For a long time, Roman ideal sculptures have primarily been studied within the tradition of Kopienkritik. Owing to some of the theoretical assumptions tied to this practice, several important aspects of Roman visual culture have been neglected as the overall aim of such research has been to gain new knowledge regarding assumed Classical and Hellenistic models. This thesis is a collection of three studies on Roman ideal sculpture. The articles share three general aims: 1. To show that the practice of Kopienkritik has, so far, not produced convincing interpretations of the sculpture types and motifs discussed. 2. To show that aspects of the methodology tied to the practice of Kopienkritik (thorough examination and comparison of physical forms in sculptures) can, and should, be used to gain insights other than those concerning hypothetical Classical and Hellenistic model images. 3. To present new interpretations of the sculpture types and motifs studied, interpretations which emphasize their role and importance within Roman visual culture. The first article shows that reputed, post-Antique restorations may have an unexpected—and unwanted—impact on the study of ancient sculptures. This is examined by tracing the impact that a restored motif ("Satyrs with cymbals") has had on the study of an ancient sculpture type: the satyr ascribed to the two-figure group "The invitation to the dance". The second article presents and interprets a sculpture type which had previously gone unnoticed—The satyrs of "The Palazzo Massimo-type". The type is interpreted as a variant of "The Marsyas in the forum", a motif that was well known within the Roman cultural context. The third article examines how, and why, two motifs known from Classical models were changed in an eclectic fashion once they had been incorporated into Roman visual culture. The motifs concerned are kalathiskos dancers, which were transformed into Victoriae, and pyrrhic dancers, which were also reinterpreted as mythological figures—the curetes. / <p>At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Accepted. Paper 3: Accepted.</p>

Over the eighteenth century, ancient history was increasingly read in English, appearing in new forms and interpretations. This reflected the development of history in universities as a subject not merely read, but taught. This teaching took on many forms: serving as a predecessor to other studies, building a knowledge base of case studies for 'higher' subjects, or (increasingly) an independent subject. What ancient history was taught, how was it taught, why was it taught, and what did students go on to use it for? Ancient history as an independent subject had a limited role in the curriculum despite the foundation of Chairs of History in most universities. When it was taught as such, the focus was on explaining modern institutions via ancient comparisons; on the training of statesmen by classical examples; or, more rarely, on demonstrating a particular conception of social development. These uses of history could be seen across both national and subject boundaries. Whilst differences between universities are evident, evidence in the teaching of history suggests the absolute dichotomy between the English and Scottish systems has been overstated. The interesting case of Trinity College Dublin suggests common features across Britain in how 'liberal education' was conceived of and how history fit into it. The practical application of ancient history to the education of statesmen may be seen in the variety of ways it was used in political discourse. This is explored mainly in Parliament, the ultimate destination of the "statesmen" in whose training history was supposed to play a large part, via debates over questions of empire and imperial rights in the second half of the eighteenth century. Superior knowledge of ancient history constituted a rhetorical claim to the twin statuses of gentleman, being classically-educated, and statesman - showing understanding of historical context and precedent.

This thesis examines the differences regarding thereception between American and Swedish reviews of the Swedish film, The Square (2017, Ruben Östlund). It explores whether or not their differences and similarities reflect different cultural contexts. By analyzing twelve reviews, six from each country, and using a qualitative analysis and reception studies as a theoretical foundation, the thesis have looked at what impacts our cultural understanding of a film like The Square. Janet Staiger’s theories on different type of readers (such as coherent readers, ideal readers, misreaders and competent readers) have also been brought to discussion. Furthermore, four themes have been identified as constantly present throughout the reviews, and they are: modern times, political correctness, the art world, and the disconnection from others. I have compared these themes with each other in order to approach the differences and similarities between the reviews in both countries. The conclusion is that the reviews differ due to what type of reader the reviewers are, and if they are willing to go beyond their cultural framework to try to understand the cultural context, displayed in the film. The thesis is also written from a post-structural perspective, awknowleding how each interpretation says something essential about the themes in the film

In the light of recent changes on the audiovisual scene in Poland, audiences can choose among different AVT modalities. Although voice-over still prevails on Polish TV, subtitles have become more and more popular as an alternative form of film translation on television. Due to rapid technological advances, commercial requirements and differences in Polish viewers’ preferences, it is thus crucial to understand how audiences at different levels of English proficiency (low, medium, high) retrieve meaning, especially complex ironic meaning relayed through different methods of film translation, such as subtitles and voice-over and the extent to which verbal and non-verbal semiotic channels contribute to irony comprehension. Wilson and Sperber’s (1981, 1992; 1995) echoic theory of irony has been selected as the theoretical framework, given its ability to account for multimodal irony in audiovisual texts as well as the significant importance of non-verbal semiotic resources in the generation and interpretation of irony. The study employs triangulation, incorporating descriptive, experimental and interactionist components. The descriptive component involves multimodal transcription (Baldry and Thibault, 2006) of selected fragments in which irony plays a pivotal narrative role. This procedure aims to determine what non-verbal modes contribute to the multimodal construal of irony and how it is relayed in the subtitled and voiced-over translations. In the experimental component, viewers’ eye movements are recorded using eye-tracking technology while watching subtitled and voiced-over fragments of Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011). In the interactionist components, a questionnaire is used in order to elucidate how and/or whether they retrieve ironic meaning as intended by the filmmakers in the selected excerpts. The most obvious finding to emerge from the descriptive data analysis is that multimodal irony is not relayed by the film dialogue alone but, rather, in unison with non-verbal semiotic resources. The instances of multimodal irony in the two Sherlock Holmes films were found to perform narrative and comedic functions by combining the visual, kinesic and acoustic modes of film language. The analysis and comparison of SL dialogues and TL translations revealed two broad categories of irony relay, namely: preservation and modification. The majority of the instances of multimodal irony were modified in the subtitled version, while preservation is only sporadically opted for. In its voiced-over counterpart, the intended meaning is preserved and modified in equal proportions. The experimental component showed major differences in gaze patterns among the participants with different language skills in the subtitled clips. For instance, on average, LLPs spent more time reading the subtitles than HLPs or MLPs. Similar visual behavior, on the other hand, was observed among all viewers in the voiced-over clips in which the on-screen character’s face attracted the greatest amount of visual attention. The interactionist strand showed that the viewers retrieved the intended meaning to various extents depending on their English language proficiency. This data undergirds an assessment of the effectiveness of subtitles and voice-over in the translation and reception of multimodal irony on screen.

Esta tese tem como objetivo compreender de que modo o gênero melodrama – nas suas atualizações através da (tele)novela, do bumba-meu-boi e das práticas sócio-comunicativas familiares - se constitui numa matriz cultural para a identidade de uma família de classe popular. Trabalha-se com três gerações de uma família maranhense buscando identificar os usos, consumo e recepção de tele (novela), assim como outras práticas midiáticas e sócio-comunicativas através do tempo. A observação inicial do campo conduziu à hipótese de que o melodrama constitui matriz privilegiada para o entendimento da(s) identidade(s) familiar (es) em razão do intenso trânsito e intercâmbio de valores existentes na (tele) novela e em diversas expressões da cultura popular. Assim, discutem-se aspectos históricos e conceituais do melodrama e suas conexões com a telenovela e o bumba-meu-boi; discorre-se sobre diversas matrizes culturais do melodrama articuladas à produção e disseminadas por esses dois formatos narrativos; refletese o conceito de identidade a partir de diferentes perspectivas. No que concerne à questão metodológica, delinea-se um referencial que contempla tanto a reflexão teórica quanto a pesquisa metódica, de modo a optar pelo método da história oral a partir da técnica história de família. Para tanto foram realizadas entrevistas do tipo semiestruturada e entrevista em profundidade além do questionário e de observações etnográficas. Entre os principais resultados destacam-se: a família possui um repertório simbólico compartilhado, que se reconhece e se percebe também nos discursos midiáticos - de modo especial naqueles de matriz melodramática, entretanto, dispõe de outros saberes e de outras referências culturais não midiáticas para pensar e construir suas percepções de mundo e constituírem-se continuamente, desde diferentes gerações e a partir de identidades familiares. Tais identidades se caracterizam, sobretudo pelo sentimento de pertencimento quer da própria linhagem, quer da cidade ou do bairro em que vivenciam sua sociabilidade; e também pela forte relação entre a fé e o lúdico vivenciados nos modos de expressarem sua religiosidade e festividades. A investigação corrobora que as diversas aplicações do estudo dessa família permitem levantar hipóteses sobre outros fenômenos similares. / This thesis aims at understanding in what way the melodrama genre – in its updates through (tele)novela, the folk theatrical tradition bumba-meu-boi and the familiar socio-communicative practices – constitutes itself in a cultural matrix to the identity of a popular class family. We work with three generations of a family from Maranhão seeking to identify the uses, consumption and reception on tele (novela), as well as other socio-communicative and media practices throughout time. The primary observation of the field lead to the hypothesis that melodrama constitutes privileged matrix to the understanding of family(ies) identity (ies) because of the intense traffic and exchange of values that exist in tele (novela) and in a diversity of popular culture expressions. Therefore, we discuss historical and conceptual aspects of melodrama and its connections with telenovela and bumba-meu-boi; we debate about the various cultural matrixes of melodrama articulated to the production and disseminated by these two narrative formats; we reflect upon the concept of identity from different perspectives. In regard of the methodological issue, we outline a framework that contemplates both the theoretical reflection and the methodical research, choosing the method of oral history based on the technique of family history. For that, semi-structured and in-depth interviews were conducted, besides questionnaire and ethnographic observations. Among the main results, we point out: the family possesses a shared symbolic repertoire that recognizes and is aware of itself in media discourses – particularly in the ones of melodramatic matrix, however it has other knowledges and cultural references that don’t pertain to the media to reflect upon and build its perceptions of the world and continuously constitute itself, in different generations and based on family identities. Such identities are characterized, mainly, by the feeling of belonging to their own lineage, to a city or a neighborhood where they experience their sociability; and also by the strong relation between faith and ludic experienced in the ways their religiosity and festivities are expressed. The investigation corroborates that various applications of this family allows the bringing up of hypothesis concerning similar phenomena.

Flann Mainistrech (active c. 1014 to 1056) is well-attested in medieval and post-medieval Gaelic manuscripts and in early printed works on Irish history as an authority on history and literary tradition. He appears to have been an ecclesiastical scholar, based at Monasterboice (modern Co. Louth, Ireland), but potentially operating within wider ecclesiastical and political networks. Almost fifty texts or fragments of texts, mostly poems, are at some point attributed to him. Their subject-matter includes the regnal history of early medieval Irish kingdoms, legendary material on Ireland and the Gaels’ more distant past, universal and classical history, hagiography, and genealogical traditions. In addition, various sources are extant that concern Flann Mainistrech as a character. Most imply that he was considered a pre-eminent authority; some go further and provide impressionistic sketches of his scholarship and locating him in certain social or political settings. The secondary literature on medieval Gaelic authors like Flann has been largely concerned with establishing what can be securely stated about their historical biographies and with delineating reliable corpora of their works. In addition, there has been much discussion around whether medieval Gaelic literature is to be fundamentally characterised as secular or ecclesiastical. Recently, however, studies have begun to focus less on the literal realities of medieval authorship and more on how authorship was conceived in the Middle Ages, how it functioned as a form of authority, and how it might have been used or constructed within texts’ or manuscripts’ overall argumentation. In response, in this thesis, I survey manuscript materials and early printed works relating to Flann Mainistrech and discuss how his status as an author-figure relates to his identity as an individual, considering how he was interpreted in different contexts, the extent to which later scribes or compilers used or manipulated his identity, and what made him useful or applicable to them. After analysing the textual material in light of these issues, I conclude that Flann was consistently placed in certain definable historiographical and biographical contexts and that his authority may thus have been tied to this specific characterisation. However, presentations of Flann can vary quite dramatically in emphasis, while close examination of material attributed to him and their contexts within compilations and manuscripts reveals appropriation of his perspective, pseudonymous use of his identity, and re-contextualisation of his purported work according to later compilers’ interests and priorities. Relatively consistent treatment of his persona is thus ostensibly juxtaposed with dynamic, creative reading practices. Yet such conclusions are overshadowed by evidence, also considered in this study, suggesting that what survives of the manuscript tradition may well fall short of being representative both of Flann’s actual biography and of his textual persona. As well as offering a case study into medieval Gaelic concepts of authorship, authority, and textuality, this thesis also necessarily presents more basic analyses of previously under-explored and, in a few cases, unedited texts that come to be of relevance. Several such texts are printed and translated in Appendices.

Esta tese tem como objetivo compreender de que modo o gênero melodrama – nas suas atualizações através da (tele)novela, do bumba-meu-boi e das práticas sócio-comunicativas familiares - se constitui numa matriz cultural para a identidade de uma família de classe popular. Trabalha-se com três gerações de uma família maranhense buscando identificar os usos, consumo e recepção de tele (novela), assim como outras práticas midiáticas e sócio-comunicativas através do tempo. A observação inicial do campo conduziu à hipótese de que o melodrama constitui matriz privilegiada para o entendimento da(s) identidade(s) familiar (es) em razão do intenso trânsito e intercâmbio de valores existentes na (tele) novela e em diversas expressões da cultura popular. Assim, discutem-se aspectos históricos e conceituais do melodrama e suas conexões com a telenovela e o bumba-meu-boi; discorre-se sobre diversas matrizes culturais do melodrama articuladas à produção e disseminadas por esses dois formatos narrativos; refletese o conceito de identidade a partir de diferentes perspectivas. No que concerne à questão metodológica, delinea-se um referencial que contempla tanto a reflexão teórica quanto a pesquisa metódica, de modo a optar pelo método da história oral a partir da técnica história de família. Para tanto foram realizadas entrevistas do tipo semiestruturada e entrevista em profundidade além do questionário e de observações etnográficas. Entre os principais resultados destacam-se: a família possui um repertório simbólico compartilhado, que se reconhece e se percebe também nos discursos midiáticos - de modo especial naqueles de matriz melodramática, entretanto, dispõe de outros saberes e de outras referências culturais não midiáticas para pensar e construir suas percepções de mundo e constituírem-se continuamente, desde diferentes gerações e a partir de identidades familiares. Tais identidades se caracterizam, sobretudo pelo sentimento de pertencimento quer da própria linhagem, quer da cidade ou do bairro em que vivenciam sua sociabilidade; e também pela forte relação entre a fé e o lúdico vivenciados nos modos de expressarem sua religiosidade e festividades. A investigação corrobora que as diversas aplicações do estudo dessa família permitem levantar hipóteses sobre outros fenômenos similares. / This thesis aims at understanding in what way the melodrama genre – in its updates through (tele)novela, the folk theatrical tradition bumba-meu-boi and the familiar socio-communicative practices – constitutes itself in a cultural matrix to the identity of a popular class family. We work with three generations of a family from Maranhão seeking to identify the uses, consumption and reception on tele (novela), as well as other socio-communicative and media practices throughout time. The primary observation of the field lead to the hypothesis that melodrama constitutes privileged matrix to the understanding of family(ies) identity (ies) because of the intense traffic and exchange of values that exist in tele (novela) and in a diversity of popular culture expressions. Therefore, we discuss historical and conceptual aspects of melodrama and its connections with telenovela and bumba-meu-boi; we debate about the various cultural matrixes of melodrama articulated to the production and disseminated by these two narrative formats; we reflect upon the concept of identity from different perspectives. In regard of the methodological issue, we outline a framework that contemplates both the theoretical reflection and the methodical research, choosing the method of oral history based on the technique of family history. For that, semi-structured and in-depth interviews were conducted, besides questionnaire and ethnographic observations. Among the main results, we point out: the family possesses a shared symbolic repertoire that recognizes and is aware of itself in media discourses – particularly in the ones of melodramatic matrix, however it has other knowledges and cultural references that don’t pertain to the media to reflect upon and build its perceptions of the world and continuously constitute itself, in different generations and based on family identities. Such identities are characterized, mainly, by the feeling of belonging to their own lineage, to a city or a neighborhood where they experience their sociability; and also by the strong relation between faith and ludic experienced in the ways their religiosity and festivities are expressed. The investigation corroborates that various applications of this family allows the bringing up of hypothesis concerning similar phenomena.

Esta tese tem como objetivo compreender de que modo o gênero melodrama – nas suas atualizações através da (tele)novela, do bumba-meu-boi e das práticas sócio-comunicativas familiares - se constitui numa matriz cultural para a identidade de uma família de classe popular. Trabalha-se com três gerações de uma família maranhense buscando identificar os usos, consumo e recepção de tele (novela), assim como outras práticas midiáticas e sócio-comunicativas através do tempo. A observação inicial do campo conduziu à hipótese de que o melodrama constitui matriz privilegiada para o entendimento da(s) identidade(s) familiar (es) em razão do intenso trânsito e intercâmbio de valores existentes na (tele) novela e em diversas expressões da cultura popular. Assim, discutem-se aspectos históricos e conceituais do melodrama e suas conexões com a telenovela e o bumba-meu-boi; discorre-se sobre diversas matrizes culturais do melodrama articuladas à produção e disseminadas por esses dois formatos narrativos; refletese o conceito de identidade a partir de diferentes perspectivas. No que concerne à questão metodológica, delinea-se um referencial que contempla tanto a reflexão teórica quanto a pesquisa metódica, de modo a optar pelo método da história oral a partir da técnica história de família. Para tanto foram realizadas entrevistas do tipo semiestruturada e entrevista em profundidade além do questionário e de observações etnográficas. Entre os principais resultados destacam-se: a família possui um repertório simbólico compartilhado, que se reconhece e se percebe também nos discursos midiáticos - de modo especial naqueles de matriz melodramática, entretanto, dispõe de outros saberes e de outras referências culturais não midiáticas para pensar e construir suas percepções de mundo e constituírem-se continuamente, desde diferentes gerações e a partir de identidades familiares. Tais identidades se caracterizam, sobretudo pelo sentimento de pertencimento quer da própria linhagem, quer da cidade ou do bairro em que vivenciam sua sociabilidade; e também pela forte relação entre a fé e o lúdico vivenciados nos modos de expressarem sua religiosidade e festividades. A investigação corrobora que as diversas aplicações do estudo dessa família permitem levantar hipóteses sobre outros fenômenos similares. / This thesis aims at understanding in what way the melodrama genre – in its updates through (tele)novela, the folk theatrical tradition bumba-meu-boi and the familiar socio-communicative practices – constitutes itself in a cultural matrix to the identity of a popular class family. We work with three generations of a family from Maranhão seeking to identify the uses, consumption and reception on tele (novela), as well as other socio-communicative and media practices throughout time. The primary observation of the field lead to the hypothesis that melodrama constitutes privileged matrix to the understanding of family(ies) identity (ies) because of the intense traffic and exchange of values that exist in tele (novela) and in a diversity of popular culture expressions. Therefore, we discuss historical and conceptual aspects of melodrama and its connections with telenovela and bumba-meu-boi; we debate about the various cultural matrixes of melodrama articulated to the production and disseminated by these two narrative formats; we reflect upon the concept of identity from different perspectives. In regard of the methodological issue, we outline a framework that contemplates both the theoretical reflection and the methodical research, choosing the method of oral history based on the technique of family history. For that, semi-structured and in-depth interviews were conducted, besides questionnaire and ethnographic observations. Among the main results, we point out: the family possesses a shared symbolic repertoire that recognizes and is aware of itself in media discourses – particularly in the ones of melodramatic matrix, however it has other knowledges and cultural references that don’t pertain to the media to reflect upon and build its perceptions of the world and continuously constitute itself, in different generations and based on family identities. Such identities are characterized, mainly, by the feeling of belonging to their own lineage, to a city or a neighborhood where they experience their sociability; and also by the strong relation between faith and ludic experienced in the ways their religiosity and festivities are expressed. The investigation corroborates that various applications of this family allows the bringing up of hypothesis concerning similar phenomena.

A pesquisa exploratória e metodológica debruça-se sobre as relações estabelecidas entre museus e idosos e procura entender como, na prática, a museografia aborda o público idoso, como resultado da expansão de públicos, com embasamento nas políticas de inclusão sócio cultural, diretrizes e regulamentações museológicas e políticas socioculturais desenvolvidas com aumento do número de cidadãos com 60 anos e mais como grupo etário no Brasil e dentro da tendência de envelhecimento da população mundial. A museologia explora a função social por meio da comunicação e salvaguarda no processo curatorial. O processo de envelhecimento e a musealização podem ser bem-sucedidos estabelecendo relações de comunicação e interação sociocultural, proporcionando aprendizagens ao longo da vida e diálogo intercultural contemplando as necessidades de atividades da vida diária e de lazer, contemplando necessidades, vivências, interesses e motivações, como forma adaptativa para a vida destes indivíduos, agregando conhecimentos interdisciplinares de estudos sobre envelhecimento, a partir da gerontologia. O grupo designado de \"idoso\" remete para uma diversidade de categorizações culturais de indivíduos, que pode ser um trunfo ou freio, mas certamente um desafio para o relacionamento com a museografia. A pesquisa de recepção como metodologia possibilita observar uma proposição conceitual, destacando a necessidade de se conhecer os idosos como público potencial de museus (visitantes e não visitantes), explorando o contexto das instituições museológicas e apontando diversas escolhas museográficas possíveis que condicionam as propostas de relacionamento com o público, com vista ao impacto positivo nos idosos e nos museus. / The exploratory and methodological research focuses on the relations between museums and elderly, and seeks to understand how, in practice, museography covers elderly population since a result of expansion of public, with grounding in the social and cultural inclusion policies, guidelines and museological regulations and socio-cultural policies developed from the increase number of citizens aged 60 and over in Brazil, within the aging population trend. The museological communication and safeguarding can explore the social function in the curatorial process seeing that the process of aging and musealization can be successful establishing relationships and socio-cultural interaction and intercultural dialogue providing lifelong learning considering the needs of the elderly audiences, the daily life activities and leisure times,experiences, interests or motivations taking into account adaptations to the aging process and adding interdisciplinary knowledge of studies on aging from gerontology. The elderly group refers to a diversity of cultural categorizations of individuals who can be an asset or a brake to the relationship with museums in practice. Reception research is a methodology that has developed a conceptual proposal that enables understanding elderly as potential audience (visitors and non-visitors), exploring the institutional context as approaches and partnerships, and analysing museographic choices, because these are condition of practices \"in\" museums, reviewing challenges and / or opportunities enabling a museographic relationship with a view to impact on the life of both, elderly and museums.

Érigée, à la fin du XVIIIe siècle, en objet de prédilection de la nouvelle science de l'Antiquité (Altertumswissenschaft), la Grèce ancienne devint aussi, dans l'Allemagne savante et littéraire d'alors, objet d'un mythe tout à fait singulier, le « mythe grec » allemand.Les Allemands – telle est l'idée qui préside à la formation du Griechenmythos – sont les Grecs de l'époque moderne, ils sont reliés à eux par une « affinité élective », une parenté spirituelle idéale. Ce discours, qui perdure jusqu'au lendemain de la Seconde Guerre mondiale, établit un dialogue, sans cesse renouvelé, entre le passé hellénique que l'on ambitionne de reconstituer et le présent de l'Allemagne, cette nouvelle Hellade que l'on aspire à édifier. Il revêt, dans le même temps, une place et une signification essentielles dans l'imaginaire et les pratiques discursives de la science de l'Antiquité. Laboratoire où se forme et se réinvente, durant toute la période concernée, la croyance en l'affinité gréco-allemande, l'Altertumswissenschaft fait de celle-ci le miroir de son originalité et le support de ses ambitions.Menée dans la perspective d'une histoire de la réception de l'Antiquité à l'époque moderne, la présente étude vise à retracer l'histoire des relations entre le Griechenmythos et l'Altertumswissenschaft, de Wilhelm von Humboldt à Werner Jaeger, dans une démarche attentive à l'entrelacement de la production des savoirs sur le passé grec et la fabrique du mythe. / Set up as a chosen field of study by the newly founded “science of Antiquity” (Altertumswissenschaft), Ancient Greece also became, in late 19th century Germany, the object of a quite peculiar myth, the German “Greek myth”.Germans – that is the basic assumption of the Griechenmythos – are the modern Greeks, they are related to them by an “elective affinity”, by an ideal spiritual relationship. This discourse, which endures until the end of the Second World War, establishes an ever-renewed dialogue between the Hellenic past, which one aims at reconstructing, and the present of Germany, this new Hellas ever to be built. It takes on, at the same time, a key role in the imaginative world and the discursive practices of Altertumswissenschaft. The latter, during this period, is the laboratory where the hellenists shape and reinvent the Greek-German belief, mirror of the originality of their project and medium of their ambitions.Undertaken from the perspective of reception studies, the present inquiry goes back over the relations between the Griechenmythos and Altertumswissenschaft, from Wilhelm von Humboldt to Werner Jaeger, paying attention to the interlacing of the production of knowledge on Ancient Greece and myth-making.