Ce projet de thèse de doctorat, portant sur Les religions de l’Antiquité classique dans l’œuvre de Voltaire : réception et instrumentalisation, vise à mettre en perspective la démarche critique dont procède Voltaire pour dénoncer les abus de la religion. Bien qu’elles soient dépréciées au XVIIIe siècle, et loin d’être données comme modèle à imiter, les religions de l’Antiquité sont utilisées par le philosophe des Lumières en tant que témoignages dans un cadre philosophique contemporain. C’est dire qu’elles sont délibérément instrumentalisées dans la mesure où elles lui servent de contre-exemples référentiels dans son combat idéologique contre l’extrémisme outrancier des grandes religions monothéistes : judaïsme, christianisme et islam. Investies au profit d’une fin polémique, elles constituent pour Voltaire le principal argument dans sa lutte philosophique contre les idées fallacieuses des religions modernes et les dérives qui peuvent en découler. Aussi conviendra-t-il de replacer ses références aux religions grecque et romaine dans le contexte culturel du XVIIIe siècle sur la base de la polémique philosophique des Lumières et du triomphe de l’esprit nouveau sur les crédulités anciennes. Quoiqu’il procède par une étude comparative et critique des religions de l’Antiquité classique, Voltaire cherche à relativiser les prétentions universalistes du christianisme contemporain. / This doctoral research proposal investigates The Reception and Instrumentalisation of Classical Religions in Voltaire’s Philosophy. Its aim is to contextualise the critical approach used by Voltaire to attack the negative effects of religion. Other 18th Century writers did not see the merit of ancient religions, nor see them as a worthy ideal, but Voltaire discussed them in order to probe the philosophical questions of his time. He did so deliberately, using them as points of reference and counter examples in his ideological fight against the brazen extremism of Judaism, Christianity and Islam. Indeed, the ancient religions are Voltaire’s main argument in his polemical struggle against the false notions and corrupting effects of the monotheistic religions. Should Voltaire’s references to the Greek and Roman religions be situated in the cultural context of the 18th Century? Given the Enlightenment’s polemic philosophy and the triumph of the new spirit of rationality over ancient superstition, this may prove fruitful. Although his approach is to compare and critique the religions of Classical Antiquity, Voltaire seeks to put the universal pretensions of contemporary Christianity into perspective.

Submitted by Guilherme Augusto Louzada Ferreira de Morais null (gui_amorais@hotmail.com) on 2018-02-19T23:21:31Z No. of bitstreams: 1 Dissertação_Morais_2018.pdf: 1959729 bytes, checksum: e4bb69bb4962e19ac63cfef3f80a903e (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-02-21T18:35:01Z (GMT) No. of bitstreams: 1 morais_galf_me_sjrp.pdf: 1959729 bytes, checksum: e4bb69bb4962e19ac63cfef3f80a903e (MD5) / Made available in DSpace on 2018-02-21T18:35:01Z (GMT). No. of bitstreams: 1 morais_galf_me_sjrp.pdf: 1959729 bytes, checksum: e4bb69bb4962e19ac63cfef3f80a903e (MD5) Previous issue date: 2018-02-06 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Estudamos a série de livros “Jogos vorazes” (2010-2011) com o objetivo de demonstrar como se dá a permanência e a representação do modelo heroico da Antiguidade Clássica na Contemporaneidade por meio da análise da caracterização da personagem feminina Katniss Everdeen. Para tanto, enfocamos a personagem criada por Collins e as características que a definem como heroína, comparando-a ao modelo heroico clássico descrito por tantos autores da Grécia e Roma, como, por exemplo, Homero, Hesíodo, Vergílio, etc., e considerando também as reflexões sobre o herói tecidas por Campbell em O herói de mil faces (1997), dentre outros títulos e autores que embasam nossos estudos. Percebemos que há, na série, uma mudança na representação de arquétipos literários, a saber, herói clássico versus donzela clássica, visto que Katniss Everdeen assume o papel de herói e Peeta Mellark, tributo masculino, assume o papel de donzela, pois, em grande parte do enredo, é salvo por ela. Dessa forma, buscamos verificar o que desvia a trama em estudo dos moldes então estabelecidos pelos Clássicos, ou seja, como Collins redefine os padrões da Literatura Clássica greco-romana, nos quais o homem era guerreiro e a mulher era dona de casa. Para isso, iniciamos nossas considerações a partir de Jung (2002), porque autores como Randazzo (1996), Vogler (2006) e Meletínski (1998), dentre outros, partem das postulações do psicanalista suíço para discutirem a respeito de arquétipos encontrados na publicidade, literatura e cinema. No percurso do estudo da heroína, realizamos uma breve comparação entre Katniss, outrora escravazida pela Capital (em uma espécie de escravidão velada), que se torna heroína e símbolo de toda uma revolução, e o herói masculino de outra obra, Espártaco, escravo e gladiador da Trácia, que foi líder de uma revolução conhecida por Guerra dos Escravos, conforme se pode comprovar no romance Espártaco, de Howard Fast (1981), publicado originalmente em inglês em 1951, e no filme baseado nesta obra literária, de Stanley Kubrick (1960), com a finalidade principal de comprovar a mudança no tratamento dos arquétipos e averiguar a presença de elementos ligados à cultura romana na série escrita por Collins. Enfim, buscamos verificar de que modo o modelo de Herói Clássico, seja na figura dos heróis mitológicos, seja na personagem histórica de Espártaco, é representado na caracterização da protagonista feminina de “Jogos vorazes” e quais significados tais representações acrescentam à interpretação da série. / The present study aims at analyzing the series titled “The Hunger Games” to demonstrate, by observing the characterization of the female character Katniss Everdeen, how the representation of the heroic model from Classical Antiquity persists in Contemporary Literature. In order to do so, we have focused on the character created by Collins and the features that define her as a heroine, comparing her to the classical heroic model described by several authors in Greece and Rome, such as Homer, Hesiod, Vergil, etc., as well as to specifications about the hero character presented in “The Hero with a Thousand Faces” (1997), by Joseph Campbell, along with additional information on the topic provided by other authors. We have observed a change, in Collins’ novels, regarding the representation of literary archetypes, namely the classical Hero versus the classical Maiden, as Katniss Everdeen takes the role of the Hero and Peeta Mellark, the male tribute, plays the role of the Maiden, for throughout a large part of the plot he is saved by her. Therefore, we seeked to verify what deviates the plot in study from the patterns once established by Classical tradition, or, in other words, to observe how Collins redefines the standards of the Greco-Roman Classical Literature, in which the man was a warrior and the woman was a housewife. Our study is based on Jung (2002) because authors such as Randazzo (1996), Vogler (2006) and Meletínski (1998), among others, consider the postulates of the Swiss psychoanalyst to discuss archetypes found in advertising, literature and cinema. In the course of the study of the heroine, for the purpose of proving the change in the treatment of archetypes and ascertaining the presence of elements related to the Roman culture in the series written by Collins, we made a brief comparison between Katniss, once slaved by the Capitol (in a kind of veiled slavery), who becomes a heroine and a symbol of an entire revolution, and the male hero of another artwork, Spartacus, a slave and gladiator from Thrace who was the leader of a revolution known as the “War of the Slaves,” as it can be seen in Howard Fast’s (1981) novel Spartacus, originally published in English in 1951, and in the film based on this literary work, directed by Stanley Kubrick (1960). Finally, our study demonstrates that the Classical Hero model, whether taken from mythological heroes or from the historical character of Spartacus, plays an important role in the characterization of the female protagonist of “The Hunger Games,” adding different meanings to the interpretation of the series. / Proc. 2015/23592-6

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

In the year 2000 the birthday of Jesus of Nazareth two millennia ago is celebrated. If Jesus was seen as merely a historical figure, the significance of his life would be no different from that of people like Socrates or Alexander the Great. In Greco-Roman culture Alexander the Great, among other heroic figures and emperors, was regarded as son of God. However, since the first century followers of Jesus have worshipped Jesus as God’s son. This study asks questions as to the importance of Jesus within Hellenistic-Semitic and Greco-Roman contexts and his continued importance today. The first aspect is studied from a social-cultural perspective and the second from the angle of both the (Christian) believing community and the (secularized) university. Chapter one deals methodologically with the fact that, as in the case of Socrates, Jesus did not himself put to pen either the message of his words and deeds or the interpretation of his birth and death. Jesus’ vision should therefore be deciphered from what others said about him. Identifying a research gap with regard to existing Jesus research, chapter two will specifically aim at showing that today a new interdisciplinary frame of reference has come into being in the social sciences within which historical Jesus research is carried out. In chapter three it is argued that the starting point of the quest for the historical Jesus could be the nativity stories, despite all their mythological elements. Yet, in taking such a step, one should be aware of historiographical pitfalls when one studies the process of the “historization” of myth. In chapter four, entitled the “Joseph trajectory”, it is demonstrated that Joseph, the father of Jesus, should probably be seen as a legendary figure. With the help of cross-cultural anthropology and cultural psychology chapter five explains an ideal-typical situation of someone in first-century Herodian Palestine who bore the stigma of being fatherless, but who trusted God as Father. In chapter six the tradition about Jesus’ relationship towards “fatherless” children and “patriarchless” women is studied. Chapter seven shows that the “myth of the absent father” was very well known in antiquity. Ovid’s story of Perseus (who was conceived virginally) is retold. The intention is to show why the second-century philosopher Celsus thought that the Christians unjustifiably mirrored this Greek hero, son of Zeus, in their depiction of Jesus. Other examples within Greek-Roman literature are the myths surrounding among others Hercules and Asclepios. In explaining Hercules’ adoption as son of Zeus (which implies his deification), the Greek writer Diodorus Siculus tells the story of an empty tomb and an ascension to heaven. The Roman writer Seneca also tells the story of Hercules’ divine conception and his adoption as child of Zeus. In the New Testament Paul (Seneca’s contemporary) is particularly known for the notion “adoption to become God’s child”. This notion is explained in the light of the parallels found in Seneca’s tragedies about Hercules, his satire on the emperor Claudius and the references by Diodorus Siculus and in the Carmina Priapea to the notion of “adoption” and miraculous conceptions of god-like human figures. Chapter eight focuses on the origins of the church and the development of the dogma of the “two natures” of Jesus as both human and divine. In the last chapter the continued importance of the historical Jesus today is discussed. One of the most urgent social problems of our time is that millions of children are growing up fatherless. This study is about the historical Jesus who filled the emptiness caused by his fatherlessness with his trust in God as his Father. / Thesis (PhD)--University of Pretoria, 2007. / Ancient Languages / unrestricted

No description available.

<p>In this study I situate socio-historically the adoption of the term <em>ekklēsia</em> as a permanent collective identity by early Christ-followers, particularly Pauline ones. I contribute to at least four areas of <em>ekklēsia</em> research. First, my examination of almost 1900 inscriptional occurrences of the word <em>ekklēsia</em> indicates a lack of evidence for a non-civic association self-identifying collectively as an <em>ekklēsia</em>. Second, I develop the preliminary observation by Runesson, Binder, and Olsson (2008) that <em>ekklēsia</em> can refer either to a gathering of Jews or to the self-designation of a Jewish community, i.e., that <em>ekklēsia</em> is one among several terms that can be translated into English as “synagogue.” This problematizes, from an institutional perspective, suggestions common in scholarship that Paul was “parting ways” with Judaism(s), ‘Jewishness,’ or Jewish organizational forms. Third, given both that non-Jewish Christ-followers could not be designated using the ethno-religious term “Israel” and that <em>ekklēsia</em> is a Jewish synagogue term, Paul’s designation of his multi-ethnic communities as <em>ekklēsiai</em> allowed gentiles qua gentiles to share with Torah observant Jews qua Jews in God’s salvation history with Israel. <em>Ekklēsia</em>, thus, does not indicate an inherently supersessionist identity for communities designated by this term. Fourth, Paul’s adoption of a political identity (civic <em>ekklēsia</em>) for his communities need not imply his promotion of counter-imperial civic ideology. Greek literary (e.g., Plutarch) and inscriptional evidence suggests that if an Imperial period non-civic group (e.g., voluntary association) self-designated as an <em>ekklēsia</em>, it could have been perceived as a positive, rather than as an anti-Roman, participant in society.</p> / Doctor of Philosophy (PhD)

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2017-06-28T12:49:58Z No. of bitstreams: 1 LEONARDO HENRIQUE PIACENTE.pdf: 1178258 bytes, checksum: ff6627db41d7b7353cfeec2f755778a1 (MD5) / Made available in DSpace on 2017-06-28T12:49:58Z (GMT). No. of bitstreams: 1 LEONARDO HENRIQUE PIACENTE.pdf: 1178258 bytes, checksum: ff6627db41d7b7353cfeec2f755778a1 (MD5) Previous issue date: 2016-12-14 / The encounter of nascent Christianity with classical Greco-Roman culture in the second century AD had points of confluence, dispersion and conjugation. The thought of Irenaeus of Lyons (130-208 AD) in Adversus haereses shows that the relation between Christian religion and classical culture came close to the Christian gnostic groups. These, when evangelized and adept at the good news of Jesus Christ, brought with them their cultural framework, and thus Christianity marked by Jewish customs, was gaining nuances of the diverse cultures, religions, peoples and languages present in the Roman Empire. The research was not intended to value this relation Greco-Roman culture and nascent Christianity, but rather to show the importance and the tensions present in this relation, from the first book of the Demonstration and refutation to the false gnosis. Irenaeus constructed his thought in order to make clear the thinking of the various gnostic groups, in order to refute them, and in the meantime presented a systematization of the Christian faith not yet seen in his time. Its Demonstration and Refutation of the Gnostic theses was not only a way of fighting the controversies that arose in the first centuries of the Church, but was also, as presented in this research, a means of showing the interaction between Christians, especially the thinkers, with The intellectual and cultural environment that they were inserted. As a process of conjugation, Christianity and the classical culture had mutual influences, differences and points in common, in the formation from initial Christian thought. The hermeneutics of the first book of the Adversus haereses, and classical thinking, made it possible to understand and deepen the relationship between culture and religion in the second century AD. / O encontro do cristianismo nascente com a cultura cl?ssica greco-romana, no s?culo II d.C., teve pontos de conflu?ncia, de dispers?o e de conjuga??o. O pensamento de Irineu de Li?o (130-208 d.C) na obra Adversus haereses mostra que a rela??o religi?o crist? e cultura cl?ssica teve uma aproxima??o grande em virtude dos grupos gn?sticos crist?os, que evangelizados e adeptos ? boa nova de Jesus Cristo, traziam consigo seu arcabou?o cultural, sendo assim o cristianismo marcado pelos costumes judaicos, foi ganhando matizes das diversas culturas, religi?es, povos e l?nguas presentes no Imp?rio Romano. A pesquisa n?o pretende valorar esta rela??o cultura greco-romana e cristianismo nascente, mas sim mostrar a import?ncia e as tens?es presentes nessa rela??o, a partir do primeiro livro da Demonstra??o e refuta??o ? falsa gnose. Irineu construiu seu pensamento em busca de tornar claro o pensamento dos diversos grupos gn?sticos, para assim refut?-los, e neste ?nterim apresentou uma sistematiza??o da f? crist? ainda n?o vista no seu tempo. A sua Demonstra??o e Refuta??o das teses gn?sticas, foi n?o s? um caminho de combate ?s controv?rsias, que surgiram nos primeiros s?culos da Igreja, mas tamb?m foi, como apresentado nesta pesquisa, um meio de mostrar a intera??o entre os crist?os, principalmente os pensadores, com o meio intelectual e cultural que estavam inseridos. Como um processo de conjuga??o, o cristianismo e a cultura cl?ssica tiveram influ?ncias m?tuas, diferen?as e pontos em comum, na forma??o desde pensamento crist?o inicial. A hermen?utica do primeiro livro da Adversus haereses, e do pensamento cl?ssico, possibilitou compreender e aprofundar-se na rela??o cultura e religi?o no s?culo II d.C.

From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.

This Creative Writing PhD consists of a novel, The Encyclopaedia of Istanbul, and accompanying critical essays, Ottoman Crossroads: Coffeehouses, Politics, Theatres and Storytelling. The Encyclopaedia of Istanbul is historical in nature, and magically real in temperament. It is an account of fin de siècle Constantinopolis, and contains forgotten fairy tales, remnants of an ancient manuscript culture, Armenian playwrights, Turkish feminists, Greek fortune-tellers and Sephardim cantors. It tells the tale of six intersecting lives in 1876, a time known as “the year of the three Sultans” in Ottoman history. This period was filled with tensions between traditionalism and Westernization, but also new political possibilities forwarded by the Young Ottomans. While the characters in The Encyclopaedia of Istanbul are fictitious, they are inspired by historical events and figures. The second element of my PhD, Ottoman Crossroads, is made up of four individual essays that focus on selected themes from the novel. They scrutinize, in order of presentation, the history of coffeehouse culture, the secretive society of the Young Ottomans and their political thought, the formation of Armenian-Turkish theatre, and the rediscovery of Ottoman fairy tales. Whilst the novel and essays are coherent independently, they also link to each other in ways that are sometimes direct, and at other times subtle.

Medieval rhetoric, as a field and as a subject, has largely been under-developed and under-emphasized within medieval and rhetorical studies for several reasons: the disconnect between Germanic, Anglo-Saxon society and the Greco-Roman tradition that defined rhetoric as an art; the problems associated with translating the Old and Middle English vernacular in light of rhetorical and, thereby, Greco-Latin precepts; and the complexities of the medieval period itself with the lack of surviving manuscripts, often indistinct and inconsistent political and legal structure, and widespread interspersion and interpolation of Christian doctrine. However, it was Christianity and its governance of medieval culture that preserved classical rhetoric within the medieval period through reliance upon a classic epideictic platform, which, in turn, became the foundation for early medieval rhetoric. The role of epideictic rhetoric itself is often undervalued within the rhetorical tradition because it appears too basic or less essential than the judicial or deliberative branches for in-depth study and analysis. Closer inspection of this branch reveals that epideictic rhetoric contains fundamental elements of human communication with the focus upon praise and blame and upon appropriate thought and behavior. In analyzing the medieval world’s heritage and knowledge of the Greco-Roman tradition, epideictic rhetoric’s role within the writings and lives of Greek and Roman philosophers, and the popular Christian writings of the medieval period – such as Alfred’s translation of Boethius’ Consolation of Philosophy, Alfred’s translation of Gregory the Great’s Pastoral Care, Ælfric’s Lives of Saints, Ælfric’s Catholic Homilies, Wulfstan’s Sermo Lupi ad Anglos, and the anonymously written Vercelli and Blickling homiles – an early medieval rhetoric begins to be revealed. This Old English rhetoric rests upon a blended epideictic structure based largely upon the encomium and vituperation formats of the ancient progymnasmata, with some additions from the chreia and commonplace exercises, to form a unique rhetoric of the soul that aimed to convert words into moral thought and action within the lives of every individual. Unlike its classical predecessors, medieval rhetoric did not argue, refute, or prove; it did not rely solely on either praise or blame; and it did not cultivate words merely for intellectual, educative, or political purposes. Instead, early medieval rhetoric placed the power of words in the hands of all humanity, inspiring every individual to greater discernment of character and reality, greater spirituality, greater morality, and greater pragmatism in daily life.