Author's doctoral dissertation, University of Wisconsin, 1919, but not published as a thesis. / Bibliography: p. [159]-161.

O ciclope de Eurípides é o único exemplo completo do que se conhecia na Grécia Antiga como drama satírico, ranqueando-se, portanto, como um dos textos mais elucidativos e preciosos para os estudos clássicos. Eurípides constrói o enredo na intertextualidade com o famoso canto IX da Odisseia, em que Odisseu e seus companheiros se encontram prisioneiros do monstruoso ciclope Polifemo: Eurípides reutiliza a tradição homérica, épico-mítica, em uma releitura cômica, típica do drama satírico. A fim de realizar um estudo sobre a natureza do drama satírico, esta dissertação se centra no estudo deste texto euripidiano, dividindo-se, deste modo, em três partes: na primeira, faz-se um estudo a respeito do gênero do drama satírico, analisando as características que se pode inferir do mesmo a partir de, especialmente, o texto de Eurípides, além de outras fontes; na segunda, desenvolve-se um estudo do coro do drama satírico e da figura que o compõe: o sátiro. Num terceiro momento, ainda, esta dissertação apresenta uma tradução do texto grego para o português moderno. / The Cyclops of Euripides is the one complete example of what was known in Ancient Greece as the satyr play, therefore ranking itself as one of the more enlightening texts and precious object to the classical studies. Euripides presents the plot in intertextuality with the famous book IX of the Odyssey, where Odysseus and his companions are prisoners of monstrous cyclops Polyphemus: Euripides reuses the homeric tradition, epic and mythic, in a comic retelling, feature that would be typical to the satyr play. In order to presente a study of the nature of the satyr play, this dissertation focuses itself in studying this Euripidean text, and so divided in three parts: first, a study of the gender that is the satyr play, analyzing its features that we can infer from Euripidean text, and also other sources; secondly, a study of the chorus of the satyr play and the figure that is part of it: the satyr. Thirdly, this dissertation presents a translation of the Greek text to modern Portuguese.

O ciclope de Eurípides é o único exemplo completo do que se conhecia na Grécia Antiga como drama satírico, ranqueando-se, portanto, como um dos textos mais elucidativos e preciosos para os estudos clássicos. Eurípides constrói o enredo na intertextualidade com o famoso canto IX da Odisseia, em que Odisseu e seus companheiros se encontram prisioneiros do monstruoso ciclope Polifemo: Eurípides reutiliza a tradição homérica, épico-mítica, em uma releitura cômica, típica do drama satírico. A fim de realizar um estudo sobre a natureza do drama satírico, esta dissertação se centra no estudo deste texto euripidiano, dividindo-se, deste modo, em três partes: na primeira, faz-se um estudo a respeito do gênero do drama satírico, analisando as características que se pode inferir do mesmo a partir de, especialmente, o texto de Eurípides, além de outras fontes; na segunda, desenvolve-se um estudo do coro do drama satírico e da figura que o compõe: o sátiro. Num terceiro momento, ainda, esta dissertação apresenta uma tradução do texto grego para o português moderno. / The Cyclops of Euripides is the one complete example of what was known in Ancient Greece as the satyr play, therefore ranking itself as one of the more enlightening texts and precious object to the classical studies. Euripides presents the plot in intertextuality with the famous book IX of the Odyssey, where Odysseus and his companions are prisoners of monstrous cyclops Polyphemus: Euripides reuses the homeric tradition, epic and mythic, in a comic retelling, feature that would be typical to the satyr play. In order to presente a study of the nature of the satyr play, this dissertation focuses itself in studying this Euripidean text, and so divided in three parts: first, a study of the gender that is the satyr play, analyzing its features that we can infer from Euripidean text, and also other sources; secondly, a study of the chorus of the satyr play and the figure that is part of it: the satyr. Thirdly, this dissertation presents a translation of the Greek text to modern Portuguese.

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.

