The idea of corruption travels down and supports this thesis. It stands as one of the principal stakes of the Homeric Quarrel. By analysing it, we may deepen our understanding of the value the famous hellenist Anne Dacier placed on the heritage of the Anciens and its reception by the Moderns; we may also better understand in which ways her engagement in polemics belonged to her times. Anne Dacier was less an apologist of Homer than a polemist who attacked the corrupted taste of her contemporaries. She feared for them, but above all, she feared for the Homeric text. She had done her best in her translation to preserve the poem while Houdar de la Motte, her adversary thought that an adaptation would suit the public better. Mme Dacier presented herself as the guardian of tradition and its purity; nonetheless, to achieve her goal, she had to compromise with her opponents and speak their corrupted language.

The aim of this dissertation was to investigate the representation of specific types of animals as they occurred in Homer and archaic Attic black figure vase painting with a view to understanding bow they were most likely perceived in antiquity. This involved determining the underlying concepts around which each animal was constructed by comparing and contrasting the imagery presented in the Homeric works and archaic Attic black figure vase painting. The primary objective was to suspend modern and westernized conceptions and to attempt to approach the animal as from an ancient perspective. The Homeric works were chosen as representative of the literary evidence since these poems offer the most complete, oldest extant literature and are the result of a dynamic and continuous oral tradition. Similarly, archaic Attic black figure vase painting was considered the most suitable corpus of artistic evidence since the 6th century BC was a time when the artists actively engaged with and manipulated their themes and subject matter within an established tradition; this artistic fabric presents a parallel with the Homeric evidence. As a result of this investigation, clear and discrete concepts and images were determined for each animal. / Thesis (M.A.)-University of Natal, Durban, 2000.

Orientador: Flavio Ribeiro de Oliveira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-06T06:02:07Z (GMT). No. of bitstreams: 1 Auto_JoaoMiguelMoreira_M.pdf: 1114854 bytes, checksum: 1ccb41208967907a0af1e0f5025c6754 (MD5) Previous issue date: 2006 / Resumo: O corpo humano (sôma) não é, em Homero, exatamente o mesmo que ¿corpo¿ tal como encontramo-lo em Platão ou em textos modernos, mas é sabido que lá ele é entendido como ¿cadáver¿. Da mesma forma, também a alma (psykhé) homérica não é exatamente um ¿sopro vital¿, como tem sido afirmado por alguns especialistas, mas é preciso compreendê-la em sua relação com a morte como um duplo fantasmático do defunto e, pois, como uma mímesis atenuada da vida (e não como um princípio vital propriamente dito). Assim, ela não é uma parte do ser humano como o thymós, o nóos ou as phrénes, mas uma cópia do homem como um todo. O objetivo desse trabalho é provar que é falsa a opinião de Snell segundo a qual a alma homérica não tem unidade. Com efeito, ele afirma que a alma como unidade de consciência do homem (da qual depende todo e qualquer ato responsável) surgiu concomitantemente à filosofia; entretanto, é mais fácil de acreditar que, pelo contrário, o método analítico dos filósofos leva a uma visão mais fragmentária do ser humano e de sua consciência. A ausência notável de palavras para designar o ¿corpo¿ stricto sensu, e o análogo excesso de palavras para ¿alma¿ (do qual resulta uma certa variedade de sutis diferenças de significado) não implicam em que não existisse, na épica grega, uma unidade de sentido para tais noções, uma vez que podemos admitir que elas se encontravam incluídas na noção simples de ¿homem¿ (ánthropos), a qual as açambarcava em uma só unidade. Esse é, por excelência, o objeto do gênero épico, isso é, os grandes e inesquecíveis guerreiros do passado - todos eles, naturalmente, homens. Eis, portanto, quem, justamente, foi Aquiles: um homem consciente de seu destino de morte (Moîra), responsável por seus atos e, nesse sentido, um herói / Abstract: The human body (sôma) in Homer is not exactly a ¿body¿ in the sense Plato or our modern texts give to this word; we know it means ¿corpse¿ rather than ¿body¿. In the same way, Homer¿s soul (psykhé) is not exactly a ¿breath of life¿ as some specialists have affirmed, but it must be considered in relation to death, like a spectral replica of the dead man, and so a weak imitation of life (not properly a principle of life). It is not a part of the human being like thymós, nóos, phrénes, etc, but an entire copy of him. The object of this work is to disprove Snell¿s opinion that the Homeric soul has no unity. Although Snell affirmed the soul as unity of human consciousness (on which depends any kind of responsible act) appeared at the time of Philosophic practices, it is easier to believe the philosopher¿s analytic method has conducted to a more fragmentary vision of the human being and his consciousness. The notable absence of words for ¿body¿, stricto sensu, and the analog excess of words for ¿soul¿ (with a variety of tenuous differences of sense) do not imply that there was no unity for such notions in the Greek epic. We can assume they were comprehended in the simple notion of ¿man¿ (ánthropos), which unified them. The actual object of the epic genre is the great and unbelievable warriors of the past and, of course, all were men. Achilles was nothing but this: a man aware of his mortal destiny (Moîra), responsible for his acts and thus a hero / Mestrado / Mestre em Linguística

This thesis raises and explores questions concerning the popularity of the Homeric poems in ancient Greece. It asks why the Iliad and Odyssey held such continuing appeal among the Greeks of the Archaic and Classical age. Cultural products such as poetry cannot be separated from the sociopolitical conditions in which and for which they were originally composed and received. Working on the basis that the extent of Homer’s appeal was inspired and sustained by the peculiar and determining historical circumstances, I set out to explore the relation of the social, political and ethical conditions and values of Archaic and Classical Greece to those portrayed in the Homeric poems. The Greeks, at the time during which Homer was composing his poems, had begun to establish a new form of social organisation: the polis. By examining historical, literary and philosophical texts from the Archaic and Classical age, I explore the manner in which Greek society attempted to reorganise and reconstitute itself in a different way, developing original modes of social and political activity which the new needs and goals of their new social reality demanded. I then turn to examine Homer’s treatment of and response to this social context, and explore the various ways in which Homer was able to reinterpret and reinvent the inherited stories of adventure and warfare in order to compose poetry that not only looks back to the highly centralised and bureaucratic society of the Mycenaean world, but also looks forward, insistently so, to the urban reality of the present. I argue that Homer’s conflation of a remembered mythical age with the contemporary conditions and values of Archaic and Classical Greece aroused in his audiences a new perception and understanding of human existence in the altered sociopolitical conditions of the polis and, in so doing, ultimately contributed to the development of new ideas on the manner in which the Greeks could best live together in their new social world.

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