THAT ENDS TRAGICALLY: FILMING GREEK TRAGEDY IN MODERN GREECE. Bulletin of the Institute of Classical Studies. 51, 1 (Dec. 2008), 119–167. DOI:https://doi.org/10.1111/j.2041-5370.2008.tb00278.x.
[12]
BAKOGIANNI, A. 2010. VOICES OF RESISTANCE: MICHAEL CACOYANNIS’ THE TROJAN WOMEN (1971). Bulletin of the Institute of Classical Studies. 52, 1 (Jun. 2010), 45–68. DOI:https://doi.org/10.1111/j.2041-5370.2009.tb00746.x.
[13]
Base textuelle FRANTEXT: .
[14]
Beard, Mary and Henderson, John 2001. Classical art: from Greece to Rome. Oxford University Press.
[15]
Beard, Mary and Henderson, John 1995. Classics: a very short introduction. Oxford University Press.
[16]
Bennett, Tony 1995. The birth of the museum: history, theory, politics. Routledge.
[17]
Berezin, Mabel 1997. Making the fascist self: the political culture of interwar Italy. Cornell University Press.
[18]
Berger, John 2008. Ways of seeing. Penguin.
[19]
Bernal, Martin 1987. Black Athena: the Afroasiatic roots of classical civilization, Vol.1: The fabrication of Ancient Greece, 1785-1985. Free Association Books.
[20]
Bohannan, , L. Shakespeare in the Bush. An American anthropologist set out to study the Tiv of West Africa and was taught the true meaning of Hamlet.
[21]
Bondanella, Peter E. 1987. The eternal city: Roman images in the modern world. University of North Carolina Press.
[22]
Bourqui, Claude and Conesa, Gabriel 1999. Les sources de Molière: répertoire critique des sources littéraires et dramatiques. SEDES.
[23]
Bowman, L. 2002. Buffy the Vampire Slayer: The Greek Hero Revisited.
[24]
Bradby, David and Calder, Andrew 2006. The Cambridge companion to Moliere. Cambridge University Press.
[25]
Bridges, Emma et al. 2007. Cultural responses to the Persian Wars: antiquity to the third millennium. Oxford University Press.
[26]
Brink, C. O. 1986. English classical scholarship: historical reflections on Bentley, Porson and Housman. Clarke.
[27]
British Museum - Room 1: Enlightenment: .
[28]
Browne, E. Martin 1969. The making of T.S. Eliot’s plays. Cambridge University Press.
[29]
Calder, Andrew 1993. Molière: the theory and practice of comedy. Athlone.
[30]
Caprotti, F. 2009. Scipio Africanus: film, internal colonization and empire. Cultural Geographies. 16, 3 (Jun. 2009), 381–401. DOI:https://doi.org/10.1177/1474474009105054.
[31]
Caygill, Marjorie 2003. The British Museum: 250 years. British Museum.
[32]
Caygill, Marjorie and British Museum 2009. Treasures of the British Museum. British Museum Press.
[33]
Challis, Debbie 2008. From the Harpy Tomb to the wonders of Ephesus: British archaeologists in the Ottoman Empire, 1840-1880. Duckworth.
[34]
Charvet, P. E. and Yarrow, P. J. 1967. A literary history of France: Vol.3: The seventeenth century, 1600-1.
[35]
Clarke, M. L. 1945. Greek studies in England 1700-1830. Cambridge University Press.
[36]
Cogan, Eliezer 1789. An address to the dissenters on classical literature: By E. Cogan. printed by S. Rudder. And sold by S. Crowder, London.
[37]
Coleman, K.M. 2004. The Pedant Goes to Hollywood: The Role of the Academic Consultant. Gladiator: film and history. Blackwell Pub. 45–52.
[38]
Cuno, James B. 2008. Who owns antiquity?: museums and the battle over our ancient heritage. Princeton University Press.
[39]
Cuno, James B. 2009. Whose culture?: the promise of museums and the debate over antiquities. Princeton University Press.
[40]
Delcourt, Marie 1934. La tradition des comiques anciens en France avant Molière. Faculté de philosophie et lettres.