Este trabalho consiste no estudo introdutório e tradução da comédia O Díscolo, de Menandro, autor grego do século IV a.C. A primeira parte do estudo contempla a apresentação da comédia em seu contexto e sua estrutura dramática. A segunda parte é dedicada à análise das personagens - por ser uma comédia que privilegia os caracteres, julgo importante estender-me sobre eles. Essa seção divide-se em nove partes, cada uma dedicada a uma personagem, exceto no caso da primeira seção intitulada A Divindade, que apresenta uma análise sobre o deus Pã e as Ninfas; e a quinta seção, intitulada Personagens femininas, que traz a análise da menina, filha de Cnêmon, de Simica, e da mãe de Sóstrato. A tradução, segunda realizada no Brasil a primeira é de Mário da Gama Kury tem o objetivo de divulgar a obra do autor grego para o público brasileiro em geral. Com esse intuito, o texto foi vertido para o português em prosa, procurando-se manter o seu ritmo fluido e sua linguagem. Além disso, a linha do verso foi mantida para facilitar a consulta ao original grego. / This work consists in the introductory study and translation of the comedy Dyskolos, of Menander, Greek author of the fourth century BC. The first part of the study includes the presentation of comedy concerning its context and its dramatic structure. The second part is devoted to the analysis of the characters - as a comedy that emphasizes the characters, I consider it important. This section is divided into nine parts, each one devoted to one character, except for the first section entitled The Divine, which presents an analysis of the god Pan and the Nymphs, and the fifth section, entitled Female characters, which conveys the analysis of the girl, the daughter of Knemon of Simike, and of Sostratos mother. The translation, the second one developed in Brazil the first is by Mario da Gama Kury aims to disseminate the work of the Greek author to the Brazilian public. With this purpose, the text was converted to Portuguese on prose, trying to keep its rhythm and language. Besides that, the line of the verse was kept to make it easier the consultation with the original.

Este trabalho consiste no estudo introdutório e tradução da comédia O Díscolo, de Menandro, autor grego do século IV a.C. A primeira parte do estudo contempla a apresentação da comédia em seu contexto e sua estrutura dramática. A segunda parte é dedicada à análise das personagens - por ser uma comédia que privilegia os caracteres, julgo importante estender-me sobre eles. Essa seção divide-se em nove partes, cada uma dedicada a uma personagem, exceto no caso da primeira seção intitulada A Divindade, que apresenta uma análise sobre o deus Pã e as Ninfas; e a quinta seção, intitulada Personagens femininas, que traz a análise da menina, filha de Cnêmon, de Simica, e da mãe de Sóstrato. A tradução, segunda realizada no Brasil a primeira é de Mário da Gama Kury tem o objetivo de divulgar a obra do autor grego para o público brasileiro em geral. Com esse intuito, o texto foi vertido para o português em prosa, procurando-se manter o seu ritmo fluido e sua linguagem. Além disso, a linha do verso foi mantida para facilitar a consulta ao original grego. / This work consists in the introductory study and translation of the comedy Dyskolos, of Menander, Greek author of the fourth century BC. The first part of the study includes the presentation of comedy concerning its context and its dramatic structure. The second part is devoted to the analysis of the characters - as a comedy that emphasizes the characters, I consider it important. This section is divided into nine parts, each one devoted to one character, except for the first section entitled The Divine, which presents an analysis of the god Pan and the Nymphs, and the fifth section, entitled Female characters, which conveys the analysis of the girl, the daughter of Knemon of Simike, and of Sostratos mother. The translation, the second one developed in Brazil the first is by Mario da Gama Kury aims to disseminate the work of the Greek author to the Brazilian public. With this purpose, the text was converted to Portuguese on prose, trying to keep its rhythm and language. Besides that, the line of the verse was kept to make it easier the consultation with the original.

