Verifica e analisa o encadeamento ideológico utilizado por Homero para ordenar as mortes dos principais heróis gregos do ciclo épico; o ideal guerreiro da bela morte e o ideal heróico da glória imperecível; o destino do homem comum e o destino do herói; a vontade de Zeus e o plano de Zeus; a morte dos heróis; os jogos fúnebres, registrados na Ilíada e na Odisséia. Para a coleta dos dados utiliza-se de leitura sistemática, abrangendo textos de autores antigos e de autores contemporâneos, verificando o comportamento dos helenos do período Homérico diante da morte. Aponta como principais resultados: há um encadeamento ideológico que liga as mortes dos principais heróis homéricos, tecido pelo poeta e baseado no ciclo épico; há um plano de Zeus para eliminar os principais heróis porque as mortes destes heróis causam sofrimento nos deuses; as crenças na vida depois da morte e os processos funerários adotados pelos gregos do período Homérico ainda estavam em formação; os antigos gregos não mantinham uma crença sistemática em uma idéia de ressurreição da alma ou em uma idéia de vida pós-morte. Conclui que há uma diretriz ideológica que ordena a trama épica nos poemas homéricos; esta ordenação leva os heróis a cumprirem seus destinos, seguindo um encadeamento que leva em consideração o grau de honra e excelência guerreira; os ritos fúnebres dos gregos do período Homérico estavam se consolidando e Homero colaborou neste processo de consolidação, que já estava concretizado no período Clássico. / It verifies and analyzes the enchainment ideological used for Homer to order the death of Greek heroes principal of the epic cycle; the warrior ideal of the death beauty and the heroic ideal of the imperishable glory; the fate of the common man and the fate of the hero; the will of Zeus and the plain of Zeus; the death of heroes; the funeral games, registered in the Iliad and Odyssey. The data were obtained through: systematical reading of texts produced by ancients authors and by contemporarys authors, verifying the behavior of the Greeks of the Homeric period in the face of death. It points to as main results: there is a enchainment ideological what tie the deaths of the Homeric heroes principal, weaved for the poet and based in the epic cycle; there is a plain of Zeus to eliminate the heroes principal because the death these heroes cause suffering in the gods; the believe in the afterlife and the funerals processes adopted to the Greeks of Homeric period still were in formation; the Greek ancients not keep one systematic belief in one idea of resurrection of the soul or in one idea of life after-death. It finishes that there is a ideological directrix what order the epic plot in the Homeric poems; this ordering carry the heroes to accomplish their fates, following a enchainment what take into account the degree of the honor and warrior excellence; the funerals rites of the Greeks of Homeric period were consolidating and Homer collaborate in this process of the consolidation, what already was materialized in the Classic period.

<p>In 2004 <em>Troy</em> was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.</p><p> The main purpose of this paper is to see the connection between <em>Troy</em> and Homer’s <em>The Iliad</em> – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How <em>The Iliad</em> mutates to be a marketable product.</p><p>   I discuss the changes of the plot that were introduced in <em>Troy</em> and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.</p><p>   By approaching <em>Troy</em> and <em>The Iliad</em> as two separate cultural products (I did not view <em>Troy</em><em> </em>as a documentary on <em>The Iliad</em>) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.</p>

In 2004 Troy was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.  The main purpose of this paper is to see the connection between Troy and Homer’s The Iliad – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How The Iliad mutates to be a marketable product.    I discuss the changes of the plot that were introduced in Troy and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.    By approaching Troy and The Iliad as two separate cultural products (I did not view Troy as a documentary on The Iliad) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.

The following work consists of a careful analysis of the translation of the Iliad by Homer prepared by Melchiorre Cesarotti. Caught amidst the dilemma of loyalty to the original and the beauty of translation, Cesarotti decided to compose two versions: one in blank verses and the other in prose. This work is therefore none other than a comparison between Cesarotti's version in poetry and the version in prose. / The first part deals briefly with a few details on the criticism that Cesarotti's work raised. / The second part consists of the comparison work, which is subdivided in "Canti" (as Cesarotti's version in poetry) because the work proposes to compare the version in poetry to the version in prose and not vice-versa. / The last part examines the artistic value of Cesarotti's translations and the place they occupy in Europe in the eighteenth century.

Verifica e analisa o encadeamento ideológico utilizado por Homero para ordenar as mortes dos principais heróis gregos do ciclo épico; o ideal guerreiro da bela morte e o ideal heróico da glória imperecível; o destino do homem comum e o destino do herói; a vontade de Zeus e o plano de Zeus; a morte dos heróis; os jogos fúnebres, registrados na Ilíada e na Odisséia. Para a coleta dos dados utiliza-se de leitura sistemática, abrangendo textos de autores antigos e de autores contemporâneos, verificando o comportamento dos helenos do período Homérico diante da morte. Aponta como principais resultados: há um encadeamento ideológico que liga as mortes dos principais heróis homéricos, tecido pelo poeta e baseado no ciclo épico; há um plano de Zeus para eliminar os principais heróis porque as mortes destes heróis causam sofrimento nos deuses; as crenças na vida depois da morte e os processos funerários adotados pelos gregos do período Homérico ainda estavam em formação; os antigos gregos não mantinham uma crença sistemática em uma idéia de ressurreição da alma ou em uma idéia de vida pós-morte. Conclui que há uma diretriz ideológica que ordena a trama épica nos poemas homéricos; esta ordenação leva os heróis a cumprirem seus destinos, seguindo um encadeamento que leva em consideração o grau de honra e excelência guerreira; os ritos fúnebres dos gregos do período Homérico estavam se consolidando e Homero colaborou neste processo de consolidação, que já estava concretizado no período Clássico. / It verifies and analyzes the enchainment ideological used for Homer to order the death of Greek heroes principal of the epic cycle; the warrior ideal of the death beauty and the heroic ideal of the imperishable glory; the fate of the common man and the fate of the hero; the will of Zeus and the plain of Zeus; the death of heroes; the funeral games, registered in the Iliad and Odyssey. The data were obtained through: systematical reading of texts produced by ancients authors and by contemporarys authors, verifying the behavior of the Greeks of the Homeric period in the face of death. It points to as main results: there is a enchainment ideological what tie the deaths of the Homeric heroes principal, weaved for the poet and based in the epic cycle; there is a plain of Zeus to eliminate the heroes principal because the death these heroes cause suffering in the gods; the believe in the afterlife and the funerals processes adopted to the Greeks of Homeric period still were in formation; the Greek ancients not keep one systematic belief in one idea of resurrection of the soul or in one idea of life after-death. It finishes that there is a ideological directrix what order the epic plot in the Homeric poems; this ordering carry the heroes to accomplish their fates, following a enchainment what take into account the degree of the honor and warrior excellence; the funerals rites of the Greeks of Homeric period were consolidating and Homer collaborate in this process of the consolidation, what already was materialized in the Classic period.

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