[41]
Drower, Margaret S. 1995. Flinders Petrie: a life in archaeology. University of Wisconsin Press.
[42]
Dunnett, J. 2006. The rhetoric of romanità: representations of Caesar in fascist theatre. Julius Caesar in western culture. Blackwell. 244–265.
[43]
Edwards, Catharine 1999. Roman presences: receptions of Rome in European culture, 1789-1945. Cambridge University Press.
[44]
Eliot, T. S. 1957. On poetry and poets: [essays]. Farrar, Straus and Cudahy.
[45]
Eliot, T. S. 1951. Selected essays. Faber.
[46]
Eliot, T. S. 1969. The complete poems and plays. Faber.
[47]
Eliot, T.S. 1969. The Family Reunion . The complete poems and plays. Faber and Faber.
[48]
Eric Greene 1998. Planet of the apes as American myth. Wesleyan University Press.
[49]
Falasca-Zamponi, Simonetta 1997. Fascist spectacle: the aesthetics of power in Mussolini’s Italy. University of California Press.
[50]
Forehand, W.E. 1974. Adaptation and Comic Intent: Plautus’ Amphitruo and Molière’s Amphitryon. Comparative literature studies. 11, (1974), 204–217.
[51]
Foucault, M. 1989. Las Meninas. The order of things: an archaeology of the human sciences. Routledge.
[52]
Foucault, Michel 1985. The history of sexuality: Vol. 2: The use of pleasure. Penguin Books.
[53]
Galanakis, Ioannis et al. 2011. Heracles to Alexander the Great: treasures from the royal capital of Macedon, a Hellenic kingdom in the age of democracy. Ashmolean Museum.
[54]
Gardner, , A. 2007. The Past as Playground: The Ancient World in Video Game Representation. Archaeology and the media. Left Coast Press. 255–272.
[55]
Gidal, Eric 2001. Poetic exhibitions: romantic aesthetics and the pleasures of the British Museum. Bucknell University Press.
[56]
Gillespie, Carol and Hardwick, Lorna 2007. Classics in postcolonial worlds. Oxford University Press.
[57]
Gillies, John 1769. An inquiry, whether the study of the ancient languages be a necessary branch of modern education? Wherein, by the way, some observations are made on a late performance, intitled, Essays on the origin of colleges. printed by Sands, Murray, and Cochran. Sold by W. Gray, Edinburgh; by D. Baxter, Glasgow; and by J. Knox, London.
[58]
Goldhill, S. 2007. Naked and O Brother, Where Art Thou? The Politics and Poetics of Epic Cinema. Homer in the twentieth century: between world literature and the western canon. Oxford University Press. 245–267.
[59]
Gordon, Lyndall 1988. Eliot’s new life. Oxford University Press.
[60]
Grafton, A. 1983. Polyhistor into Philolog: Notes on the Transformation of German Classical Scholarship, 1780–1850. History of universities. . 3, (1983), 159–192.
[61]
Grafton, Anthony 1997. The footnote: a curious history. Harvard University Press.
[62]
Hall, E. 2008. Class Consciousness. The return of Ulysses: a cultural history of Homer’s Odyssey. I.B. Tauris.
[63]
Hall, E. 2008. Putting the Class into Classical Reception. A companion to classical receptions. Blackwell.
[64]
Hall, E. 2004. Towards a Theory of Performance Reception. Arion. 12, 1 (2004), 51–89.
[65]
Halperin, David M. 1995. Saint Foucault: towards a gay hagiography. Oxford University Press.
[66]
Hardwick, L. 2003. Film and Poetry. Reception studies. Oxford University Press. 71–97.
[67]
Hardwick, L. 2003. Film and Poetry. Reception studies. Oxford University Press. 71–97.
[68]
Hardwick, Lorna and Classical Association (Great Britain) 2003. Reception studies. Oxford University Press.
[69]
Hardwick, Lorna and Stray, Christopher 2008. A companion to classical receptions. Blackwell.
[70]
Harrop, S. 2008. Ezra Pound’s Women of Trachis: Modernist Translation as Performance Text. Platform. 3, 1 (2008).
