Originally presented as the author's thesis (doctoral-- Universität Heidelberg, 1989) / Includes index. Includes bibliographical references.

Ce travail de thèse est une contribution à l’étude de la comédie dorienne du Vème siècle av. J.-C. à travers l’analyse des textes de son représentant majeur, Epicharme de Syracuse. Les fragments authentiques qu’on peut attribuer à un drame spécifique sont examinés et chaque texte est suivi d’un commentaire détaillé de ses particularités linguistiques, dramaturgiques et de contenu. Le but de la recherche a été savoir comme Epicharme s’inscrivait dans le panorama culturel sicilien où il vécut, d’étudier son utilisation de la variation linguistique et de rechercher les spécificités de ses drames.Pour répondre à ces questions, il a fallu adopter une approche interdisciplinaire car il n’est pas possible d’aborder l’ensemble de ces thématiques dans la seule littérature grecque du Vème siècle. Une contribution essentielle à ce travail vient des études d’histoire de la langue grecque et de la dialectologie, qui ont permis de définir les particularités linguistiques du dialecte dorien de Syracuse et de souligner d’éventuelles différences présentes dans les textes du comédien. Dans le commentaire, en effet, la confrontation est continue entre la forme linguistique adoptée par Epicharme et la forme correspondante en dialecte ionien-attique. S’avère également importante la contribution de la sociolinguistique, une théorie qui donne son importance à l’influence exercée sur la langue par ceux qui la parlent. L’étude des textes d’Epicharme examine, en même temps, s’il existe des éléments linguistiques permettant de caractériser un personnage selon son statut social, sa provenance et son genre sexuel. Les résultats obtenus de l’étude linguistique et textuelle sont considérables.Epicharme met en scène des sujets mythologiques, historiques et des situations de la vie quotidienne, en mélangeant de la parodie et du travestissement. Surtout deux personnages, Héraclès et Ulysse, apparaissent souvent dans les drames d’Epicharme, où ils deviennent les protagonistes d’un certain nombre d’événements. Par ailleurs, la quantité et la longueur des listes et des catalogues dans les fragments d’Epicharme est également importante car ils répondent à des objectifs comiques. Il est probable, en outre que, au moins dans certains drames, un choeur comique était prévu, même s’il est difficile de déterminer combien de personnes le composaient et quelle était sa fonction. Du point de vue linguistique, les textes du comédien sont composés en dialecte dorien de Syracuse, bien que certaines expressions spécifiques d’autres dialectes apparaissent quelquefois. En outre, les fragments semblent parfois témoigner d’une variation synchronique en acte dans la langue parlée. En conclusion, la production comique d’Epicharme montre un notable caractère régional, qui découle que ce soit de son choix d’écrire en dialecte dorien comme des nombreuses références aux produits traditionnels et aux histoires locales. Toutefois, la langue et les arguments du poète sont largement influencés par l’environnement culturel et politique de la Sicile du V siècle av.-J.Ch. et montrent les relations entre le comédien de Syracuse et les auteurs contemporains, dont le plus important est Eschyle. / This thesis is a contribution to the study of the Dorian comedy of the 5th century BC. J. - C. through the analysis of the texts of its major representative, Epicharme of Syracuse. The authentic fragments that can be attributed to a specific drama are examined and each text is followed by a detailed commentary on its linguistic, dramaturgical and content features. The aim of the research was to know how Epicharme was part of the Sicilian cultural panorama where he lived, to study his use of linguistic variation and to search for the specificities of his dramas.To answer these questions, it was necessary to adopt an interdisciplinary approach because it is not possible to tackle all these themes in the only Greek literature of the fifth century. An essential contribution to this work comes from studies of the history of the Greek language and dialectology, which made it possible to define the linguistic peculiarities of the Dorian dialect of Syracuse and to highlight any differences present in the actor's texts. In the commentary, in fact, the confrontation is present between the linguistic form adopted by Epicharme and the corresponding form in the Ionian-Attic dialect. Equally important is the contribution of sociolinguistics, a theory that gives importance to the influence exerted on the language by those who speak it. The study of Epicharme's texts examines, at the same time, whether there are linguistic elements making it possible to characterize a character according to his social status, his origin and his sexual gender. The results obtained from the linguistic and textual study are considerable. Epicharme portrays mythological, historical and everyday situations, mixing parody and travesty. Especially two characters, Heracles and Ulysses, often appear in the dramas of Epicharme, where they become the protagonists of a number of events. Moreover, the quantity and length of lists and catalogs in Epicharme's fragments is also important because they serve comic purposes. It is likely that, at least in some dramas, a comic choir was planned, although it is difficult to determine how many people composed it and what its function was. From the linguistic point of view, the comedian's texts are composed in Syracuse's Dorian dialect, although some specific expressions of other dialects sometimes appear. In addition, the fragments sometimes seem to testify to a synchronic variation in action in the spoken language. In conclusion, the comic production of Epicharme shows a notable regional character, which follows that it is his choice to write in Dorian dialect as many references to traditional products and local stories. However, the language and arguments of the poet are largely influenced by the cultural and political environment of Sicily in the fifth century BC. and show the relations between the comedian of Syracuse and the contemporary authors, the most important of which is Aeschylus.

