Greece experienced a musical revolution in the fifth century BC which modern scholars call the “New Music” movement. The movement was encouraged by Greek culture which embraced change and innovation. Under the “New Musicians,” those individuals involved in the movement, many traditional elements of music were changed or discarded. The most prominent place in which to understand the change in musical styles is the nomic and dithyrambic genres: both genres allowed musicians a great range in creativity to the extent that innovations in the nomoi made their way into the dithyramb. The change to traditional music was not always warmly accepted. Instead, while the demos enjoyed the new style of music the aristocracy derided its existence. The split between the demotic and aristocratic views of music may be seen especially in the attitude towards and purpose of the aulos and kithara in fifth-century Athens. Moreover, since the attitude of the aristocrats differed from that of the working-class musicians, we are able to see that the traditionally-minded aristocracy saw music as a gift from the gods while the working musicians saw the instruments and their musical sound as “tools.” The New Music movement was encouraged by Greek society which rewarded novelty and innovation. As Athens grew to become a cultural hot spot in the fifth century, more people saw the incentive to becoming professional musicians; original music would be rewarded either by fame and glory of the festivals or by financial remuneration. As a result, a primitive “entertainment industry” arose at Athens and propelled the new-style musicians to pursue their original compositions in their professional careers. The New Music movement also encouraged the study of music, particularly the study of musical ethics. In addition to having a status as a cultural hot spot, Athens also attracted numerous philosophers and other intellectuals. Those intellectuals contributed to the debate about the function and value of music. As the New Musicians’ popularity increased and the new style of music exerted an influence on the education system, emphasis was placed on the importance of the text and the development of the capacity to judge music. As a result, many philosophers and music theorists debated the moral aspect of music, now called the concept of musical ethos. The concept of musical ethos demonstrates that both philosophers and musicians studied music with a view to determining the most effective music for eliciting a response from the audience. Through a study of the ancient literature, most of which deals with music only incidentally, we will be able to understand how the New Music movement was encouraged by Greek culture, given an incentive by fifth-century society, and studied by some of the most brilliant philosophers and musicians Greek history has known.

Greece experienced a musical revolution in the fifth century BC which modern scholars call the “New Music” movement. The movement was encouraged by Greek culture which embraced change and innovation. Under the “New Musicians,” those individuals involved in the movement, many traditional elements of music were changed or discarded. The most prominent place in which to understand the change in musical styles is the nomic and dithyrambic genres: both genres allowed musicians a great range in creativity to the extent that innovations in the nomoi made their way into the dithyramb. The change to traditional music was not always warmly accepted. Instead, while the demos enjoyed the new style of music the aristocracy derided its existence. The split between the demotic and aristocratic views of music may be seen especially in the attitude towards and purpose of the aulos and kithara in fifth-century Athens. Moreover, since the attitude of the aristocrats differed from that of the working-class musicians, we are able to see that the traditionally-minded aristocracy saw music as a gift from the gods while the working musicians saw the instruments and their musical sound as “tools.” The New Music movement was encouraged by Greek society which rewarded novelty and innovation. As Athens grew to become a cultural hot spot in the fifth century, more people saw the incentive to becoming professional musicians; original music would be rewarded either by fame and glory of the festivals or by financial remuneration. As a result, a primitive “entertainment industry” arose at Athens and propelled the new-style musicians to pursue their original compositions in their professional careers. The New Music movement also encouraged the study of music, particularly the study of musical ethics. In addition to having a status as a cultural hot spot, Athens also attracted numerous philosophers and other intellectuals. Those intellectuals contributed to the debate about the function and value of music. As the New Musicians’ popularity increased and the new style of music exerted an influence on the education system, emphasis was placed on the importance of the text and the development of the capacity to judge music. As a result, many philosophers and music theorists debated the moral aspect of music, now called the concept of musical ethos. The concept of musical ethos demonstrates that both philosophers and musicians studied music with a view to determining the most effective music for eliciting a response from the audience. Through a study of the ancient literature, most of which deals with music only incidentally, we will be able to understand how the New Music movement was encouraged by Greek culture, given an incentive by fifth-century society, and studied by some of the most brilliant philosophers and musicians Greek history has known.

