Laocoon


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(Greek mythology) the priest of Apollo who warned the Trojans to beware of Greeks bearing gifts when they wanted to accept the Trojan Horse

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Struggling with his foes, the powerful figure of Laocoon dominants the sculpture.
Lessing's discussion of the specificities of the different media and of their potential collaborations in the Laocoon essay has provided a number of concepts for staging the discussion in relation to Keats's poetry.
Housed in this grand revival of an ancient villa were the sculptures in the Belvedere Cortile, then as now including the Laocoon and the Apollo Belvedere, among others, which the author reads as forming a complex program that establishes a typological association between Aeneas and Julius II.
For example, one from the milestones in the critical theory of the cinema the essay by Rudolf Arnheim about the sound in the movies has got the title "A New Laocoon: Artistic Composites and the Talking Film" (1938) and the first chapter from the famous book by George Bluestone Novels into Film (1957) has the title "The Limits of the Novel and the Limits of the Film".
Moreover, we can see how much more meddlesome--and capricious--the Roman gods are: Jupiter sends omens; Neptune, who once supported the Trojans but has changed sides, sends snakes to kill the Trojan priest Laocoon; Juno and Mars fight the Trojans directly; and Venus comes to her son Aeneas to rescue him and make sure Rome is founded.
The title of Fernie's first chapter, "American Laokoon," riffs on the famous classical sculpture Laocoon, in which the titular Trojan priest is killed along with his sons by sea serpents, an image taken from Virgil's epic Latin poem The Aeneid.
Laocoon; An Essay on the Limits of Painting and Poetry.
While the word is new, it presses into service an old, indeed archaic argument for the centrality of the medium to representation: it can be found in Aristotle's Poetics, Lessing's Laocoon, and the newer Laocoons that proliferated in the twentieth century beginning with Irving Babbitt's The New Laocoon: An Essay on the Confusion of the Arts (1910).
Graphic novices will enjoy Christine Ferguson's piece on Victorian literature, steampunk, and Alan Moore; postmodern theorists will appreciate Anthony Baker's analysis of "Chris Ware's Postmodern Pictographic Experiments," and cultural historians will find Brian Tucker's application of Gotthold Lessing's 1766 essay "Laocoon" to comics theory both provocative and engaging.
Laocoon and his snakes, Piranesi and his prisons, Escher and his staircases have all been trundled out to try and convey a sense of the disarming formal and spatial dislocation.
About the most flattering impression at the time was of Reagan as Laocoon waging a magnificent but doomed struggle to free himself and America from the coils of Liberaldom at home and abroad.
The sequence effectively demonstrates Gibbons' theory of set design, namely that sets must "act with the players" so as not only to reflect the film's narrative themes, but produce what Lucy Fischer calls an "equivalence between the two." (30) As Alex Potts has illustrated, the Laocoon was praised by Johann Winckelmann (who effectively founded Art History in the Eighteenth-Century) for its dramatization of the tensions between vigorous strength and convulsing pain.