<p>In 2004 <em>Troy</em> was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.</p><p> The main purpose of this paper is to see the connection between <em>Troy</em> and Homer’s <em>The Iliad</em> – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How <em>The Iliad</em> mutates to be a marketable product.</p><p>   I discuss the changes of the plot that were introduced in <em>Troy</em> and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.</p><p>   By approaching <em>Troy</em> and <em>The Iliad</em> as two separate cultural products (I did not view <em>Troy</em><em> </em>as a documentary on <em>The Iliad</em>) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.</p>

In 2004 Troy was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.  The main purpose of this paper is to see the connection between Troy and Homer’s The Iliad – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How The Iliad mutates to be a marketable product.    I discuss the changes of the plot that were introduced in Troy and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.    By approaching Troy and The Iliad as two separate cultural products (I did not view Troy as a documentary on The Iliad) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.

Η παρούσα διατριβή πραγματοποιήθηκε στο πλαίσιο του ερευνητικού πεδίου της Γεωμυθολογίας. Σκοπός της είναι να αποτελέσει έναν εμπεριστατωμένο, επιστημονικό Άτλαντα της Γεωμυθολογίας της Πελοποννήσου. Πιο συγκεκριμένα, να συγκεντρώσει τα απαραίτητα δεδομένα που μπορούν να οδηγήσουν στην πληρέστερη ερμηνεία των αρχαίων ελληνικών μύθων υπό το πρίσμα της επιστήμης της Γεωλογίας. Η Γεωμυθολογία υποστηρίζει ότι οι γεωμύθοι ενός τόπου είναι πιθανό να έχουν προκύψει είτε γιατί οι αρχαίοι άνθρωποι ήταν μάρτυρες ενός γεωλογικού γεγονότος είτε γιατί ήθελαν να ερμηνεύσουν εκ των υστέρων την ιδιαίτερη γεωλογική πραγματικότητα που τους περιέβαλλε. Προκειμένου να συγκροτηθεί ο Άτλας Γεωμυθολογίας της Πελοποννήσου, αρχικά, συγκεντρώθηκαν και μελετήθηκαν οι μύθοι της Πελοποννήσου που αναφέρονται στα κλασικά κείμενα (Παυσανίας, Στράβωνας, Διόδωρος και Απολλόδωρος), καθώς και όλες οι αρχαιολογικές και γεωγραφικές πληροφορίες που μας παραδόθηκαν μέσω αυτών των κειμένων. Από το σύνολο των μύθων διακρίθηκαν οι γεωμύθοι, δηλαδή οι μύθοι που εμπεριέχουν γεωλογικές πληροφορίες. Στη συνέχεια έγινε συγκέντρωση ή/και διαμόρφωση όλων των διαθέσιμων σύγχρονων χαρτών της Πελοποννήσου που αφορούν σε γεωλογικά φαινόμενα (σπήλαια, θερμομεταλλικές πηγές, λίμνες, ποταμοί και ρήγματα) καθώς και των ορατών αρχαιολογικών μνημείων. Πραγματοποιήθηκε χωρική ανάλυση και στατιστική επεξεργασία όλων των δεδομένων, με σκοπό αυτή η μαθηματική διαδικασία, να προσδιορίσει και να κατηγοριοποιήσει τους γεωμυθότοπους. Τους τόπους δηλαδή, που συγκεντρώνουν γεωμυθολογικά, αρχαιολογικά και γεωλογικά δεδομένα, και αποτέλεσαν τον πραγματικό πυρήνα ενός γεωμύθου. Τα προαναφερθέντα δεδομένα μελετήθηκαν με δύο διαφορετικούς τρόπους: Πρώτα εξετάστηκαν κατά νομό. Για κάθε έναν νομό έγινε χαρτογράφηση των δεδομένων ξεχωριστά, ανά είδος, αλλά και συνδυαστικά. Απομονώθηκαν οι γεωμυθότοποι, μελετήθηκαν τα αποσπάσματα από την αρχαία ελληνική και τη λατινική γραμματεία που περιέχουν γεωλογικές πληροφορίες αλλά και η σύγχρονη βιβλιογραφία. Από το σύνολο της έρευνας προέκυψαν και καταγράφηκαν τα αποτελέσματα-ερμηνεία των γεωμύθων. Στη συνέχεια, έγιναν επιλεγμένες μελέτες περιπτώσεων, δηλαδή εξετάστηκαν θέματα με κεντρικό άξονα έναν Θεό ή ήρωα. Συνολικά, η έρευνα απέδειξε ότι σε ποσοστο 75% οι γεωμύθοι έχουν επηρεαστεί από το γεωλογικό περιβάλλον. Τα αποτελέσματα αυτά διευκολυνουν τη μελλοντική διαγνωστική και προγνωστική έρευνα, τόσο στο χώρο της γεωμυθολογίας, της γεωλογίας και της αρχαιολογίας, όσο και στο χώρο της ιστορίας και της λαογραφίας. / This thesis pertains to the scientific field of Geomythology. Its purpose is to contract a comprehensive, scientific Geomythological Atlas of the Peloponnese. Specifically, the research was carried out in order to gather the necessary data that can lead to a more complete interpretation of the ancient Greek myths, in the light of the science of Geology. Geomythology argues that the geomyths of a site are likely to have arisen either because the ancient people were witnesses of a geological event or because they wanted to explain, a posteriori, the special geological reality that surrounded them. To set up the Geomythological Atlas of Peloponnese, the Peloponnesian myths mentioned in classical texts (Pausanias, Strabo, Diodorus and Apollodorus) were gathered and studied and also, all the archaeological and geographical information, delivered to us through these texts. Among these myths, geomyths are distinguished, namely the myths involving geological information. Afterwards, a concentration and/or a configuration of all the available modern maps of the Peloponnese was conducted, related to geological phenomena (caves, thermal and mineral springs, lakes, rivers and faults) and the visible archaeological remains as well. Α spatial and statistical analysis of all the data was achieved, in order to determine and classify, by this mathematical process, the geomythological places (geomythotopoi). These are the sites who gather geomythological, archaeological and geological data that constitute the true core of a geomyth. The foregoing data were studied in two different ways: First, they were examined by counties. For each county the data was mapped separately by species, but also combined. The geomythotopoi were isolated, passages from ancient Greek and Latin literature containing geological information and the current literature were studied. The results-interpretations, that stem from the data study and were obtained and recorded. Then, were performed case studies, namely were studied themes around one god or hero. Overall, the study showed that 75% of the geomyths were affected by their geological environment. These results may facilitate future diagnostic and prognostic research, both in the field of geomythology, geology and archeology but also in history and folklore studies.