[71]
Haskell, Francis and Penny, Nicholas 1998. Taste and the antique: the lure of classical sculpture, 1500-1900. Yale University Press.
[72]
Hawara in the Roman period: .
[73]
Henneberg, K. von 2004. Monuments, Public Space, and the Memory of Empire in Modern Italy. History & Memory. 16, 1 (Apr. 2004), 37–85. DOI:https://doi.org/10.2979/HIS.2004.16.1.37.
[74]
Hinchliffe, Arnold P. 1985. T.S. Eliot: plays. Macmillan.
[75]
HOBDEN, F. 2009. History Meets Fiction in Doctor Who, ‘The Fires of Pompeii’: A BBC Reception of Ancient Rome on Screen and Online. Greece and Rome. 56, 02 (Sep. 2009). DOI:https://doi.org/10.1017/S0017383509990015.
[76]
Holtsmark, Erling B. 1981. Tarzan and tradition: classical myth in popular literature. Greenwood Press.
[77]
Howarth, W. D. 1982. Molière, a playwright and his audience. Cambridge University Press.
[78]
James, P. 2009. Crossing Classical Thresholds: Gods, Monsters and Hell Dimensions in the Whedon Universe. Classics for all: reworking antiquity in mass culture. Cambridge Scholars. 237–261.
[79]
Jenkins, Ian et al. 1996. Vases & volcanoes: Sir William Hamilton and his collection. published for the Trustees of the British Museum by the British Museum Press.
[80]
Jenkins, Ian and British Museum 1992. Archaeologists & aesthetes: in the Sculpture Galleries of the British Museum 1800-1939. Published for the Trustees of the British Museum by the British Museum Press.
[81]
Jenkins, Ian and British Museum 1992. Archaeologists & aesthetes: in the Sculpture Galleries of the British Museum 1800-1939. Published for the Trustees of the British Museum by the British Museum Press.
[82]
Jenkins, Lee M. and Davis, Alex 2007. The Cambridge companion to modernist poetry. Cambridge University Press.
[83]
Jenkyns, Richard The Victorians and Ancient Greece. Blackwell.
[84]
Jocelyn, H. D. 1988. Philology and education: a review discussion of C.O. Brink’s English classical scholarship : historical reflections on Bentley, Porson and Housman. Liverpool Classical Monthly.
[85]
Kallendorf, Craig 2007. A companion to the classical tradition. Blackwell.
[86]
Kallendorf, Craig 2007. A companion to the classical tradition. Blackwell.
[87]
Kallendorf, Craig 2007. A companion to the classical tradition. Blackwell.
[88]
Kaplan, E.A. 1998. Classical Hollywood Film and Melodrama. The Oxford guide to film studies. Oxford University Press. 272–288.
[89]
Kelly, Christopher 2006. The Roman Empire: a very short introduction. Oxford University Press.
[90]
Kolker, R.P. 1998. The Film Text and Film Form. The Oxford guide to film studies. Oxford University Press. 11–29.
[91]
Kopff, E.C. 2000. Italian fascism and the Roman empire. Classical Bulletin. 76, 2 (2000).
[92]
Kovacs, George and Marshall, C. W. 2011. Classics and comics. Oxford University Press.
[93]
Kristensen, T.M. 2007. Special Reviews Section: Archaeological engagements: new media and beyond. European Journal of Archaeology. 10, 1 (Apr. 2007), 73–74. DOI:https://doi.org/10.1177/1461957108091483.
[94]
Kyriakos Demetriou Classics in the Nineteenth Century. Thoemmes Continuum.
[95]
Laurence, R. 1999. Tourism, townplanning and romanitas: Rimini’s Roman heritage. The uses and abuses of antiquity. P. Lang. 187–205.
[96]
Legaspi, M. 2009. The Quest for Classical Antiquity at Eighteenth-Century Göttingen. History of universities. . 24, (2009), 139–172.
[97]
Leonard, Miriam and Zajko, Vanda 2006. Laughing with Medusa: classical myth and feminist thought. Oxford University Press.