Σκοπός αυτής της μελέτης είναι η αναζήτηση και καταγραφή των αρχαιολογικών ευρημάτων που σχετίζονται με το Μίμο. Βεβαίως, στόχος της εργασίας δεν είναι μόνο η απλή παρουσίαση των αρχαιολογικών ευρημάτων αλλά και η προσπάθεια να εξαχθούν, με βάση αυτά, ορισμένα συμπεράσματα για αυτό το είδος θεάτρου, για το οποίο ελάχιστα γνωρίζουμε. Για λόγους μεθοδολογικούς τα ευρήματα θα παρουσιαστούν-σχολιαστούν κατά χρονολογική σειρά και συγκεκριμένα θα ενταχθούν σε δύο ευρύτερες ενότητες, της ελληνιστικής και της ρωμαϊκής περιόδου από τις οποίες και προέρχονται. / The aim of this study is the search and recording of archaelogical discoveries that are related with Mime.

Η παρούσα μελέτη αποτελεί προσπάθεια συλλογής και ανάλυσης των αρχαιολογικών μαρτυριών σχετικά με την εμφάνιση των αρχαίων Ελλήνων δραματικών ποιητών και των τρόπων με τους οποίους αυτοί απεικονίζονται τόσο στην αρχαία ελληνική όσο και στη Ρωμαϊκή τέχνη. / This study is an attempt to collect and analyse the archaeological finds related with the look of the ancient Greek dramatists and the way they were presented.

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En effectuant des analyses contrastives des versions chinoises d’un traité appartenant aux Moralia de Plutarque, cette thèse vise à découvrir la substance de l’acte traductif, à exposer l’hétérogénéité des conceptions relevant des cultures éloignées, ainsi qu’à présenter les obstacles traductifs se trouvant aux niveaux différents et aux époques diverses. Afin de proposer une solution efficace permettant de résoudre ou de contourner ces difficultés, Geyi (interprétation analogique) est examinée d’une manière approfondie avec sa légitimité confirmée et ses limites discernées. / With contrastive analysis on three different Chinese versions of a Plutarch's essay—Consolation to his wife, this thesis aims to discover the nature of translative operation, expose the heterogeneity of conceptions belonging to distant cultures, and reveal the obstacles in the translation of different levels in different phases. In order to suggest an effective solution, Geyi (analogical interpretation) is presented and examined, with his legitimacy confirmed and his limits divided.

"Who controls the past [...] controls the future: who controls the present controls the past". In the first century BCE Diodorus of Sicily described a corner of the British Isles he called Belerion and drew attention to the ingenious way the inhabitants extracted tin and the civilised manner they had acquired through trading that metal. In 2012 a tourist may stay in a bed and breakfast near Penzance or buy books from a shop named after that promontory. However, during the nineteenth century a debate amongst historians arose as to the meaning of Diodorus' Greek text, its relationship to other classical texts and the status of Cornwall in antiquity. The discussion involved at least ten treatments specifically of the topic in Cornwall alone and was incorporated into a variety of other narratives. The debate offers an unusual insight into the role of classical texts in the description and understanding of local identity. This thesis looks at passages from the classical world that have been linked to Cornwall and which often have very little academic scholarship relating to them, and examines how they have been interpreted by Cornish historians. It will show how, despite the inconclusiveness of the ancient material, a connection between Cornwall and Greek and Roman traders has been constructed by Cornish writers, and why they were interested in doing so. This thesis suggests that the political and social contexts of local historiographers has actively shaped the interpretations of the texts often assigning a meaning to classical texts that allows a narrative of independence, cultural sophistication and unbroken mining innovation to be constructed concerning Cornwall. As such this thesis will form part of a rapidly expanding inter-disciplinary interest in our understanding of responses to the Classics and to our conception of the formation of regional historical narrative.

