<?xml version="1.0" encoding="UTF-8" ?>
<ONIXMessage release="3.0">
<Header>
<Sender>
<SenderName>ENS ÉDITIONS</SenderName>
<EmailAddress>onixsuitesupport@onixsuite.com</EmailAddress>
</Sender>
<SentDateTime>20260418T1409Z</SentDateTime>
<DefaultLanguageOfText>fre</DefaultLanguageOfText>
</Header> 
<Product>
<RecordReference>COM.ONIXSUITE.9782847888805</RecordReference>
<NotificationType>03</NotificationType>
<RecordSourceType>01</RecordSourceType>
<RecordSourceName>ENS Éditions</RecordSourceName>
<ProductIdentifier>
<ProductIDType>02</ProductIDType>
<IDValue>2847888802</IDValue>
</ProductIdentifier>
<ProductIdentifier>
<ProductIDType>03</ProductIDType>
<IDValue>9782847888805</IDValue>
</ProductIdentifier>
<ProductIdentifier>
<ProductIDType>15</ProductIDType>
<IDValue>9782847888805</IDValue>
</ProductIdentifier> 
<DescriptiveDetail>
<ProductComposition>00</ProductComposition>
<ProductForm>EA</ProductForm>
<ProductFormDetail>E107</ProductFormDetail> 
<Collection>
<CollectionType>10</CollectionType>
<CollectionIdentifier>
<CollectionIDType>02</CollectionIDType>
<IDValue>2102561</IDValue>
</CollectionIdentifier> 
<CollectionSequence>
    <CollectionSequenceType>02</CollectionSequenceType>
    <CollectionSequenceNumber>2</CollectionSequenceNumber>
</CollectionSequence> 
<TitleDetail>
<TitleType>01</TitleType>
<TitleElement>
<TitleElementLevel>02</TitleElementLevel>
<TitleText>Aitia. Regards sur la culture hellénistique au XXIe siècle</TitleText>
</TitleElement>
</TitleDetail>
</Collection> 
<TitleDetail>
<TitleType>01</TitleType>
<TitleElement>
<TitleElementLevel>01</TitleElementLevel>
<PartNumber>Numéro 2</PartNumber>
<TitleText textcase="01">Aitia, n° 2/2012</TitleText> 
<Subtitle textcase="01">La tradition épique d'Apollonios de Rhodes à Nonnos de Panopolis. Hommage à Francis Vian</Subtitle>
</TitleElement>
</TitleDetail> 
<Contributor>
<SequenceNumber>1</SequenceNumber>
<ContributorRole>A01</ContributorRole>
<UnnamedPersons>04</UnnamedPersons>
</Contributor>
<EditionNumber>1</EditionNumber> 
<Language>
<LanguageRole>01</LanguageRole>
<LanguageCode>fre</LanguageCode>
</Language> 
<Subject>
<MainSubject/>
<SubjectSchemeIdentifier>10</SubjectSchemeIdentifier>
<SubjectCode>SOC002000</SubjectCode>
</Subject> 
<Subject>
<SubjectSchemeIdentifier>24</SubjectSchemeIdentifier>
<SubjectSchemeName>ENS Internet -site</SubjectSchemeName>
<SubjectHeadingText>Histoire, géographie, sociologie</SubjectHeadingText>
</Subject> 
<Audience>
<AudienceCodeType>22</AudienceCodeType>
<AudienceCodeValue>00</AudienceCodeValue>
</Audience> 
</DescriptiveDetail>
<CollateralDetail>
<TextContent>
<TextType>03</TextType>
<ContentAudience>00</ContentAudience>
<Text textformat="02" language="fre">&#60;p&#62;Le choix de la thématique de ce numéro s'est imposé facilement dès lors que nous avions en perspective le travail éditorial de Francis Vian, qui a su à la fois faire redécouvrir à sa juste valeur l&#8217;épopée d&#8217;Apollonios et renouveler l&#8217;idée qu&#8217;on pouvait se faire des &#60;em&#62;Dionysiaques &#60;/em&#62;de Nonnos de Panopolis : toute la tradition épique posthomérique doit aujourd&#8217;hui à des savants comme Francis Vian d&#8217;être étudiée au même titre que l&#8217;épopée archaïque ou le théâtre classique, sans a priori péjoratif ni arrière-pensée. Le présent dossier, sans rechercher ici une exhaustivité impossible à tenir pour l&#8217;ensemble de cette tradition épique, s&#8217;efforce d&#8217;apporter de nouveaux éclairages, d&#8217;une part sur la période hellénistique qui est le domaine principal d&#8217;investigation de la revue &#60;em&#62;Aitia&#60;/em&#62;, et d&#8217;autre part sur l&#8217;&#339;uvre monumentale de Nonnos à laquelle Francis Vian a consacré une grande partie de sa vie.&#60;/p&#62;</Text>
</TextContent> 
<TextContent>
<TextType>04</TextType>
<ContentAudience>00</ContentAudience>
<Text textformat="02">&#60;p align="left" style="margin-bottom: 0cm; line-height: 100%; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;&#60;b&#62;Christophe Cusset&#60;/b&#62;&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;La tradition épique d'Apollonios de Rhodes à Nonnos de Panopolis&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Epic Tradition from Apollonius of Rhodes to Nonnus of Panopolis. Tribute to Francis Vian.&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;L'epos nella tradizione da Apollonio Rodio a Nonno di Panopoli. Omaggio a Francis Vian.