[98]
Levenson, Michael 1999. The Cambridge companion to modernism. Cambridge University Press.
[99]
Lewine, A.E. 2008. Ancient Rome in modern Italy: Mussolini’s manipulation of Roman history in the Mostra Augustea della romanità. Studies in Mediterranean Antiquity . 2, 1 (2008).
[100]
Lindberger, Örjan The transformations of Amphitryon. Almqvist & Wiksell.
[101]
Lowe, Dunstan and Shahabudin, Kim 2009. Classics for all: reworking antiquity in mass culture. Cambridge Scholars.
[102]
Macdonald, Sharon 2006. A companion to museum studies. Blackwell.
[103]
MacKinnon, Kenneth 1986. Greek tragedy into film. Fairleigh Dickinson University Press.
[104]
MacKinnon, Kenneth 1986. Greek tragedy into film. Fairleigh Dickinson University Press.
[105]
Macleod, Suzanne 2005. Reshaping museum space: architecture, design, exhibitions. Routledge.
[106]
Mallinson, J. 1994. Molière Amphitryon – Rereading a Comedy. Nottingham French studies. (1994), 43–52.
[107]
Manuwald, Gesine 2010. Roman drama: a reader. Duckworth.
[108]
Marchand, Suzanne L. 1996. Down from Olympus: archaeology and philhellenism in Germany, 1750-1970. Princeton University Press.
[109]
Marianne McDonald 1983. Euripides in cinema. Centrum Philadelphia.
[110]
Marshall, C.W. 2003. Aeneas the Vampire Slayer: A Roman Model for Why Giles Kills Ben. Slayage: The Online International Journal of Buffy Studies. 3, 1 (2003), 34–39.
[111]
Marshall, C.W. 2011. The Furies, Wonder Woman, and Dream: Mythmaking in DC Comics. Classics and comics. Oxford University Press. 89–101.
[112]
Martindale, Charles and Thomas, Richard F. 2006. Classics and the uses of reception. Blackwell.
[113]
Martindale, C.M. and Thomas, R.F. 2006. Introduction: Thinking Through Reception. Classics and the uses of reception. Blackwell.
[114]
Marx, Karl 1954. The eighteenth brumaire of Louis Bonaparte. Lawrence & Wishart.
[115]
Mason, H.A. 1963. The Women of Trachis. Arion. 2, 1 (1963), 59–81.
[116]
McDonald, M. 2008. A New Hope: Film as a Teaching Tool for Classics. A companion to classical receptions. Blackwell. 327–341.
[117]
McDonald, M. 2001. Eye of the Camera, Eye of the Victim: Iphigenia by Euripides and Cacoyannis. Classical myth & culture in the cinema. Oxford University Press. 90–117.
[118]
McDonald, M. and Winkler, M.M. 2001. Michael Cacoyannis and Irene Papa on Greek Tragedy. Classical myth & culture in the cinema. Oxford University Press. 72–89.
[119]
McKitterick, D. 2007. Publishing and perishing in classics: E. H. Barker and the early nineteenth-century book trades. Classical books: scholarship and publishing in Britain since 1800. Institute of Classical Studies.
[120]
Memphis under Ptolemaic Rule: .
[121]
Message, Kylie 2006. New museums and the making of culture. Berg.
[122]
Michelakis, P. 2004. Greek Tragedy in Cinema: Theatre, Politics, History. Dionysus since 69: Greek tragedy at the dawn of the third millennium. Oxford University Press. 199–217.
[123]
Michelakis, P. 2004. Greek Tragedy in Cinema: Theatre, Politics, History. Dionysus since 69: Greek tragedy at the dawn of the third millennium. Oxford University Press. 199–217.
[124]
Michelakis, P. 2006. Reception, Performance, and the Sacrifice of Iphigenia. Classics and the uses of reception. Blackwell. 219–226.
[125]
Michelakis, P. 2001. The Past as a Foreign Country? Greek Tragedy, Cinema and the Politics of Space. Homer, tragedy and beyond: essays in honour of P.E. Easterling. Society for the Promotion of Hellenic Studies. 241–257.
