Thesis (B.A.)--Haverford College Dept. of Classics, 1992. / Includes bibliographical references.

Habilitationsschrift -- Eberhard-Karls-Universität Tübingen, 1994. / Includes bibliographical references (p. [298]-310) and index.

Thesis (Ph. D.)--Universität Freiburg (Germany), 1994. / Includes bibliographical references (p. [251]-269) and indexes.

No description available.

O objetivo deste trabalho é apresentar uma tradução e um comentário textual à 13ª Olímpica de Píndaro, com base nas mais recentes edições e trabalhos críticos acerca do poeta e do gênero desse poema, o epinício. Também foi composto um ensaio interpretativo que tenta abarcar os temas mais importantes da ode e relacioná-los com o todo da obra de Píndaro. As imagens do poema desenvolvem a contraposição entre medida e excesso, representada tanto nas referências mitológicas (Têmis e as Horas contra a Soberba e Insolência; Belerofonte encilhando Pégaso) quanto nas reflexões da primeira pessoa (que não deve exceder-se no elogio para não errar o alvo, assim como um arqueiro disparando suas flechas; nem deve tentar relatar todas as vitórias da família, pois são tão numerosas quanto os grãos de areia etc.). Em anexo, há a tradução dos escólios relativos a essa ode para permitir a consulta direta a essa fonte, que não se acha traduzida. / The objective of this study is to present a translation and a textual commentary of Pindar\'s Olympian 13, based on the most recent editions and critical works about the poet and the genre of this poem, the epinician. An interpretative essay was composed in order to cover the most important themes of this ode and articulate them with Pindar\'s other works. The poetical imagens of the poem develop the central theme, the opposition between measure and excess, represented by the mithological references (Themis and the Hours against the Excess and the Satiety; Bellerophon taming Pegasus etc.) and by the first-person\'s reflections on the laudatory art (the first-person should not exceed in praise in order to not miss the target, as an archer with his arrows; nor should try to enumerate all the victories of this family, for they are greater than the grains of sand from the sea). There is a translation of the scholia to this ode attached, allowing direct consultation, once there is no other version of this text.

M.A. / A study is conducted into the roles of women living in the late Byzantine period between the 6th Century to 1453, using demotic or ‘popular’ poetry which can be quite significant in shedding some light into Byzantine history and society. An in depth analysis of these songs is carried out and compared to valid historical texts in order to create a proper account on history. Some questions that will be examined are as follows: How did women fit into society? What was their expected role? Did they ever go beyond their conventional role? Were they treated differently at different stages or circumstances in their life? Do the clues that are found in these songs correspond to the previously written historical texts that were predominantly written by men? It is no secret that, women portrayed in historical texts which refer to that period, were subjugated to the men in their lives and had very different roles to their partners, fathers, or brothers. Using demotic poetry, one is able to understand the voice of common folk and their worldview, thereby collecting accounts of the society’s ideas and ideals at grassroots level. A collection of about 20 songs has been gathered for this study and each song has been analysed in detail alone and in its contexts. It is tremendously interesting to discover how important women were in their society and how they often seem to have influenced men’s behaviour indirectly.