Η παρούσα διατριβή μελετά τη διαχρονική διαδρομή ενός αρχαίου μύθου, την πρόσληψή του από τους νεοέλληνες συγγραφείς και τις αλληλεπιδράσεις μεταξύ των ποιητών, με απώτερο στόχο τη διαχρονική ανάγνωση του μύθου της Κασσάνδρας. Ο Όμηρος αναφέρει για πρώτη φορά το όνομα της Κασσάνδρας και επικεντρώνεται στην ομορφιά και στο θάνατό της. Στα Κύκλια Έπη και στη λυρική ποίηση η Κασσάνδρα εμφανίζεται με προφητικές ικανότητες. Στην τραγική και ελληνιστική ποίηση το μυθικό πρόσωπο αποκτά αυτοδύναμο πρωταγωνιστικό ρόλο. Στον Αισχύλο και στον Ευριπίδη εμφανίζεται ως εμπνευσμένη προφήτισσα. Στην Αλεξάνδρα του Λυκόφρονα η Κασσάνδρα, έγκλειστη σε μια φυλακή, προφητεύει την άλωση της Τροίας, το νόστο των Ελλήνων, τη δική της τύχη και τον πόλεμο Ευρώπης-Ασίας. Tο πέρασμα από την παραδοσιακή στη νεοτερική ποίηση σηματοδοτεί μια νέα λειτουργία του μυθικού προσώπου. Ο Παλαμάς εκμεταλλεύτηκε ποιητικά το μυθικό πρόσωπο περισσότερο από τους άλλους ποιητές στην προσπάθειά του να ανασυνθέσει ολιστικά το παρελθόν. Στις νεοτερικές της αποτυπώσεις η Κασσάνδρα συμβολοποιείται και εμφανίζεται άλλοτε ως χρησμολόγος δεινών (Σικελιανός, Καρέλλη), άλλοτε ως σύμβολο διαχρονικών αξιών (Παλαμάς, Σεφέρης, Ρίτσος), άλλοτε αποτελεί απλά πηγή ποιητικής έμπνευσης και δημιουργίας (Πολέμης, Καβάφης). Ο μύθος της Κασσάνδρας αποτέλεσε πόλο έλξης τόσο για τους αρχαίους όσο και για τους νεοέλληνες συγγραφείς. Έτσι έχει δημιουργηθεί ένα μετα-μυθικό υπερκείμενο που εμπλουτίζεται και εξελίσσεται, επιτρέποντας παράλληλα το διακειμενικό διάλογο ανάμεσα στους συγγραφείς και την παλίνδρομη κίνηση παρελθόντος-παρόντος. / The present thesis studies a mythical figure, the interactions between ancient Greek and modern Greek poets, with final objective the diachronic reading of the myth of Cassandra. Homer in the mid-eighth century BC is the first poet who mentions her name. He focused on her beauty and described her death. In Epic Cycle and in lyric poetry Cassandra is presented as a prophet. In tragic and hellenistic poetry she acquires a self-reliant leading role. Exploring her role in the plays of Aeschylus and Euripides leads to an understanding of her role as a seer. Kassandra, also appears in Lykophron, who wrote an obscure poem in the third century BC called Alexandra. In this poem Cassandra, imprisoned, prophesies the fate of Troy, the nostos of Greeks, her fate and the battle between Europe and Asia. The figure of Kassandra reappears in greek poetry through the transition from traditional to modern poetry. In most greek poets, such as Palamas, Seferis, Cavafis, Silelianos, Ritsos, Cassandra becomes a symbol. The specific parallels between the myth and the experiences of the poets create anachronisms which eliminate the time-distance, present the mythical figure as a symbol in order to represent a dramatic view of the different modern reality.

This thesis explores Hellenistic and imperial Greek texts that represent or discuss the river Nile. The thesis makes an original contribution to scholarship by examining such texts in he light of the history of Greek discourse about the Nile and in the context of social, political and cultural changes, and takes account of relevant ancient Egyptian texts. I begin with an introduction that provides a survey of earlier scholarship about the Nile in Greek literature, before identifying three themes central to the thesis: the relationship between Greek and Egyptian texts, the tension between rationalism and divinity, and the interplay between power and literature. I then highlight both the cultural significance of rivers in classical Greek culture, and the polyvalence of the river Nile and its inundation in ancient Egyptian religion and literature. Chapter 1 examines the significance of Diodorus Siculus' representation of the Nile at the beginning of his universal history; it argues that the river's prominence constructs Egypt as a primeval landscape that allows the historian access to the distant past. The Nile is also seen to be useful to the historian as a conceptual parallel for his historiographical project. Whereas Diodorus begins his universal history with the Nile, Strabo closes his universal geography with Egypt; the second chapter demonstrates how Strabo incorporates the Nile into his vision of the new Roman world. Chapter 3 presents a diachronic study of Greek discourse concerning the two major Nilotic problems, the cause of the annual inundation and the location of the sources. It examines first the construction of the debates, and second the transformation of that tradition in Aelius Aristides' Egyptian Oration. The functions of the Nile in Greek praise-poetry are the subject of chapter 4; it is shown that the Nile and its benefactions are used by poets to lay claim to political, religious or cultural authority, and to situate Egypt within an expanding oikoumene. The fifth and final chapter turns to Greek narrative fictions from the imperial period. The chapter demonstrates that the Nile is more familiar than exotic in these texts. It is shown that Xenophon of Ephesus and Achilles Tatius play with the trope of 'novelty' in this very familiar literary landscape, while Heliodorus articulates a more profound disruption of the expected Egyptian tropes, and ultimately replaces Egypt with Ethiopia as a new Nilotic environment.

