This thesis investigates how the foundational value of connection underlies all forms of heroism within the Homeric epics. It argues that the traditional values of honour and shame that inform heroic choices require the framework of connection to operate upon. Homer takes the foundational value of connection, and the secondary values of honour and shame and presents many forms of both complicated and uncomplicated heroism across two distinct mediums. The Iliad presents the reader with a variety of Iliadic heroes who operate within the medium of the battlefield, including Ajax as the uncomplicated form of Iliadic heroism and Achilles and Hektor as complicated forms of this heroism. The Odyssey showcases the evolution of Homeric heroism from the medium of the battlefield to the medium of the nostos, with Odysseus’ evolution across the poem paralleling the evolution of Homeric heroism. The foundational value of connection is what allows the values of honour/shame to have significance in Homeric society, and therefore by engaging with connection and then the honor/shame matrix, a hero was able to gain time which upon his death was converted into kleos by his connections. Odysseus serves as the focal point for multiple types of heroism as his characterization in the Iliad, while he operates within the parameters of the Iliadic hero, is proleptic of his evolution into the Odyssean hero in the Odyssey. / Thesis / Master of Arts (MA) / This thesis investigates how the foundational value of connection underlies all forms of heroism within the Homeric epics. It argues that the traditional values of honour and shame that inform heroic choices require the framework of connection to operate upon. Homer takes the foundational value of connection, and the secondary values of honour and shame and presents many forms of both complicated and uncomplicated heroism across two distinct mediums. I lay out the many varying forms of heroism through an examination of the various characters that embody them. There is a specific focus on the character of Odysseus as he operates within Iliadic heroism in the Iliad as well as he redefines heroism through his journey in the Odyssey, creating the form of Odyssean heroism.

Orientador: Fernando Brandão dos Santos / Orientador: Maria de Fátima Sousa e Silva / Banca: Susana Marques Pereira / Banca: Ricardo de Souza Nogueira / Banca: Filomena Yoshie Hirata / O programa de Pós-Graduação em Estudos Literários apresenta convênio acadêmico internacional visando à preparação de teses e dissertações e a dupla titulação / Resumo: Na primeira metade do século XX, E. R. Dodds não apenas estimulou novas perspectivas com o livro The Greeks and the irrational (1953), como tornou-se referência aos futuros estudiosos ao discutir o conceito de ἄτη na Ilíada. Extremamente complexo, o vocábulo ἄτη designa, em primeira instância, um estágio de cegueira do pensamento humano e, mais tarde, a própria desgraça consumada. Suzanne Saïd (1978), acrescenta que, posteriormente, na tragédia clássica, o conceito passaria a fazer referência a toda sorte de infortúnios. Foi R. Doyle (1984) quem fez a análise do conceito em todas as tragédias clássicas, apenas tentando estabelecer seus diferentes sentidos. Dessa forma, a presente tese tem por objetivo defender que o conceito de ἄτη, ao longo da tragédia clássica grega, no século V a.C., passa por mudanças, assumindo diferentes acepções de acordo com o contexto apresentado, podendo, inclusive, ter perdido seu sentido original, aquele que a épica e toda a literatura anterior registravam. Para além disso, ao estar unido a outros termos, o conceito de ἄτη ganha novos contornos e significados diferentes, o que impede que sua tradução seja fixada em um único campo semântico. Daí a proposta, também, de pontuar que sua tradução respeite o uso adequado feito em cada uma das tragédias por seus autores. Para tanto, a tese perpassa todas as tragédias clássicas de Ésquilo Sófocles e Eurípides em que o vocábulo está presente (vinte e oito), nas quais o termo indica mudança ou acréscimo de valor semântico, fato este que será fundamentado na análise da transformação de pensamento do homem grego que, ao longo do século V, passou por mudanças extremas, desde a fundação da democracia e a vitória contra os persas, até o fim da Guerra do Peloponeso, com a queda do poderio ateniense e o desenvolvimento do pensamento racional / Abstract: In the first half of the twentieth century, E. R. Dodds not only stimulated new perspectives through the book The Greeks and the irrational (1953), but also has become the benchmark for future scholars to discuss the concept of ἄτη in the Iliad. Extremely complex, the word ἄτη means in the first instance a blinding stage of human thought and, later, the very accomplished disgrace. Suzanne Saïd (1978) adds that later in classical tragedy, the concept would refer to all sorts of misfortunes. It was R. Doyle (1984) who analyzed the concept in all classical tragedies, just trying to establish its different meanings. Thus, this thesis aims to defend that the concept of ἄτη, along the classical Greek tragedy in the fifth century BC, undergoes changes, assuming different meanings according to the context presented, and may even have lost its original meaning, that the epic and all previous literature recorded. In addition, being united with other terms, the concept of ἄτη achieves new contours and different meanings, which prevents its translation to be fixed at a single semantic field. Hence the proposal, also, to point out that the translation respects the proper use made in each of the tragedies by their authors. Therefore, the argument permeates all the classic tragedies of Aeschylus, Sophocles and Euripides in which the word is present (twenty-eight), in which the term indicates change or addition of semantic value, a fact that will be based on the analysis of the transformation of thought of the Greek man, along the fifth century, underwent extreme changes from the foundation of democracy and the victory against the Persians, until the end of the Peloponnesian War, the fall of the Athenian power and the development of rational thought / Doutor