This dissertation is about how dominant identity is constructed through the centering and incorporation of marginal and subaltern subjectivities in Ancient Greek thought, with some preliminary consideration of the Classical Age but chiefly devoted to a study of Hellenistic poetic aesthetics at Ptolemaic Alexandria. The thesis argues ultimately for a specifically Queer and Afrocentric reading of the ArgonautikaI use postcolonial methods, tactics, and strategies to theorize the genealogical intersection(s) of gender and race, and explore the ancient roots of racism. I am indebted in my work to Critical Race Theory, Gender and Queer Theory, Intersectionality Theory and Decolonial Studies. Guided by the millennial discourses of the Coloniality of power and the contributions of Aníbal Quijano and his intellectual heirs to critical thought and theory—positing the fundamental and central functions of epistemological thought, knowledge-production and the control and regulation of knowledge within oppressive social orders as specifically and particularly interrelated practices in the European colonialism of Modernity, and enabling us to deconstruct out of our contemporary knowledge and social practices the oppressive consequences in Modernity as a result of the aftermath of Old World regimes in the New World—the argument throughout this dissertation subjects monuments of Classical Greek literature to an analysis that traces loosely a genealogy of how ideology and identity were constructed and fabricated in imperial contexts in the aftermath of the Greco-Persian Wars, during which time Hellenic peoples were first exposed to Empire, and some great portions of the Greek-speaking world came under the dominion of the Achaemenid imperial regime. In a manner of speaking, this dissertation deconstructs the intersections of identity, including gender (and ethnicity) and “race”, at pivotal moments in the history of Greek Antiquity. Principal test-cases for this study analyze monumental texts produced in societies under the hegemony of “democratic” imperial authority at Athens in the 5th Century BCE and Ptolemaic Egypt in the 3rd Century, in the aftermath of Alexander’s conquests. This dissertation explores how the control and regulation of racialized and ethnic marginalities and subalternities is critical to civic and political structures in the Classical Age, as well as how the interrelated concept of the gendered other, in artistic expressions of knowledge and authority—high literary monuments—functioned critically to reify and justify imperial and colonial practices in the Ancient Greek World. Chapter 1 consists primarily of readings of the Wesir-Heru (“Osiris-Horus”) dynastic succession myth from Egypt in representations of kingship and dynastic succession particularly in Africa and African spaces in the texts of Pindar, Herodotos, and Aiskhylos, including an exploration of the what at the instigation of Jackie Murry I call the Imagistic Poetics of Pindar and Aiskhylos in comparative consideration of Egyptian symbolic literary culture, including even the mdw-ntjr (“hieroglyphs”), and an especially instructive close reading of the center of the Agamemnon. To support my readings of Aiskhylos’ interactions with Egypt and Egyptian thought, I also consider how Aiskhylos interacted with the legacy of the Danaid myth. Situated in their proper historical contexts these readings demonstrate that during the height of the Achaemenid Empire in the Mediterranean World, which coincides incidentally with what we call the Greek Classical Age, Hellenism and Africanism were not mutually exclusive. In fact, as we see early in Chapter 1 with Pindar, Africanism is coextensive with Panhellenism. Furthermore, and critically, as part of my readings of gender as racialized—i.e., constructed under the Ancient Greek linguistic paradigms that govern “racial” otherness (genos)—I show that Blackness, beyond representing masculinity and the male body in the Greek artistic and visual imagination, is separable notionally in the Ancient Greek imagination, and in critical contrast to the modern and contemporary situation, from Africanism. In order to perform this work, I call upon archaeology and material evidence to render a more coherent picture of the networks of culture accessible in the micro- and macro-regions of an interconnected and transnational Ancient Mediterranean. In Appendixes to Chapter 1, I also provide brief readings of intertextuality in the Hellenistic reception at Alexandria of Classical Greek interactions with Egypt, Libya, and the African cultural past and show the embeddedness of that interaction in literary encounters especially, a fact evident from the Classical Greek texts. Chapter 2 explores the Hellenistic origins of Afro-Greek subjectivity in the literary record with Theokritos at Alexandria. I explore “race” in the West and the formation of Greek ethnicity in the East as a “kairological” artistic and poetic projection that exposes of the roots of 3rd-century universalist and globalist Ptolemaic imperial ideology. I also explore Space and identity, the social imaginary, and consequent(ial)ly the gendering of space in the poetry of Poseidippos. In my readings, we see texts engaged intimately with discourses about Sovereignty, and implicitly with the history of Rome and Qrt-ḥdšt (“Carthage”). Chapters 3 and 4 function as a pair or couple. After a full historical and social contextualization of Ptolemaic Alexandria in the Hellenistic Age of the 3rd Century BCE, as well as an exploration of an inclusive range of Queer (including “LGBTQ+”) subjectivities in Alexandrian poetry in Chapter 3, in Chapter 4 I argue that in the Argonautika of Apollonios Rhodios Medeia represents a Queer woman who endures systematic heteronormative and patriarchal oppression, or heterosexism. This opens up Book 4 of the Argonautika for fertile close readings of the inclusive and all-encompassing aesthetics that constitute Hellenistic poetry, including authentically Kemetic (“Egyptian”) voices. The Epilogue provides a roadmap for applying these analytic tools to the Latin Literature of Rome.

No description available.

The name ‘Simonides’ has long been associated with the Persian Wars. More specifically, Simonides is famous in large part because of his commemoration of the Persian War dead in the form of epigrams. The purpose of this paper is to investigate a set of four of the most famous and most distinctively ‘Simonidean’ poems to the end of delineating their stylistic deviations from conventional epitaphic speech. This paper argues that the specific ways in which Simonides departs from the conventions of epigrammatic language serve to convey a distinctively democratic ethos. This ethos is clear in that Simonides’ epigrams privilege the mass efforts of the collective, and do not praise any particular individuals over another. Moreover, that these poems do not include the sort of identifying details that we would normally expect to find in epigrams anticipates a readership that is uniformly knowledgeable about the events of the Persian Wars. This represents another facet of the egalitarian ethos evident in this group of epigrams, as Simonides treats his readers as equally aware of the events of the Persian Wars. Thus, Simonides assumes a unified, panhellenic identity that characterizes both the subjects of his poems as well as his readers: they are all part of the same entity that defeated the Persians. Simultaneously, however, Simonides, or at the very least, the Simonidean name, achieves his own kleos as an individual poet through his distinctive commemorations of the Persian War dead. With these poems comes the emergence of a Simonidean poetic persona that renders the poet’s voice unique because of the way in which Simonides diverges from epigrammatic convention. The allotment of immortal kleos both to the anonymous, undifferentiated masses of Persian War dead and to the name ‘Simonides’ reflects two distinctive ideologies, the latter archaic and the former classical. My reading of these epigrams thus demonstrates how the commemoration of the Persian Wars is poised between two different eras and two different ideologies. / text

This thesis offers a detailed examination of the representation of topos, or homeland, in the poetry of George Seferis from an interdisciplinary perspective. It argues that Seferis’ poetry is a response to loss, and in particular the loss of a homeland in Asia Minor. The argument is divided into two parts. The first, entitled “Crisis and Response,” deals with Seferis’ personal biography and the subject of loss, while the second, “Allegories of Topos,” treats three distinct themes that illustrate and allegorize Seferis’ poetics of topos: dystopia, historical poetics, and the poet’s interpretation of Homer. A concluding chapter examines Seferis’ Cyprus poems and the similarities between Cyprus and Asia Minor. Ultimately, this study sheds new light on one of twentieth century Greece’s most iconic modernist poets by presenting a new, place-based reading that illuminates the relationship between nationalism and personal topography.<p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished