The thesis consists of three main sections: the Introduction, the text (with apparatus), and the Commentary. The Introduction begins with a survey of the available evidence for the poem’s date and authorship, before moving on to consider its generic affiliations and influences, focusing on two particular areas: its links with the ill-defined genre of παρῳδία, and its relationship to animal-narratives elsewhere in ancient literature (particularly fable) and visual art. This is followed by a detailed analysis of the poem’s style and metre, a brief tour of its Nachleben up to the 13th century, and a summary of the notoriously tangled manuscript tradition. The text is new, and differs substantially from both that of Allen (in the OCT) and of West (the most recent English edition). The apparatus, as explained in more detail on p. 117, is somewhere between the two: it takes into account the readings of only nine MSS from the 80-100 extant, and does not attempt to represent every single textual variation even among these nine, but it is much fuller than the minimalist apparatus of the Loeb. It aims to provide a useful source for scholars interested in the poem’s many and serious textual cruces, while remaining more succinct and user-friendly than the dense and sometimes baffling apparatus of Ludwich’s monumental 1896 edition. The text is followed by an English prose translation: this makes no claims to beauty, and is simply intended as a relatively literal guide to the sense of the Greek. The Commentary, finally, is twofold. Any commentary on the Batrachomyomachia will inevitably spend much space and ink on purely textual issues, and on the fundamental task of unearthing meaning from the dizzying range of wild and nonsensical variants available. Interspersed with these textual points, however, this commentary includes considerations of the poem not as a mechanics problem but as a sophisticated Hellenistic work of art – exploring its intertextualities, its characterisation, its dramatic effects, its dry sense of humour, and subjecting it to the serious literary analysis it has often been denied.

Ce travail propose une étude de la poétique de la douleur, tant physique et morale, dans certaines œuvres choisies de la poésie grecque archaïque et classique. Il démontre comment la douleur remplit une fonction essentielle dans les œuvres étudiées, en tant que moteur de l’action et mode de caractérisation des personnages, ainsi que par les liens qu’elle établit avec les thèmes centraux plus larges. L’étude de la poétique à proprement parler permet par ailleurs d’examiner en arrière-plan la question historico-culturelle de la valeur éthique et sociale de la douleur. Trois œuvres servent de cas d’étude: l’Iliade d’Homère (le livre V en particulier), l’Orestie d’Eschyle (principalement l’Agamemnon), et le Philoctète de Sophocle. Le premier chapitre traite de la douleur divine dans l’Iliade, en contraste avec celle des simples mortels. Le deuxième chapitre propose de réexaminer la question de la douleur et du chagrin de la perte dans l’Orestie d’Eschyle, en portant une attention particulière à la nature perverse de la souffrance maternelle de Clytemnestre. Le troisième et dernier chapitre examine la représentation de la douleur dans le Philoctète de Sophocle, et le caractère ambigu de la souffrance du héros, en analysant comment celle-ci sert à la fois de menace et de catalyseur de l’humanité de la victime souffrante elle-même et de ses témoins. / The present study offers an exploration of selected representations of physical and moral pain in archaic and classical Greek poetry, with a focus on the poetics. The analysis centers on the extent to which depictions of pain fulfill a central role in the works selected, as motor of the plot, instrumental mode of characterization, and link to key overarching themes. In the course of the examination of its poetic function, the cultural-historical question of pain’s ethical and social value emerges as a dominant background axis of investigation. Three works serve as case studies: the Homeric Iliad (book V in particular), Aeschylus’ Oresteia (mainly the Agamemnon), and Sophocles’ Philoctetes. The first chapter deals with the portrayal of divine pain in the Iliad, by contrasting it with that of mortals. The second chapter seeks to offer a better understanding of the portrayals of pain and loss in Aeschylus’ Oresteia, with particular focus on the perverse nature of Clytemnestra’s maternal suffering. The third and final chapter turns to the representation of pain in Sophocles’ Philoctetes and the ambivalence of the eponymous hero’s suffering, analyzing how it serves both as a threat and a catalyst to the humanity of the sufferer himself and that of his witnesses.

