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Greek philosopher, ca. 46-119 A.D.
Appian-Plutarch syndrome - see under Appian of Alexandria
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Part Three (Chapters 8-10) deals with Bruni's return to Plutarchan biography, Ianziti proposes a new reading of the Lives of Dante and Petrarch as biographical work akin to Bruni's earlier Cicero and Aristotile.
Filelfo's emphasis falls on the Plutarchan hero's isolation and courage in confronting a public that was hostile to his stubborn insistence on the rightness of his position.
Here now, alone, in my Plutarchan bubble, I miss you sorely, you out of Plutarch, made by hand-- forever approaching our maturity.
In the Auto del-Rei Seleuco, Camoes converts the Plutarchan source material into pure farce.
Or, given that so many other Plutarchan dreams come from within, does the dream come from Caesar's inner worries, is it that he himself sees this as the monstrous significance of what he is doing?
358: 'to describe Plutarch's life as "the most obvious source" betrays a perspective too much influenced by the isolated survival of a large corpus of Plutarchan biographies - and by the frustrating fact that it does not include Epaminondas.
The five-act play, based on the life of Gnaeus Marcius Coriolanus, a legendary Roman hero of the late 6th and early 5th centuries BC, is essentially an expansion of the Plutarchan biography.
Pierrefeu also offers a more generalized claim that since the historical actor never has control over the objective results of his subjective intentions, the Plutarchan hero is an impossibility (:95-6): la bataille de France, c'est la pensee de Foch deformee ou derivee par l'immense determinisme des choses qui obeissent a des lois si secretes que nul ne peut les diriger.
Bacchus, the Plutarchan theme that Shakespeare did not choose to pick
The Platonic and Plutarchan backgrounds, then, shed significant light on Apuleius' satirical self-fashioning in the role of Lucius.
Proceeding sultan by sultan--a format that reflects the influence of Plutarchan biography and the imperial histories of ancient Rome, as well as more recent impulses of antiquarian collezionismo--Giovio's Commentario presents, somewhat paradoxically, both a clarion call to crusade and a sort of textual museum of Ottoman oddities.
Charles and Michelle Martindale, in Shakespeare and the Uses of Antiquity: An Introductory Essay (London: Routledge, 1990), write that the "three Plutarchan plays, with the alert political intelligence and 'dialectical imagination' revealed in them, are the natural successors of Henry IV and not of Titus" (142).