Partendo da un punto di vista lessicale, la ricerca si ripropone di investigare la presenza di elementi musicali all’interno della produzione epigrammatica del periodo ellenistico, con riferimenti, talora, anche ad autori più tardi. Sono stati analizzati due tipi di fonti: epigrammi di tradizione letteraria (che includono componimenti dall’Anthologia Palatina, dal Nuovo Posidippo, e dal materiale raccolto da Gow e Page) ed epigrafi (che comprendono iscrizioni dagli Steinepigramme aus dem Griechischen Osten e dalle Inscriptions métriques de l’Égypte greco-romain), in modo tale da poter agire su un campo di indagine coerente e bilanciato. Il materiale è stato articolato in due sezioni principali, “Mousikà stoikheia” e “Organikè mousa”, rispettivamente dedicate alle categorie musicali e agli strumenti musicali. L’analisi, partendo dalla ricostruzione della potenzialità semantica di ogni termine, basata sull’origine etimologica e sullo sviluppo letterario e teorico, e procedendo attraverso l’interpretazione delle occorrenze più significative all’interno dei testi epigrammatici, evidenzia una particolare sensibilità verso la componente musicale, richiamando sia la terminologia specifica musicale sia, più spesso, il tradizionale trattamento di alcuni temi appartenenti alla tradizione letteraria. Il presente lavoro include anche una Appendice finale, nella quale sono indicizzati i termini emersi durante l’indagine testuale. / Starting from a lexical point of view, this research aims at investigating the presence of musical elements within the epigrammatic production of the Hellenistic period, with references also to later authors. Two kinds of sources have been analysed: literary epigrams (including poems from the Greek Anthology, the New Posidippus, and the material collected by Gow-Page) and epigraphic epigrams (including inscriptions from Steinepigramme aus dem Griechischen Osten and Inscriptions métriques de l’Égypte greco-romain), in order to have a coherent and balanced field of investigation. The material has been divided into two main parts, “Mousikà stoikheia” and “Organikè mousa”, referred to musical categories and musical instruments. The analysis, starting from the reconstruction of the potential musical meaning of each term, based on etymology and literary and theoretical development, and going on through the interpretation of the most relevant occurrences of the term in epigrammatic texts, shows a particular sensibility towards the musical element, recalling both the terminology of musical theory and, more often, the traditional treatment of some themes belonging to the literary tradition. A final Appendix provides an index with the terms found during the textual investigation.