In the attempt to enrich classical literary criticism with modern theoretical perspectives, this thesis formulates an interdisciplinary methodological approach to the study of animal metaphors in the tragic depiction of female avengers. Philological and linguistic commentaries on the tragic passages where animals metaphorically occur are not sufficient to determine the effect that Attic dramatists would have provoked in the fifth-century Athenian audience. The thesis identifies the dramatic techniques that Aeschylus, Sophocles and Euripides deploy to depict vengeful heroines in animal terms, by combining gender studies of the classical world, classical studies of animals and posthumanism. It rejects the anthropocentric and anthropomorphic views of previous classical scholars who have interpreted the animal-woman metaphor in revenge plots as a tragic expression of non-humanity. It argues instead that animal imagery was considered particularly effective to express the human contradictions of female vengeance in the theatre of Dionysus. The thesis investigates the metaphorical employment of the nightingale, the lioness and the snake in the tragic characterisation of women who claim compensation for the injuries suffered within and against their household. Chapter 1 is focused on the image of the nightingale in comparison with tragic heroines, who perform ritual lamentation to incite vengeance. Chapter 2 explores the lioness metaphor in the representation of tragic heroines, who through strength and protectiveness commit vengeance. Chapter 3 examines the metaphorical use of the snake in association with tragic heroines, who plan and inflict vengeance by deceit. Through the reconstruction of the metaphorical metamorphoses enacted by vengeful women into nightingales, lionesses and snakes, the thesis demonstrates that Attic dramatists would have provoked a tragic effect of pathos. Employed as a Dionysiac tool, animal imagery reveals the tragic humanity of avenging heroines whose voice, agency and deception cause nothing but suffering to their family, and inevitably to themselves.