&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;&#60;b&#62;La mise en place de la tradition posthomérique à l'époque alexandrine : Apollonios de Rhodes&#60;/b&#62;&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Implementation of Post-homeric Tradition in Alexandrian epic: Apollonius of Rhodes&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;La posizione della tradizione postomerica in epoca alessandrina: Apollonio Rodio&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;&#60;b&#62;Adele-Teresa Cozzoli&#60;/b&#62;&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Un poeta-filologo al lavoro: Apollonio Rodio e la storia di Cizico (1, 935-1152) &#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;A poet-philologist at work: Appolonius of Rhodes and the history of Cyzicus (1, 935-1152)&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Un poète-philologue au travail : Apolllonios de Rhodes et l'histoire de Cyzique (1, 935-1152)&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Laury-Nuria André&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Le palais d'Aiétès et son jardin chez Apollonios de Rhodes (Arg., III, v. 194-252). Un exemple de paysage-palimpseste antique ? &#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;The Palace of Aeetes and its Garden in Apollonius of Rhodes (Arg., III, lines 194-252). An example of ancient landscape as palimpsest?&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Il palazzo di Eeta e il suo giardino in Apollonio Rodio (Arg., III, 194-252). Un esempio di paesaggio-palinsesto antico?&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Anatole Mori&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Mediation vs. force: thoughts on female agency in Apollonius Rhodius' Argonautica&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Mediazione vs. forza: considerazioni sul ruolo femminile nelle Argonautiche di Apollonio Rodio&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Médiation vs. force : réflexions sur l'action féminine dans les Argonautiques d'Apollonios de Rhodes&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Antonio Martina&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Epimenide e l'epos argonautico &#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Epimenides and the Argonautica epic&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Épiménide et l'épopée argonautique&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Les développements de la tradition épique à côté de l'épopée&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Developments in the epic tradition at the margin of epic poetry&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Gli sviluppi della tradizione epica a fianco dell'epopea&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Anja Bettenworth&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Phaeacians at the birthday party: A.P. 11.44 (Philodemus) and its epic background &#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Les Phéaciens à la fête : A.P. 11,44 (Philodème) et son arrière-plan épique&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Feaci al banchetto: A.P. 11.44 (Filodemo) e il suo background epico&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Christophe Cusset&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Les images dans les Alexipharmaques de Nicandre &#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;The images in Nicander&#8217;s Alexipharmaca: how to assimilate epic tradition?&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Le immagini negli Alexipharmaca di Nicandro: come assimilare la tradizione epica?&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Jacqueline Klooster&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Visualizing the impossible: the wandering landscape in the Delos Hymn of Callimachus &#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Voir l&#8217;impossible : le paysage mouvant dans l&#8217;Hymne à Délos de Callimaque&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Visualizzare l&#8217;impossibile: il paesaggio in movimento dell&#8217; Inno a Delo di Callimaco&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;L&#8217;épopée posthomérique tardive : Nonnos de Panopolis&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Late post-homeric poetry: Nonnus of Panopolis&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;L&#8217;epopea postomerica tardiva: Nonno di Panopoli&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Marie-Christine Fayant&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Ampélos, Carpos et Hylas. Nonnos face à Théocrite et Apollonios