No description available.

Scholarship on Strabo’s Geography has long noticed that the procedure adopted by the author in his account of India is inconsistent with the method he follows elsewhere (Puskás 1993). On the one hand, it has been argued that, while describing the subcontinent, the author quotes so extensively from his sources that he allows practically no space for his own reasoning. Such a writing strategy is unlike the practice he normally adopts (Dueck 2000:180-6). On the other hand, after stressing that the geographical writing may only draw on reliable sources and that the reports on India are unreliable (Geography, 2.1.9 C 70), Strabo writes his own account on the subcontinent by drawing on authors he deemed untrustworthy (Geography, 15.1.1-73 C 685-720). This procedure clearly shifts from the method he follows across his work. However, very few studies have been dedicated exclusively to the matter and this thesis proposes to fill the lacuna. In fact, within Strabonian studies, one trend has tended to analyse individual regions described in Geography (Andreotti 1999), while another has examined themes permeating the book (Clarke 2001 and Engels 1998). The description of India has been widely used to reconstruct relevant aspects of ancient history (Karttunen 1997 and Parker 2008). However, little attention has been paid to the author’s conception of India, which will be the main focus of this thesis. By analysing what Strabo selected from his sources and by considering a network of concepts pervading his work, we will see that apparent inconsistencies serve a number of purposes. In Chapter 1, it will be argued that the inclusion or omission of a given detail related to India was relevant for the political agenda underlying the text. In view of the literature produced at the time and the data made available today by the archaeological research on Indo-Roman trade, Strabo’s account shares the ideology underlying the Res Gestae Divi Augusti. Yet, at times, his text lies between a panegyric and a satire of the Roman Empire. Chapter 2 will show that the author creates an image of India that served to support the aforementioned political agenda. By portraying native kings in association with luxury and corruption, the text refers to traditional Greek conception of the East and this has a bearing on the depiction of the Roman Empire. In Chapter 3, we will see that Strabo’s description addresses ethical questions that were left unsolved by Greek philosophical schools at the time, namely, education for women and the relationship between the philosophical way of life and political compromise. Within this setting of philosophical reflection, the text provides a sound set of moral illustrations, exempla, complete with brief autobiographical remarks.