BEZERRA, João Alfredo Ramos.Hareios Poter: um estudo descritivo sobre a tradução dos nomes próprios de Harry Potter and the Philosopher’s Stone para o grego antigo. 2017. 108f. - Dissertação (Mestrado) - Universidade Federal do Ceará, Programa de Pós-graduação em Estudos da Tradução, Fortaleza (CE), 2017. / Submitted by Programa de Pós-graduação em Estudos da Tradução (poet@ufc.br) on 2017-11-16T13:59:50Z No. of bitstreams: 1 2017_dis_jarbezerra.pdf: 1536898 bytes, checksum: 8415736b3f9ed7d25e7fdf5ac3bbea31 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-11-20T17:31:58Z (GMT) No. of bitstreams: 1 2017_dis_jarbezerra.pdf: 1536898 bytes, checksum: 8415736b3f9ed7d25e7fdf5ac3bbea31 (MD5) / Made available in DSpace on 2017-11-20T17:31:58Z (GMT). No. of bitstreams: 1 2017_dis_jarbezerra.pdf: 1536898 bytes, checksum: 8415736b3f9ed7d25e7fdf5ac3bbea31 (MD5) Previous issue date: 2017 / With undeniable repercussion, the Harry Potter books were published between the years of 1997 and 2007, totaling seven titles. Although one of the largest literary phenomenon in the beginning of the XXI century, the series tend not to be given proper look by the academic community because it is a best-seller classified as children’s literature. Even though, few academic questions rise timidly, such as translation issues, since the books have different lexicon, complex plot, and not common extension for this genre. The study of proper names, known as Onomastics, are part of a specific group, once many of them are puns or have implicit meaning which may go underway depending on the translation procedure. Due to success and expressive numbers, the books are the epicentre in a web of translations. Among so many versions, the first book, Harry Potter and the Philosopher’s Stone (1997), was translated into Ancient Greek in 2004 by British Classical Studies Professor Andrew Wilson. Therefore, the goal in this present study is to compare and analyze the translation of proper names on the mentioned translation through the creation of a list of proper names in English and Ancient Greek, splitting them into categories, observing the translation procedures, the paths chosen by the translator. This way, it is characterized as a descriptive study, based upon Lambert’s and Van Gorp’s method (1985). Initial hypothesis is that these names, especially the ones created by the author, were just transliterated, because it seems easier just to go from the Latin alphabet to the Greek one. To set the list, the book in English, seen here as source text, was read highlighting all proper names by chapter order. By the end of the first stage, the same process was made with the Ancient Greek edition. With the list set, categories of names had to be chosen, such as characters, places, objects, among others. The second stage consisted on setting the translational procedures. With all considered, analysis could be initiated, showing results like which procedures had been used most by the translator. It is concluded then that the translator chose paths like approximating the text to the reader, such as using acoustic approximation, disproving initial hypothesis about the use of transliteration. This way, he showed undue creativity by his choices by making a flowing text. / Com repercussão inegável, os livros de Harry Potter foram publicados entre os anos de 1997 e 2007, somando sete títulos. Embora um dos maiores fenômenos literários do início do século XXI, a série não tem sido amplamente contemplada pela comunidade acadêmica por se tratar de um best-seller direcionado ao público infanto-juvenil. Mesmo assim, poucas questões acadêmicas vão surgindo timidamente, como os problemas tradutórios, uma vez que a obra conta com um léxico diferenciado, uma história complexa e possui uma extensão nada comum aos livros do gênero. Os estudos de nomes próprios, conhecido como Onomástica, configuram um grupo específico, pois em muitos deles a autora utiliza-se de jogos de palavras e significados implícitos que podem vir a passar despercebidos dependendo do procedimento tradutório. Por conta de todo o sucesso e números expressivos, a obra representa um epicentro em um emaranhado de traduções. Entre tantas versões, o primeiro título, Harry Potter and the Philosopher’s Stone (1997), foi traduzido para o grego antigo em 2004 pelo professor britânico de estudos clássicos Andrew Wilson. O objetivo do presente trabalho é comparar e analisar a tradução dos nomes próprios da referida tradução a partir da montagem de uma lista com os nomes próprios em inglês e em grego antigo, dividindo-os em categorias, observando o procedimento tradutório, os caminhos escolhidos pelo tradutor. Sendo assim, caracteriza-se em uma pesquisa descritiva, baseada no método de Lambert e Van Gorp (1985). A hipótese inicial é que muitos desses nomes, principalmente os criados pela autora, foram apenas transliterados, por conta da facilitação em apenas transpor do alfabeto latino para o grego. Para a montagem da lista, a obra em inglês, considerada neste trabalho como texto fonte, foi lida destacando todos os nomes por ordem dos capítulos. Ao final da primeira etapa, o mesmo processo foi feito com a edição em grego antigo. Com a lista finalizada, foram escolhidas categorias dos nomes, como personagens, lugares, objetos, entre outros. A segunda etapa do trabalho consistiu em compilar os procedimentos tradutórios. Com tudo considerado, a análise pôde ser iniciada, mostrando resultados como quais procedimentos tinham sido mais utilizados pelo tradutor. Conclui-se, então, que o tradutor tomou caminhos que aproximavam o texto do leitor, como a aproximação acústica, refutando a hipótese inicial do uso da transliteração. Desta forma, ele mostrou demasiada criatividade nas suas escolhas, tornando o texto fluido.

This thesis explores the theme of the motivation of soldiers in Greek lyric poetry while holding it up against the backdrop of epic. The motivation of soldiers expressed in lyric poetry depicts a complex system that demanded cohesion across various spheres in life. This system was designed to create and maintain social, communal, and political cohesion as well as cohesion in the ranks. The lyric poems reveal a mutually beneficial relationship between citizen and polis whereby the citizens were willing to fight and potentially die on behalf of the state, and in return they received prominence and rewards within the community. It is no coincidence that these themes were so common in a genre that was popular at the same time as the polis and citizen army were both developing.