Proefschrift--Utrecht. / "Stellingen": [4] p. inserted. Bibliography: p. 109-111.

Proefschrift--Utrecht. / "Stellingen": [4] p. inserted. Bibliography: p. 109-111.

This diploma thesis examines the relationship between the Old Testament Saviour Samson and the ancient Greek hero Heracles. Their connection is firstly analysed from a literary point of view. The story of each hero is explored separately and, subsequently, common themes are compared. Furthermore, thesis addresses the historical context of the stories and deals with the history of their possible interaction. The aim of this thesis is to ascertain whether there is a connection between Samson and Heracles, and if so, what this connection is and to what extent we can observe it and trace it down.

This study analyzes the appearance of the myth of Heracles and the Nemean lion on a lekythos from the Uppsala University Museum Gustavianum collection in Uppsala. The lekythos is a small oil vessel generally associated with fifth century B.C. burials. Heracles and the Nemean lion’s commonly found depiction in this context is not obvious on a superficial level, requiring further analysis to answer the question how the motif can be related to the object’s specific context. To investigate the complex relationship between myth and object the study uses the theoretical approach of a myth’s depiction on object’s being highly relevant to how the myth is viewed and consumed, being determined by its context and observer. The thesis approaches the individual artifact through an iconographic analysis and analyzes additional black-figure lekythoi produced between 550–475 B.C. to establish a chronological context of progression in the motif. The study uses ancient literary sources to further establish a societal context. Through the analysis the examination can determine a probable date of the lekythos and a context surrounding its production. Furthermore, the study concludes that the relevance of Heracles is partly based on his relevance in society overall and his role as a figure representing the male ideal and immortality.

The Hylas myth, in which the eponymous boy beloved of Heracles is raped by water nymphs while drawing water from a spring, seems to have been a wildly popular subject among the literary circles of Augustan Rome. Indeed the rape of Hylas had been so ubiquitous that Virgil himself could claim that no one was unfamiliar with it (Georgics 3.6: cui non dictus Hylas puer?). Yet despite this declaration, few renditions of the Hylas myth survive. Propertius 1.20, an Augustan era Latin poem in elegiac couplets, is one extant version of the rape of Hylas. While the similarities between this poem and Theocritus Idyll 13, a short Hellenistic hexameter poem composed well before Propertius, have long been observed by modern scholars, there has been no sustained effort to connect these two accounts of the Hylas myth conclusively. Instead, what little scholarly work that has been done on these poems either appraises them in isolation, or seeks a non-Theocritean template behind Propertius 1.20. With this thesis, I aim to prove definitively that Theocritus Idyll 13 is the major model for Propertius 1.20. In my first chapter, I provide a brief overview of the rape of Hylas throughout all of Greek and Latin literature. In my second chapter, I examine Theocritus Idyll 13 with particular attention to its wit, humour, and narrative. In my third chapter, I offer a thorough literary-critical appreciation of Propertius 1.20, establishing links to Idyll 13 wherever possible. Finally, in my conclusion, I consider the possible influence of other poets and mythographers upon Propertius, before appraising 1.20 both independently and within the context of the Propertian Monobiblos. / Thesis / Master of Arts (MA) / The rape of Hylas is a minor event occurring during the famed expedition of the Argo. A handsome boy named Hylas, who is the beloved of the mighty hero Heracles, fetches water during a brief landing on their voyage to Phasis. As Hylas draws water from a spring, water nymphs abduct him. Heracles, now bereaved, rampages madly in futile search while the other Argonauts sail on without him. Such are the general details of the Hylas myth. This thesis examines two versions of the Hylas myth, the first by Theocritus, a third century BC Hellenistic poet, and the second by Propertius, a first century BC Roman poet. My objective is to prove definitively that these two accounts are connected, with Propertius having modelled his treatment on the rendition provided by Theocritus. This will be achieved through a thorough literary-critical appreciation, with particular focus on wit, humour, and narrative.