de Rhodes &#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Ampelus, Carpus and Hyla. Nonnus face to face with Teocritus ans Apollonius of Rhodes&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Ampelo, Carpo e Ila. Nonno dinanzi a Teocrito e Apollonio Rodio&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Hélène Frangoulis&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Nonnos et les combats singuliers de Dionysos &#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Nonnus&#8217; Dionysus in hand to hand combat&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Nonno e i combattimenti faccia a faccia di Dioniso&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Daria Gigli Piccardi&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Ancora su Nonno e la poesia oracolare &#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Once again on Nonnus and oracular poetry&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Retour sur Nonnos et la poésie oraculaire&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Konstantinos Spanoudakis&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;&#913;&#7984;&#8182;&#957;&#959;&#962; &#955;&#953;&#964;&#945;&#943; (Nonn. Dion. 7.1-109) &#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;&#913;&#7984;&#8182;&#957;&#959;&#962; &#955;&#953;&#964;&#945;&#943; (Nonn. Dion. 7.1-109)&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;&#913;&#7984;&#8182;&#957;&#959;&#962; &#955;&#953;&#964;&#945;&#943; (Nonn. Dion. 7.1-109)&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Vincent Giraudet&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Temps et récit dans la Paraphrase de l&#8217;Évangile selon Jean de Nonnos de Panopolis [Texte intégral]&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Time and Narrative in Nonnus of Panopolis&#8217; Paraphrasis of the Gospel According to John&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Tempo e racconto nella Parafrasi del Vangelo secondo Giovanni di Nonno di Panopoli&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;&#60;b&#62;Varia&#60;/b&#62;&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Jackie Murray&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Burned after reading: the so-called list of Alexandrian librarians in P. Oxy. X 1241 [Texte intégral]&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Brûlée après lecture : la liste dite des Bibliothécaires d'Alexandrie dans le P.Oxy. X 1241&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Burned after reading; la cosiddetta lista di bibliotecari alessandrini in P.Oxy. X 1241&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Massimo Giuseppetti&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Poetry in the Iron Age: interplay of voices in Callimachus&#8217; Iambi [Texte intégral]&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;La poesia nell&#8217;ultima età: intersezioni di voci nei Giambi di Callimaco&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;La poésie à l&#8217;âge de fer : effets de voix dans les Iambes de Callimaque&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;strong&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Comptes rendus&#60;/font&#62;&#60;/font&#62;&#60;/strong&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Christophe Cusset&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;M. Annette Harder, Remco F. Regtuit et Gerry C. Wakker (éd.), avec le concours d&#8217;Annemarie Ambühl, Nature and Science in Hellenistic Poetry [Texte intégral]&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Yannick Durbec&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Margherita Maria Di Nino, I Fiori campestri di Posidippo. Ricerche sulla lingua e lo stile di Posidippo di Pella [Texte intégral]&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Christophe Cusset&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Évelyne Prioux et Agnès Rouveret (dir.), Métamorphoses du regard ancien [Texte intégral]&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Stéphane Marchand&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;
&#60;p align="left" style="margin-bottom: 0cm; text-decoration: none"&#62;&#60;font color="#000000"&#62;&#60;font size="2" style="font-size: 9pt"&#62;Luca Castagnoli, Ancient Self-Refutation. The Logic and History of the Self-Refutation Argument from Democritus to Augustine [Texte intégral]&#60;/font&#62;&#60;/font&#62;&#60;/p&#62;</Text>
</TextContent> 
<TextContent>
<TextType>17</TextType>
<ContentAudience>00</ContentAudience>