O engano, enquanto reflexo da realidade, está representado em diversos gêneros literários e na literatura de várias épocas. Este trabalho analisa, primariamente, os antecedentes míticos, o léxico e a estrutura dramática dos enganos mencionados ou encenados em todas as tragédias conhecidas de Eurípides, completas ou fragmentárias. Precede a análise um breve estudo da teoria comportamental do engano e de sua presença na literatura antiga, notadamente a da Grécia (dos poemas homéricos até o fim do século -V), e um excurso sobre o engano na poesia pré-euripidiana e sua influência na tragédia grega. A última parte do estudo compreende uma sistematização da estrutura do engano euripidiano e de seu léxico. / Deception, as a reflex of our reality, can be found in many literary genres and literary compositions of all times. This work deals primarily with the mythical antecedents and with lexical and dramatical structure of deceits briefly described or staged in all known Euripides complete or fragmentary tragedies. A study on behavioral deception theory and its presence in ancient literature, specially in Greece from homeric poems until the fifth century B.C., with an excursus on deception in pre-euripidean poetry and its influence in Greek tragedy precedes the analysis. A systemization of lexical and structural characteristics of euripidean deception completes the study.

La notion de l’agir en Grèce ancienne a, dans les études grecques au XXème siècle, fait l’objet d’un débat important, fondé sur des textes philosophiques – avant tout Aristote – et littéraires – particulièrement Homère et la tragédie grecque. Le débat porte sur la prise de position du lecteur moderne face au traitement antique de cette notion, entre familiarité et sentiment d’étrangeté. L’alternative suivante se présente en effet à lui : la conception grecque de l’agir lui est-elle familière, en ce qu’elle est à l’origine de la notion occidentale, ou est-elle devenue absolument étrangère ? Le philologue allemand Bruno Snell et le philosophe français Jean-Pierre Vernant ont apporté des contributions fondamentales à ce sujet.Dans la présente thèse de doctorat, les positions des deux chercheurs sont comparées à lueur de leurs méthodes – « Geistesgeschichte », histoire de l’esprit et « Wortphilologie », philologie du mot, pour Snell, psychologie historique, sociologie, anthropologie et structuralisme chez Vernant. Par ailleurs, la thèse analyse dans quelle mesure leurs contributions s’ancrent dans les traditions nationales respectives des études grecques. Cette réflexion est particulièrement intéressante dans le cas de Bruno Snell et de Jean-Pierre Vernant qui pratiquaient la recherche de manière explicitement interdisciplinaire et internationale. Bruno Snell et Jean-Pierre Vernant sont d’éminentes personnalités des études grecques de la seconde moitié du vingtième siècle. Ils n’inspirèrent point simplement leur propre champ de recherche mais eurent en tant qu’intellectuels au sens zolien, une influence politique et sociale. / The notion of acting in ancient Greece was intensely discussed in the field of ancient Greek scholarship during the 20th century on the basis of philosophical texts – above all by Aristotle – and literary texts – particularly by Homer and the Greek tragedy. The debate revolves around the position of the modern reader with regard to the ancient notion, between estrangement and familiarity. He is faced with the following alternative: is the Greek conception of acting familiar to him, being the source of the western one, or has it become absolutely alien to him? The German philologist Bruno Snell and the French philosopher Jean-Pierre Vernant have made fundamental contributions to this debate.This PhD compares the positions of both researchers with regard to their methodologies – Snell’s « Geistesgeschichte », history of the spirit and « Wortphilologie », philology of the word, and Vernant’s historical psychology, sociology, anthropology and structuralism. Moreover, this dissertation analyses to what extent their contributions are rooted in the respective national traditions of ancient Greek scholarship. This reflection is particularly interesting in the case of Bruno Snell and Jean-Pierre Vernant, as they both pursued an explicitly international and interdisciplinary approach to research. Bruno Snell and Jean-Pierre Vernant are eminent classical scholars of the second half of the twentieth century. Not only did they inspire their own field of research through their work, but they also exerted a strong social and political influence as intellectuals in the sense of Emile Zola. / Die Frage nach dem Begriff des Handelns bei den Griechen wurde in der Klassischen Philologie des 20. Jahrhunderts anhand philosophischer (vor allem Aristoteles) und literarischer Texte (vor allem Homer und der griechischen Tragödie) stark debattiert. Gegenstand dieser Debatte ist die Haltung des heutigen Lesers gegenüber der antiken Auffassung dieses Begriffs, zwischen Vertrautheit und Fremdheit. Dabei stellt sich folgende Frage: Steht uns heute das griechische Konzept des Handelns nah, als Ursprung des abendländischen Konzeptes, oder ist es uns ganz und gar fremd geworden? Der deutsche Altphilologe Bruno Snell und der französische Philosoph Jean-Pierre Vernant haben zu diesem Thema relevante und bedeutende Beiträge geleistet. Die Positionen des deutschen und des französischen Wissenschaftlers werden in der vorliegenden Arbeit in Bezug auf ihre jeweilige Methodik − Geistesgeschichte und Wortphilologie bei Snell, historische Psychologie, Soziologie, Anthropologie und Strukturalismus bei Vernant − verglichen. Darüber hinaus wird der Frage nachgegangen, inwiefern ihre Beiträge in ihrer jeweiligen Wissenschaftstradition verwurzelt sind. Diese Fragestellung ist im Falle Snells und Vernants von besonderem Interesse, da beide explizit eine überfachliche und internationale Auffassung von Wissenschaft vertreten. Bruno Snell und Jean-Pierre Vernant sind bedeutende Persönlichkeiten der Gräzistik der zweiten Hälfte des 20. Jahrhunderts; sie haben nicht nur ihr Fach durch ihre Forschung geprägt, sondern hatten − als Intellektuelle im Sinne Zolas − auch gesellschaftlich und politisch großen Einfluss. / La questione della nozione del agire presso gli antichi Greci fu l’oggetto di un dibattito importante nella filologia classica del Novecento, fondato sia su testi filosofici (sopratutto Aristotele) che letterari (innanzitutto Omero e la tragedia greca). L’argomento del dibattito è la presa di posizione del lettore moderno di fronte alla nozione antica, fra estraniamento e confidenza. Sorge dunque la domanda seguente: ci risulta familiare la nozione greca del agire, in quanto origine della nozione occidentale, oppure è diventata assolutamente estranea per noi? Il filologo tedesco Bruno Snell e il filosofo francese Jean-Pierre Vernant hanno portato contributi fondamentali a questo argomento. Nella tesi di dottorato, le posizioni dei due scientifici vengono comparate rispetto ai loro metodi – « Geistesgeschichte », storia dello spirito e « Wortphilologie », filologia della parola, presso Snell, psicologia storica, sociologia, antropologia e strutturalismo presso Vernant. Inoltre, la tesi esamina quanto i loro contributi siano radicati nelle tradizioni scientifiche nazionali. Questa problematica è particolarmente interessante nel caso di Snell e Vernant, siccome tutti e due adottavano esplicitamente una concezione interdisciplinaria e internazionale della scienza. Bruno Snell e Jean-Pierre Vernant sono eminenti personalità della filologia greca della seconda metà del Novecento; non hanno solamente ispirato il loro campo di ricerca, ma avevano – come intellettuali nel senso di Zola – anche un’influenza sociale e politica.

