Seduction and power: an introduction
págs. 1-8
Power and seduction in Babylon: Verdi's Nabucco
págs. 9-20
págs. 21-34
págs. 35-55
págs. 57-69
págs. 71-83
págs. 85-94
"Prince of painters": the grimacing mask of power and seduction in Aristophanes' Assemblywomen
págs. 95-107
Redefining catharsis in opera: the power of music in Birtwistle's. The minotaur and Amargós' Eurídice y los títeres de Caronte
págs. 109-120
The self in conflict with itself: a heraclitean theme in Eliot's The cocktail party
págs. 121-131
Three queens: Helen, Penelope, and Dido in Franco Rossi's Odissea and Eneide
págs. 133-153
Claudia Quinta and Publius Cornelius Scipio Nasica: exempla virtutis in Vienna under Leopold I (1657-1705). Exempla virtutis debería ir en cursiva
págs. 155-169
The stolen seduction: Spartaco, gladiatore della Tracia (Riccardo Freda, Italy 1953)
págs. 171-182
The great seducer: Cleopatra, queen and sex symbol
págs. 183-195
Seduced, defeated and forever damned: Marc Antony and post-classical imagination
págs. 197-210
Power beyond measure: Caligula, corruption and pop culture
págs. 211-223
Constantia Memoriae: the reputation of Agrippina the Younger
págs. 225-242
Prostitute, saint, pin-up, revolutionary: the reception of Theodora in 20th-Century Italy
págs. 243-262
The spell of Antinous in Renaissance art: the Jonah statue in Santa Maria del Popolo
págs. 263-278
History, moral and power: the ancient world in 19th century Spanish history painting
págs. 279-293
págs. 295-309
Seduction and power in classical receptions: traditions and trends
págs. 311-323
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