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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.
4) Lessing's work was translated into English as early as 1836; see Laocoon, or, The Limits of Poetry and Painting, trans.
Even Tolkien's image of "serpents" echoes The Aeneid, for Virgil also gives us serpents: the Trojan priest Laocoon and his sons are killed by great serpents ardentisque oculos suffecti sanguine et igni / sibila lambebant linguis uibrantibus ora ("[with] burning eyes, fiery and suffused with blood, / Their tongues a-flicker out of hissing maws").
If the famous Laocoon does not, in Lessing's view, overwhelm its own subject, Virgil's narrative of the priest's horrible punishment and agony, but instead captures a moment from it, it is precisely in these ways that Hawthorne's art intersects with this classical economy as Lessing framed it.
Rather than being a stranger, then, "intermediality" is a baby in the media-specificity basket, the latest addition to the long-suffering, yet tenacious Laocoon family.
The purpose of this case is to present a dilemma regarding the actions that should be taken in response to incidences of sexual harassment at Laocoon Aeronautics Corporation.
Primus ibi ante omnis, magna comitante caterua, Laocoon ardens summa decurrit ab arce et procul: 'o miseri, quae tanta insania, ciues?
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.
Under the personal supervision of art director Cedric Gibbons, the central figures grew in monumentality to some twenty-five feet high, became free-standing rather than relief figures (demonstrating Gibbons' interest in sculptural design) and more clearly allude to the Laocoon.
Finally, it was Kipling's agonizing struggle with a changing world that makes him a Laocoon figure.
Concerned with ekphrasis rather than with literary genre, this exploration of the discourses surrounding the Laocoon as a model for depictions of martyr saints is highly informative, but perhaps would be more effective as part of the next chapter, "Christian Tragedy.