[126]
Mirzoeff, Nicholas 2002. The visual culture reader. Routledge.
[127]
Mitchell, Timothy 1991. Colonising Egypt. University of California Press.
[128]
Moatti, Claude 1993. In search of ancient Rome. Thames and Hudson.
[129]
Molière et al. 2010. Œuvres complètes. Gallimard.
[130]
Molière et al. 2010. Œuvres complètes. Gallimard.
[131]
Momigliano, A. 1982. New Paths of Classicism in the Nineteenth Century. History and Theory (Beiheft). 21, 4 (1982).
[132]
Moody, Anthony David 1994. The Cambridge companion to T.S. Eliot. Cambridge University Press.
[133]
Moody, Anthony David 1994. Thomas Stearns Eliot, poet. Cambridge University Press.
[134]
Moody, Anthony David 1996. Tracing T.S. Eliot’s spirit: essays on his poetry and thought. Cambridge University Press.
[135]
Morgan, Victor and Brooke, Christopher Nugent Lawrence 2004. A history of the University of Cambridge: Vol. 2: 1546-1750. Cambridge University Press.
[136]
Moser, Stephanie and British Museum 2006. Wondrous curiosities: ancient Egypt at the British Museum. University of Chicago Press.
[137]
Mussolini, B. et al. 1951. Opera omnia di Benito Mussolini. La Fenice.
[138]
Nadel, Ira Bruce 1999. The Cambridge companion to Ezra Pound. Cambridge University Press.
[139]
Nelis, J. 2007. Constructing Fascist Identity: Benito Mussolini and the Myth of ‘Romanità’. The Classical World. 100, 4 (2007), 391–415.
[140]
Nelson, Robert S. 2000. Visuality before and beyond the Renaissance: seeing as others saw. Cambridge University Press.
[141]
New College, Hackney (1786-96): A Selection of Printed and Archival Sources: 2011. .
[142]
Newhouse, Victoria 2005. Art and the power of placement. Monacelli Press.
[143]
Nisbet, Gideon 2006. Ancient Greece in film and popular culture. Bristol Phoenix.
[144]
Nisbet, Gideon 2006. Ancient Greece in film and popular culture. Bristol Phoenix.
[145]
Notaro, A. 2000. Exhibiting the New Mussolinian City: Memories of empire in the World Exhibition of Rome (EUR) . GeoJournal. 51, 1/2 (2000), 15–22. DOI:https://doi.org/10.1023/A:1010893010920.
[146]
Notaro, A. 2000. Resurrecting an imperial past: Strategies of self-representation and "masquerade” in fascist Rome (1934-1938). The hieroglyphics of space: reading and experiencing the modern metropolis. Routledge. 59–69.
[147]
P. O’Brien 1989. Warrington Academy, 1757-86. Owl Books.
[148]
Painter, Borden W. 2005. Mussolini’s Rome: rebuilding the Eternal City. Palgrave Macmillan.
[149]
PALUMBO, D. 2008. The Monomyth in James Cameron’s The Terminator: Sarah as Monomythic Heroine. The Journal of Popular Culture. 41, 3 (Jun. 2008), 413–427. DOI:https://doi.org/10.1111/j.1540-5931.2008.00528.x.
[150]
Paul, J. 2008. Working with Film: Theories and Methodologies. A companion to classical receptions. Blackwell. 303–314.
[151]
Perry, J.S. 2001. Ancient Collegia, modern blackshirts?: The study of Roman corporations in fascist Italy. International Journal of the Classical Tradition. 8, 2 (Dec. 2001), 205–216. DOI:https://doi.org/10.1007/BF02701807.
[152]
Petrie, W. M. Flinders et al. 1889. Hawara, Biahmu, and Arsinoe. Field & Tuer.
[153]
Petrie, W. M. Flinders et al. 1886. Naukratis. Trübner.
[154]
Pfeiffer, Rudolf 1976. History of classical scholarship, from 1300 to 1850. Clarendon Press.
[155]
Pitcher, L.V. 2009. Saying ‘Shazam’: The Magic of Antiquity in Superhero Comics. New Voices in Classical Reception. 4 (2009).
[156]
Plautus, Titus Maccius 2000. Amphitruo. Cambridge University Press.
[157]
Plautus, Titus Maccius and Melo, Wolfgang David Cirilo de 2011. Plautus. Harvard University Press.
[158]
Pocock, J. G. A. 1999. Barbarism and religion. Cambridge University Press.
[159]
Pomeroy, Arthur John 2008. Then it was destroyed by the volcano: the ancient world in film and on television. Duckworth.
[160]
Pomeroy, Arthur John 2008. Then it was destroyed by the volcano: the ancient world in film and on television. Duckworth.
[161]
Pommier, R. 1996. Sur une clef d’ Amphitryon. Revue d’histoire litteraire de la France. 96, (1996), 212–228.
[162]
Porter, Roy 2001. The Enlightenment. Palgrave.
[163]
Potter, A. 2009. Hell Hath No Fury Like a Dissatisfied Viewer: Audience Responses to the Presentation of the Furies in Xena: Warrior Princess and Charmed. Classics for all: reworking antiquity in mass culture. Cambridge Scholars. 217–236.
[164]
Pound, Ezra 1952. Guide to kulchur. New Directions.
[165]
Pound, Ezra 1935. Make it new: essays. Yale University Press.
[166]
Pound, Ezra and Eliot, T. S. 1954. Literary essays of Ezra Pound. Faber.
[167]
Prettejohn, E. 2006. Reception and Ancient Art: The Case of the Venus de Milo. Classics and the uses of reception. Blackwell.
[168]
Priestley, Joseph 1788. Miscellaneous observations relating to education: More especially as it respects the conduct of the mind. The second edition. By Joseph Priestley. printed by M. Swinney, for J. Johnson, London.
[169]
Prins, Yopie 1999. Victorian Sappho. Princeton University Press.
[170]
Quartermaine, L. 1995. "Slouching towards Rome”: Mussolini’s imperial vision. Urban society in Roman Italy. UCL Press. 203–215.
[171]
Racine, Jean et al. 1980. Théâtre complet. Garnier.
[172]
Roisman, H.M. 2001. Predestination in Greek Literature and the Terminator Films. Classical and modern literature. 21, 2 (2001), 99–107.
[173]
Rose, P.W. 2001. Teaching Classical Myth and Confronting Contemporary Myths. Classical myth & culture in the cinema. Oxford University Press. 291–318.
[174]
Rotrou, Jean and Forestier, Georges 1998. Théâtre complet. Société des textes français modernes.
[175]
Sandywell, Barry and Heywood, Ian 1999. Interpreting visual culture: explorations in the hermeneutics of the visual. Routledge.
[176]
Scherer, J. 1973. Dualités d’ Amphitryon. Molière - stage and study: essays in honour of W.G. Moore. Clarendon Press. 185–197.
[177]
Scott, Virginia 2000. Molière: a theatrical life. Cambridge University Press.
[178]
Searby, Peter 1997. A history of the University of Cambridge: Vol. 3: 1750-1870. Cambridge University Press.
[179]
Segal, Erich 1987. Roman laughter: the comedy of Plautus. Oxford University Press.
[180]
Shanks, M. and Tilley, C. 1992. Presenting the Past: toward a redemptive aesthetic for the museum. Re-constructing archaeology: theory and practice. Routledge. 68–99.
[181]
Shero, L.R. 1956. Alcmena and Amphitryon in Ancient and Modern Drama. Transactions and Proceedings of the American Philological Association. 87, (1956), 192–238. DOI:https://doi.org/10.2307/283881.
[182]
Siegel, J. 2008. The Coens’ ‘O Brother, Where Art Thou?’ and Homer’s Odyssey. Mouseion: Journal of the Classical Association of Canada. 7, 3 (2008), 213–245. DOI:https://doi.org/10.1353/mou.0.0029.
[183]
Simon, Brian 1974. The two nations and the educational structure, 1780-1870. Lawrence & Wishart.
[184]
Simpson, Moira 1996. Making representations: museums in the post-colonial era. Routledge.
[185]
Sloan, Kim et al. 2003. Enlightenment: discovering the world in the eighteenth century. British Museum.
[186]
Solomon, J. 2001. Melpomene: Ancient Tragedy and the Satyricon. The ancient world in the cinema. Yale University Press. 259–274.
[187]
Sophocles et al. 1989. Elektra: a play. Princeton University Press.
[188]
Sophocles and Pound, Ezra 1956. Women of Trachis. N. Spearman.
[189]
Sorlin, Pierre 1991. European cinemas, European societies, 1939-1990. Routledge.
[190]
Spencer, Patricia 2007. The Egypt Exploration Society: the early years. Egypt Exploration Society.
[191]
Stoddart, H. 1995. Auteurism and Film Authorship Theory. Approaches to popular film. Manchester University Press. 37–58.
[192]
Stone, M. 1999. A flexible Rome: Fascism and the cult of romanità. Roman presences: receptions of Rome in European culture, 1789-1945. Cambridge University Press. 205–220.
[193]
Stray, C. 1993. Ideology and Institution: English Classical Scholarship in Transition. Annals of scholarship : metastudies of the humanities and social sciences. . 10, (1993), 111–131.
[194]
Stray, C. 2007. Non-identical twins: classics at nineteenth-century Oxford. Oxford classics: teaching and learning, 1800-2000. Duckworth.
[195]
Stray, C. 1996. Scholars and Gentlemen: Towards a Sociology of English Classical Scholarship. Aspects of nineteenth-century British classical scholarship: eleven essays. Liverpool Classical Monthly.
[196]
Sullivan, J.P. 1964. Ezra Pound on Classics and Classicists. Arion. 3, 1 (1964), 9–22.
[197]
Svetlana, A. 1991. The Museum as a Way of Seeing. Exhibiting cultures: the poetics and politics of museum display. Smithsonian Institution Press.
[198]
Tanner, R.G. 1970. The Dramas of T. S. Eliot and Their Greek Models. Greece & Rome. 17, 2 (1970), 123–134.
[199]
The Petrie Museum of Egyptian Archaeology: .
[200]
Thompson, Dorothy J. 1988. Memphis under the Ptolemies. Princeton University Press.
[201]
Turner, F.M. 1989. Why the Greeks and not the Romans in Victorian Britain? Rediscovering Hellenism: the Hellenic inheritance and the English imagination. Cambridge University Press.
[202]
Turner, Frank M. 1981. The Greek heritage in Victorian Britain. Yale University Press.
[203]
Vincendeau, G. 1998. Issues in European Cinema. The Oxford guide to film studies. Oxford University Press. 440–448.
[204]
Vishnia, R.F. 2008. Ancient Rome in Italian cinema under Mussolini: The case of <I>Scipione l’Africano</I>. The Italianist. 28, 2 (Oct. 2008), 246–267. DOI:https://doi.org/10.1179/026143408X363550.
[205]
Visser, R. 1992. Fascist Doctrine and the Cult of the Romanita. Journal of Contemporary History. 27, 1 (1992), 5–22.
[206]
Walton, J. Michael 2009. Euripides our contemporary. Methuen Drama.
[207]
Whitworth, Michael H. 2010. Reading modernist poetry. Wiley-Blackwell.
[208]
Wilson, David M. and British Museum 2002. The British Museum: a history. British Museum Press.
[209]
Winkler, Martin M. 2009. Cinema and classical texts: Apollo’s new light. Cambridge University Press.
[210]
Wyke, M. 1999. Sawdust Caesar: Mussolini, Julius Caesar, and the drama of dictatorship. The uses and abuses of antiquity. P. Lang. 167–186.
[211]
Wyke, Maria 2007. Caesar: a life in western culture. Granta.
[212]
Wyke, Maria 1997. Projecting the past: ancient Rome, cinema, and history. Routledge.
[213]
Zacharia, K. 2008. "Reel” Hellenisms: Perceptions of Greece in Greek Cinema. Hellenisms: culture, identity, and ethnicity from antiquity to modernity. Ashgate Variorum. 321–353.
[214]
The Women of Trachis. The complete Sophocles. Oxford University Press.