<Text language="fre">&#60;p&#62;&#60;em&#62;Aitia. Regards sur la culture hellénistique au XXI&#60;sup&#62;e&#60;/sup&#62; siècle&#60;/em&#62; est une revue internationale électronique. Elle s'intéresse à l'ensemble de la culture hellénistique. Cette revue entend favoriser les approches croisées entre les domaines de la recherche, en particulier la littérature et la philosophie. L&#8217;émergence à Athènes et à Rome des grandes écoles et traditions philosophiques de la période ne peut être considérée indépendamment de son contexte culturel. Inversement, on voit une philosophie popularisée prendre une place toujours plus grande dans l&#8217;ensemble de la vie culturelle et influencer souvent fortement la production littéraire.&#60;br /&#62; La revue &#60;em&#62;Aitia&#60;/em&#62; entend avoir une vocation internationale : elle publie des articles en différentes langues (notamment : français, anglais, italien, allemand, espagnol, grec moderne&#8230;) ; elle entend favoriser particulièrement les contributions de jeunes chercheurs. La publication des articles est soumise à l&#8217;accord d&#8217;un comité de lecture scientifique également international.&#60;/p&#62;</Text>
</TextContent> 
<SupportingResource>
<ResourceContentType>01</ResourceContentType>
<ContentAudience>00</ContentAudience>
<ResourceMode>03</ResourceMode>
<ResourceVersion>
<ResourceForm>02</ResourceForm>
<ResourceVersionFeature>
<ResourceVersionFeatureType>01</ResourceVersionFeatureType>
<FeatureValue>D502</FeatureValue>
</ResourceVersionFeature>
<ResourceVersionFeature>
<ResourceVersionFeatureType>02</ResourceVersionFeatureType>
<FeatureValue>186</FeatureValue>
</ResourceVersionFeature>
<ResourceVersionFeature>
<ResourceVersionFeatureType>03</ResourceVersionFeatureType>
<FeatureValue>125</FeatureValue>
</ResourceVersionFeature>
<ResourceVersionFeature>
<ResourceVersionFeatureType>06</ResourceVersionFeatureType>
<FeatureValue>b27ea63e0474a7eefd490393aea3a14d</FeatureValue>
</ResourceVersionFeature>
<ResourceVersionFeature>
<ResourceVersionFeatureType>07</ResourceVersionFeatureType>
<FeatureValue>6221</FeatureValue>
</ResourceVersionFeature>
<ResourceLink>https://catalogue-editions.ens-lyon.fr/resources/titles/29021100603070/images/fac05328668f599efe18e76cdb284aab/THUMBNAIL/9782847888805.jpg</ResourceLink>
<ContentDate>
<ContentDateRole>17</ContentDateRole>
<Date dateformat="13">20161201T1032Z</Date>
</ContentDate> 
</ResourceVersion>
</SupportingResource>
</CollateralDetail>
<PublishingDetail>
<Imprint>
<ImprintIdentifier>
<ImprintIDType>06</ImprintIDType>
<IDValue>3052305680019</IDValue>
</ImprintIdentifier> 
<ImprintName>ENS Éditions</ImprintName>
</Imprint>
<Publisher>
<PublishingRole>01</PublishingRole>
<PublisherIdentifier>
<PublisherIDType>01</PublisherIDType>
<IDTypeName>Dilicom</IDTypeName>
<IDValue>ENS Lyon</IDValue>
</PublisherIdentifier> 
<PublisherIdentifier>
<PublisherIDType>06</PublisherIDType>
<IDValue>3052305680019</IDValue>
</PublisherIdentifier> 
<PublisherName>ENS Éditions</PublisherName> 
</Publisher>
<PublishingStatus>04</PublishingStatus>
<PublishingDate>
<PublishingDateRole>01</PublishingDateRole>
<Date>20120711</Date>
</PublishingDate> 
<PublishingDate>
<PublishingDateRole>11</PublishingDateRole>
<Date>20120711</Date>
</PublishingDate> 
<SalesRights>
<SalesRightsType>01</SalesRightsType>
<Territory>
<RegionsIncluded>WORLD</RegionsIncluded> 
</Territory>
</SalesRights> 
</PublishingDetail>
<RelatedMaterial>
<RelatedWork>
<WorkRelationCode>02</WorkRelationCode>
<WorkIdentifier>
<WorkIDType>01</WorkIDType>
<IDTypeName>GCOI</IDTypeName>
<IDValue>29021100603070</IDValue>
</WorkIdentifier>
</RelatedWork>
</RelatedMaterial>
<ProductSupply>
<MarketPublishingDetail>
<MarketPublishingStatus>04</MarketPublishingStatus> 
</MarketPublishingDetail>
<SupplyDetail>
<Supplier>
<SupplierRole>02</SupplierRole> 
<SupplierIdentifier>
<SupplierIDType>06</SupplierIDType>
<IDValue>3012262710000</IDValue>
</SupplierIdentifier> 
<SupplierName>CID - Fondation MSH Distribution</SupplierName>
<TelephoneNumber>+33(0)153485630</TelephoneNumber>
<FaxNumber>+33(0)53482095</FaxNumber>
<EmailAddress>cid@msh-paris.fr</EmailAddress>
<Website>
<WebsiteRole>33</WebsiteRole>
<WebsiteDescription>www.cid-difusion.fr</WebsiteDescription>
<WebsiteLink>http://www.cid-difusion.fr</WebsiteLink>
</Website> 
</Supplier>
<ReturnsConditions>
<ReturnsCodeType>01</ReturnsCodeType> <ReturnsCode>1</ReturnsCode>
</ReturnsConditions>
<ProductAvailability>20</ProductAvailability>
</SupplyDetail>
</ProductSupply>
</Product>
</ONIXMessage>