La notion de « bile », exprimée par le substantif χολή, représente l’un des plus importants et des plus célèbres concepts de la médecine hippocratique, inséparable dans la pensée moderne de la fameuse théorie humorale. Au premier abord, les choses semblent donc claires. Cependant, lorsqu’on se plonge dans la lecture des écrits hippocratiques, la notion de cholè s’avère moins simple et évidente. Notre analyse des textes hippocratiques montre, en effet, que la cholè diffère d’un traité à l’autre et que chaque auteur hippocratique élabore sa propre notion de cholè. Nous nous sommes posé alors la question de l’origine de ce concept médical, ainsi que de l’origine de son cadre, qui est la théorie humorale. Notre quête des origines nous a amenée jusqu’aux idées homérique de chólos et aristophanique de cholè, qui se présentent toutes les deux comme fondamentalement différentes de l’idée médicale de cholè, unissant en elles-mêmes les notions de substance et d’état d’esprit. C’est justement cet écart entre les concepts non-médicaux et les concepts médicaux qui nous a intéressée au plus haut point, car il permet de voir comment les médecins hippocratiques élaborent leurs idées et leur discours. L’essentiel de notre travail consiste, donc, en un examen approfondi des procédés par lesquels les hippocratiques s’approprient des idées non-médicales : ce qu’ils retranchent, ce qu’ils rajoutent et ce qu’ils remanient. Nous espérons ainsi mettre en évidence les chemins par lesquels passe la pensée médicale ancienne, dans son processus d’émancipation de la culture traditionnelle, mais aussi des autres « sciences » de l’époque, telle que la philosophie. / The notion of « gall », expressed by the noun χολή, is one of the most important as well as the most celebrated concepts of the hippocratic medicine, inseparable for the modern mind from the humoral theory. At first sight then, the idea of « gall » seems fairly obvious. However, reading hippocratic treatises in detail, one realizes that the notion of cholè turns out to be far more complex and intricate than expected. Our analysis of the most relevant hippocratic texts shows indeed that the concept of cholè varies according to the texts involved, as every author tends to develop his own concept of cholè. We tried to find out whether the complex nature of the medical concept known as cholè could be elucidated by a survey of its origins, and a survey of the origins of the humoral system as a whole. Our search for the origins of cholè has led us to the Homeric concept of chólos and to the Aristophanic concept of cholè. The prerequisites of both notions conspicuously differ from the medical concept of cholè, because they unite the substance with a state of mind. This discrepancy between medical and non-medical concepts was of utmost importance for us, since it helped to understand how hippocratic authors developed their ideas and their discourse. The main asset of our work consists, therefore, in an in-depth analysis of the ways in which hippocratic authors take over some non-medical ideas to frame concepts of their own : what are the components they cut out, add or modify. Our goal is to show how ancient medical thought proceeds, in its endeavour to emancipate itself from the tradition as well as from the other contemporary “sciences”, as philosophy.

De plus en plus d’études s’accordent à reconnaître dans la métaphore un instrument de la pensée, plutôt qu’une figure de style. En particulier, les métaphores les plus communes et les plus répétées, celles qui font partie du langage quotidien, structurent l’appréhension du monde des membres des communautés linguistiques qui les utilisent. Bien que nous n’ayons pas accès au langage quotidien des anciens Grecs, les textes contiennent un corpus de métaphores récurrentes, extrêmement répandues, qui utilisent la terminologie botanique pour parler des êtres humains. Cette thèse vise à montrer en quoi ces métaphores végétales ont constitué une manière, culturellement déterminée, d’appréhender plusieurs facettes de la vie humaine : le corps et le fonctionnement de humeurs en son sein ; la forme visible de la personne, la manifestation des émotions et celle de la χάρις ; l’innéité ; les rapports de parenté et notamment celui de filiation ; l’identité citoyenne. Centré sur les textes poétiques composés en Grèce entre le VIIIe et le Ve siècle avant notre ère, ce travail convoque tour à tour les écrits médicaux et philosophiques, les représentations religieuses et les mythes de métamorphose, afin d’inscrire les métaphores botaniques étudiées dans des réseaux conceptuels faisant partie du savoir partagé. / As anthropologists, philosophers and linguists have nowadays largely recognized, metaphors are not simply rhetorical embellishments, but a basic mechanism of human thought. Focusing on botanical metaphors occurring in Greek poetry composed between the 8th and the 5th centuries BCE, this dissertation aims to show how knowledge relative to the world of plants was used to understand, conceptualize and represent different aspects of human life. Botanical metaphors are pervasive in archaic and classical poetry. My work locates them against a wider background, comprising other kinds of texts (mainly, philosophy and medicine), myths, and, to a lesser degree, religious representations and practices. Therefore, botanical metaphors appear to be integral to a widespread network of cognitive schemata, sanctioned and transmitted by linguistic practice, and used by Greek speakers to construct their understanding of (some aspect of) human life. As this thesis demonstrates, plants offered convenient models to reason about the functioning of the body and its internal humors as well as the ways in which physical appearance may reveal moral or divine qualities. Botanical knowledge was also used to understand human passions, inborn qualities, kinship ties and civic identities. The overall aim of my dissertation is to offer an “emic” depiction of those domains: that is, a description grounded in Greek speakers’ own conceptual schemata