Stress, a feeling of pressure, tension, strain or threat, is a problem for contemporary female participants in the primary and secondary educational milieus who automatically respond to stressors (causes of stress), in the same way as women and girls in the past, since human beings have not changed psychologically and biologically over the millennia. Like their ancestors many female educators, learners and caregivers today do not return to a calm mental and physical state after an initial stress reaction. They often remain under stress, which results in emotional, behavioural, physical and cognitive manifestations of stress. Moreover, females may be predisposed to stress because of psychological, biological and social factors that have underpinned their response to time-related stressors that have faced them throughout history. Yet, history has also shown that women and girls taught and learnt successful stress coping mechanisms. Insight into these universal truths may provide educational solutions to a universal problem / Educational Studies / D.Ed. (History of Education)

Matěj Novotný - Impiety in Classical Athens Abstract The thesis discusses the definition and prosecution of impiety in democratic Athens during the Classical period, i.e. in 5th-4th centuries BCE. The question of "impiety" in the narrower sense, i.e. of what was denoted by the Greek word ἀσέβεια (literally, "the absence/negation of respect"), is set into larger context of other crimes of religious character, covered by special laws: "sacrilege" (ἱεροσυλία), digging out sacred olive-trees, offences against festivals and other delicts which were not subsumed under any more general term in the laws, pragmatically formulated as they were. The dissertation builds on the work of the researchers who show considerable scepticism towards the reliability of later sources, for example Plutarch or Diogenes Laertius - this is connected with doubts concerning processes against philosophers before Socrates. At the same time, the thesis follows the scholars who doubt the authenticity of the documents inserted in the speeches of the Attic Orators. For these reasons, a considerable part of the thesis is devoted to the rebuttal of late reports and inserted documents. A particular attention is given to the Decree of Diopeithes, which is mentioned in Plutarch's Life of Pericles and is usually interpreted as criminalising...

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Que signifie repenser l’Histoire littéraire et l’Histoire du roman comme Histoire culturelle ? Le point de départ de notre questionnement sur les formes de représentation adoptées par l’Histoire littéraire porte sur la doxa critique selon laquelle il existe une relation génétique entre l’épopée et le roman, dont la source se trouve dans ce qu’il est convenu de voir comme le texte fondateur de la littérature, l’épopée d’Homère et celui de la théorie littéraire, la Poétique d’Aristote. Si l’épopée homérique est une œuvre de la tradition orale, quelle est sa relation avec le roman, issu, lui, de la scripturalité et de l’émergence de la prose ? Si les récits en prose narrative de fiction apparaissent dans des civilisations sans épopée, quelle est la condition nécessaire pour leur émergence ? Si, de plus, l’apparition d’une prose narrative de fiction est précédée de plusieurs siècles de celle d’une historiographie et que ce phénomène se répète aussi bien dans la Grèce classique qu’au Moyen Âge européen, ou encore en Chine, quelle est la condition nécessaire pour l’essor du roman ? Nous présentons ici l’ébauche d’une Histoire alternative des origines du roman dans la Weltliteratur, en relation avec l’émergence de la scripturalité et la prose et l’essor de l’historiographie À la croisée de plusieurs disciplines académiques, notamment entre les sciences humaines et sociales, notre recherche fait appel d’une part à la théorie et à l’Histoire de la littérature, d’autre part à l’Histoire de l’historiographie, ainsi qu’à la théorie et la philosophie de l’Histoire. / Is it possible to rethink Literary History and in particular the History of the Novel as Cultural History which seeks to differentiate between an historical object and it’s representation? Considering the critical doxa, according to which, there exists a genetic link between epics and the novel, leads to one of Western thinking’s most stubborn myths. If epics, and particularly Homer’s, is seen as the novel’s ascendant , although it belongs to oral tradition, how does it explain the fact that as Ancient civilizations as Egypt or China or Israel developed sophisticated prose narratives without having epics? Moreover, if Western literary history refers to Aristotle’s Poetics as it’s foundational text, although by the time it was written, fictional prose didn’t exist yet, and was only to develop a few centuries later, shouldn’t we seek for the missing link between the oral tradition and the rise of the novel? As against this hegemonic and unhistorical representation that considers the novel genre as a Western invention, and as opposed to the historical circumstances that gave birth to the novel, we consider that the key to understanding this phenomenon lies in the emergence of literacy and prose. Indeed, in all civilizations that developed fictional prose writing, it was systematically preceded, not by epics, but by historiography. Our PHD dissertation presents an alternative History of the novel, whose angle is intercultural and interdisciplinary, aiming at recreating a new chronology of the emergence of the novel as a an inevitable historical genre in world’s literature.