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.

Essa dissertação tem como objetivos a tradução ao português brasileiro e o estudo de duas declamações, quais sejam O jovem herói (Decl. 5) e O velho sovina (Decl. 6), creditados a Corício de Gaza, um professor de retórica cuja produção se situou na primeira metade do séc. VI d.C. Primeiramente, apresentam-se as traduções. Em seguida, o estudo, que é dividido em dois blocos: o primeiro capítulo busca contextualizar o corpus tendo em vista a conjuntura histórico-literária na qual ambas as declamações se inserem. O segundo capítulo corresponde à analise descritiva e interpretativa das principais características estilísticas, linguística e argumentativa de ambos os textos. / The main goals of this research are the translation into Brazilian Portuguese and an introductory study of two declamations, The Young Hero (Decl. 5) and The Miser Old Man (Decl. 6), credited to Choricius, a teacher of rhetoric who worked and lived in the 6th century Gaza. Firstly, I present the translation, then the study, which is divided into two sections: in the first chapter I contextualize both declamations historically and in the literary sense. In the second chapter I present a descriptive and interpretative analysis of the main stylistic, linguistic and argumentative characteristics of both texts.

Cette étude explore l’ensemble des traductions de l’Odyssée d’Homère en langue française depuis la Renaissance jusqu’à nos jours. Elle participe à la constitution d’une histoire des traductions à partir du nouvel outillage technique et conceptuel offert par le numérique, qui permet d’envisager à nouveaux frais l’histoire des traductions d’un texte fondateur de la civilisation occidentale. Notre hypothèse, selon laquelle le tournant dans la manière de traduire Homère s’effectue entre la fin du XVIIIe siècle et le début du XIXe siècle en France, avec les progrès de l’archéologie et de la philologie, a pu être vérifiée tout au long de cette étude, grâce au programme que nous avons construit. Cette étude a donc pu retracer à la fois l’histoire des traductions de l’Odyssée et se rattacher à l’histoire plus large qu’est l’histoire des traductions. Notre étude a aussi pour but de rendre accessibles à tous les résultats que nous avons obtenus. Nous avons numérisé et rassemblé toutes les traductions de l’Odyssée en langue française dans un format XML enrichi. Nous avons traité 26 traductions de l’Odyssée, dont 23 sont intégrales. Hormis les textes sous droits, tous les textes sont en libre accès sous cette forme. L’outil numérique que nous avons créé de toutes pièces n’est pas seulement un instrument destiné à faciliter le travail du chercheur : il permet de trouver des phénomènes qui sont indécelables à l’œil nu, et d’obtenir des résultats qui ne peuvent pas, même avec la plus grande rigueur, être obtenus par un humain. Nous voyons ainsi la double fonction de l’outil informatique, qui sert à la fois d’outil de vérification et de découverte. D’une part, l’outil informatique permet de rendre vérifiable les intuitions de la philologie qui sont opérationnalisées et parfois visualisables de manière pédagogique. D’autre part, des phénomènes inattendus peuvent être rendus visibles par les expériences, comme des inflexions que la longue durée ou la quantité de textes auraient masquées. / This study goes through the whole of the French translations of Homer’s Odyssey from the Renaissance up to the XXth century. It is a further step in the study of the history of translations, based on a new technical and conceptual tool, using a wide range of new techniques in the field of Digital Humanities, which should help us enhance research about such a major text in Western civilization. Our hypothesis is to locate the turning point in the ways to translate Homer at the end of the XVIIIth century in France, with progress made in archeology and philology, a hypothesis that has been verified throughout this study, thanks to the software we made. We have studied both the history of the translations of the Odyssey and a wider history, that is to say, history of translations in general. Our study also aimed at giving access to the wider public to the results we got. We digitized and gathered all the French translations of the Odyssey in an enriched XML format. We have dealt with 26 translations, within which 23 are complete. Except for copyrighted texts, all our texts are open source. The digital tool we made does not only exist to ease the scientific work, but it also allows us to see new phenomena that would be impossible to spot with a human eye, and obtain results that cannot, even with rigorous expertise, be obtained by a human. We see there the double function of a digital tool that can both confirm and help discover. Firstly, the tool can allow us to confirm philological intuitions that can be operationalized and visualized in pedagogical way. On the other hand, unexpected phenomena can be found and visualized, such as changes that might have been hidden due to the wide period studied or the quantity of texts analyzed.

Essa dissertação tem como objetivos a tradução ao português brasileiro e o estudo de duas declamações, quais sejam O jovem herói (Decl. 5) e O velho sovina (Decl. 6), creditados a Corício de Gaza, um professor de retórica cuja produção se situou na primeira metade do séc. VI d.C. Primeiramente, apresentam-se as traduções. Em seguida, o estudo, que é dividido em dois blocos: o primeiro capítulo busca contextualizar o corpus tendo em vista a conjuntura histórico-literária na qual ambas as declamações se inserem. O segundo capítulo corresponde à analise descritiva e interpretativa das principais características estilísticas, linguística e argumentativa de ambos os textos. / The main goals of this research are the translation into Brazilian Portuguese and an introductory study of two declamations, The Young Hero (Decl. 5) and The Miser Old Man (Decl. 6), credited to Choricius, a teacher of rhetoric who worked and lived in the 6th century Gaza. Firstly, I present the translation, then the study, which is divided into two sections: in the first chapter I contextualize both declamations historically and in the literary sense. In the second chapter I present a descriptive and interpretative analysis of the main stylistic, linguistic and argumentative characteristics of both texts.

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.

The aim of this study is to present the architectural and organizational characteristics of Burgaz houses by taking into consideration a number of internal and external factors such as economical, social and environmental that influenced the house plan and its utilization in 4th century BC. To discuss the place of Burgaz house within the ancient Greek domestic context, the architectural, structural, and functional characteristics of houses are investigated and compared to contemporary examples, such as Olynthus and Haleis from Mainland Greece, as well as Kolophon and Klazomenai from Western Anatolia.