No description available.

Este trabalho pretende discutir de que forma a noção de heroísmo foi abordada nas Argonáuticas de Apolônio de Rodes em oposição ao conceito de herói presente nos poemas homéricos. A análise se baseará na distinção entre as personagens Jasão e Héracles como exemplos de modos de atuação díspares e conflitantes no poema. A tradução dos livros I e n das Argonáuticas complementa o estudo. / This work intends to discuss the notion of heroism present in Apollonius Rhodius\' Argonautica in opposition to the concept of hero in Homeric poems. The analysis is based on the distinction between the characters Jason and Heracles as examples of different and conflicting ways of action. The translation of Argonautica books I and n complements the study.

The aim of this essay is to explore the relation between actor and costume in the context of theatrical discourse and using as an axis Heracles’ lion skin. The word actor is used to denote the agent of theatrical/mimetic action while the word costume stresses the function and power of a theatrical costume. In the Introduction section the context of the research is being described. The methodological field is that of the recently explored theatrical discourse which derives from metatheatrical studies and is based on critical treatises on theatre. In the first chapter the importance of lion skin as a prominent costume for the articulation of theatrical discourse is being analyzed from different angles. In chapter two the metatheatrical use of Heracles’ lion skin is used as a base for the construction of theatrical discourse about the function of theatre in a dramatic text. In the following section, Heracles’ lion skin is used to describe actor’s relation to his tragic skeue and is also reconstructed anew as a pantomime costume indicative of the dynamics developed between performer and costume. In Libanius’ A Reply to Aristidis On Behalf of Dancers the emphasis on the transformative power of the costume is being discussed (chapter 4). In chapter 5 the emergence of lion skin in the debate around the relation between actor and costume constitutes the epilogue of a long-lasting debate on the dynamics of relation between actor and costume. / Σκοπός αυτής της εργασίας είναι να εξερευνήσει την σχέση μεταξύ ηθοποιού και κοστουμιού στο πλαίσιο του λόγου περί θεάτρου και χρησιμοποιώντας ως άξονα για τη συζήτηση αυτή την λεοντή του Ηρακλή. Η λέξη «ηθοποιός» χρησιμοποιείται για να δηλώσει τον υπεύθυνο της θεατρικής ή μιμητικής πράξης ενώ η λέξη «κουστούμι» χρησιμοποιείται για να δοθεί έμφαση στη λειτουργία και δύναμη ενός θεατρικού κουστουμιού. Στην εισαγωγή περιγράφεται το πλαίσιο της έρευνας. Το μεθοδολογικό πεδίο είναι αυτό του πρόσφατα μελετημένου λόγου περί θεάτρου ο οποίος προέρχεται από μελέτες για το μεταθέατρο και βασίζεται σε συγγράμματα που συζητούν το ρόλο του θεάτρου. Στο πρώτο κεφάλαιο διερευνάται από διάφορες οπτικές γωνίες η σημασία της λεοντής ως κατεξοχήν κοστουμιού για την άρθρωση του λογου περι θεάτρου. Στο κεφάλαιο δύο η μεταθεατρική χρήση της λεοντής του Ηρακλή χρησιμοποιείται ως βάση για την δημιουργία συζήτησης για τη λειτουργία του θεάτρου μέσα σε ένα δραματικό κείμενο. Στην επόμενη ενότητα, η λεοντή του Ηρακλή χρησιμοποιείται για να περιγραφεί η σχέση του ηθοποιού με την τραγική σκευή του και επιπλέον συνθέτεται εκ νέου ως κουστούμι της παντομίμας ενδεικτικό της δυναμικής σχέσης που αναπτύσσεται ανάμεσα στον καλλιτέχνη και το κουστούμι. Στο έργο του Λιβάνιου Απάντηση στον Αριστείδη Υπέρ των Ορχηστών συζητείται η έμφαση που δίνεται στην δύναμη του κουστουμιού να μεταμορφώνει αυτόν που το ενδύεται (κεφάλαιο 4). Στο κεφάλαιο 5 η επανεμφάνιση της λεοντής στη συζήτηση για τη σχέση του ηθοποιού με το κουστούμι συνιστά τον επίλογο μια μακραίωνης συζήτησης για τη δυναμική που αναπτύσσεται ανάμεσα στους δύο πιο σημαντικούς παράγοντες για την δημιουργία και τη λειτουργία του θεάτρου.