Orientador: Maria Celeste Consolin Dezotti / Resumo: A ilusão dramática na comédia grega antiga possui interessantes peculiaridades quanto a seus mecanismos de construção da ficção teatral. Por vezes, o pacto que valida as convenções entre palco e platéia é evidenciado. Sabendo dessa característica, analisaremos a comédia grega antiga Acarnenses, de Aristófanes, levada à cena em 425 a. C., partindo da investigação das marcas lingüísticas que podem denotar a ruptura da ilusão. Para tal, faz-se necessário avaliar a estrutura enunciativa e definir quais são os enunciadores e os enunciatários do discurso: é necessário avaliar se o enunciado é proferido pela personagem ou pelo ator e qual é o destinatário da enunciação e, desta forma, notar se essa fala compõe-se dentro da ilusão, se for proferida pela personagem, ou se rompe a ilusão ao evidenciar a presença de um ator ou dos mecanismos teatrais. Acontece que em princípio essas falas se integram à estrutura narrativa do texto, considerando-se que se trata de falas proferidas por personagens. Mas, quando se dá a ruptura da ilusão dramática, a fala que registra essa ruptura promove, ao mesmo tempo, uma suspensão momentânea na seqüência narrativa. A confusão de identidade entre os enunciadores causa o embaralhamento entre efeito de real e efeito teatral, evidenciando a existência da dupla enunciação teatral. Avaliaremos a estrutura enunciativa da peça sem perder de vista que se trata de uma obra de ficção e, portanto, Aristófanes, ao evidenciar a presença dos mecanismos cênicos, na obra verdade, os inclui no corpo ficcional da comédia. Assim, as rupturas de ilusão, previstas pelo comediógrafo na composição da peça e esperadas pelo público das comédias do quinto século antes de Cristo, tornam-se parte integrante do gênero e, por isso, também são signos de teatro e em nenhum momento o processo semântico é suspenso. / Abstract: The dramatic illusion in ancient Greek comedy presents some interesting peculiarities concerning the mechanism of its theatrical fiction construction. The pact which validates the conventions established between the stage and the audience is sometimes evidence. Taking into consideration this characteristic, we analyze the ancient Greek comedy Acharnians, by Aristophanes, staged in 425 BC, investigating the linguistic traces that may show the define which are the "subjects of the énonciation" and the "subjects of the énoncé": it is necessary to exam if it is the ènoncé is uttered by the character or by the actor and who is the adressee of the énonciation and this way to note is this speech is made up within this illusin if it is uttered by the character or if it disrupts this illusion by presence of na actor or of the theatrical mechanisms. At first, those speeches are integrated in the narrative structure of the text, once they are speeches uttered by characters. But when the suspension of disbelief is broken, the speech, bearing this rupture creates at the subjects of the énonciation and the énoncé provokes the muddle between the effect of the real and the theatrical effect, showing the existence of a double theatrical énonciation. We exam the énonciation structure of the play considering we are working with a work of fiction. Thus, when Aristophanes shows the presence of the scenic mechanisms, he does so including them in the fictional body of the comedy. In this way, the disruption of illusion foreseen by the playwright in the composition of the play and expected by the 5th century BC audience, which were used to see comedies, become a vital part of the genre and therefore they are theatrical signs and in instance the semantic process is suspended. / Mestre

Inaug.-diss.-Tübingen.

No description available.

The opinion of W. H. S. Jones that Oribasius is 'an author that nobody wishes to read through' is probably coincident with the view of most Classicists who have ever read the Medical Compilations to judge from the almost total neglect Oribasius has suffered. Translations of the whole work have appeared only in Latin and French. This thesis is an attempt to redress this injustice, and the commentary is designed to indicate Oribasius' source for each quotation or paraphrase, assess the accuracy and comprehensibility of the contents, and discover the reasons behind the recommendations and rejections of certain cakes, breads, fruits, and vegetables, the emphasis being on ancient food and diet rather than medicine and philosophy. Books 1 and 4 are linked by their common themes of grains and breads, and thus have been chosen for examination. With the absence of any modern work on ancient Greek cuisine, and with the fullest accounts of Roman cooking often lacking in detail or accuracy, particular care has been taken to supply as full a set of references as possible which will perhaps prove useful for further study. The text on which the commentary is based is that prepared with great thoroughness and accuracy in 1928 by J. Raeder with some small changes. The translation, the first into English, offers no claims at elegance, but is there merely to assist with the reading of the Greek text. The thesis ends with both an index listing according to the forms in which they appear all the words in Books 1 and 4, with the exception of some common particles, and also a general index.

Thesis (Ph. D.)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 198-204).

Zugl.: Kassel, Univ., Diss., 2006