L'étude du geste dramatique dans le théâtre d'Euripide s'attache principalement à la dimension verbale du geste théâtral. Elle n'envisage pas seulement les mots qui disent le geste comme un moyen de reconstituer le geste de l'acteur mais cherche à éclairer grâce à eux l'art dramaturgique du poète. Une première partie est consacrée à l'étude stylistique des énoncés regroupés en « motifs gestuels » et montre l'importance des gestes pathétiques de la filiav dans les tragédies d'Euripide. Dans une seconde partie, une analyse comparée de gestes dans des séquences parallèles chez les trois grands Tragiques permet de mesurer les variations du rapport entre parole poétique et spectacle dramatique d'un poète à l'autre, afin de mettre en lumière la spécificité de l'expression euripidéenne du geste et le renouvellement du pathétiquedans son théâtre. Y sont interrogées les conséquences qu'ont pu avoir sur l'écriture du geste les modifications de la pratique théâtrale au cours du ve siècle avant J.-C., l'évolution des tendances artistiques et le poids de la sensibilité personnelle et de la vision tragique de chaque poète. Dans la troisième partie sont examinées les expérimentations théâtrales auxquelles s'est livré Euripide autour de l'expression du geste, notamment dans ses dernières pièces, et quiremettent en question la nature du tragique. / This study focuses on gestures as indicated by the words in Euripides' tragedies. Words are not only here a means to reconstruct the actor's gesture on stage, but are analysed in order to enlighten the specificity of the poet's dramatic art. The first chapter presents a stylistic study of the gesture formulas, grouped according to « gestural patterns », and reveals theimportance of the pathetic gestures of filiav in Euripides' theatre. In the second chapter, the comparison of gestures in parallel scenes by the three Tragic dramatists sheds light on the differences between them in the relationship between dramatic text and stage action and on the novelty of Euripidean gestural expression and pathos. This comparison is linked to the evolution of tragic performance in the fifth century, to the evolution of artistic tendencies and to the poet's own sensibility. The third chapter is an analysis of Euripides' theatrical experiments involving dramatic gestures, especially in his late plays, and leads to a new definition of the tragic nature of Euripidean theater.

The thesis aims to analyse the reception of the ancient Greek drama by the Italian scholar Ettore Romagnoli (1871-1938), considering his critical essays, translations, and theatre performances. The mutual interaction of these three aspects represents the methodological approach to understand how Romagnoli conceived the interpretation of Greek theatre and its dramatic production in the modern age. The thesis consists of three parts. The first one analyses Romagnoli’s ideas on classical studies and the modern translations of ancient Greek poetry within the Italian culture in the early 20th Century and in opposition to the positivist approach in the classical philology and the Neo Idealistic Aesthetics. Furthermore, an exam of the entire work of Romagnoli as stage director is offered, along with the reconstruction of a mainly unknow controversy after his dismissal from the National Institute of Ancient Drama. The second part analyses Romagnoli’s academic studies on the hypothetical performance of ancient tragedy and comedy and the evolution of Greek poetry from music. It also identifies the possible influence of these theories within his own translations and performances. The last part deals with two examples of translations for the stage: the "Agamemnon" (1914) and the "Bacchae" (1922). On the basis of theatre translation studies and thanks to Romagnoli’s editions of the two works, both placed at his archive and library in Rovereto and rich of notes by the translator himself, the analysis attempts to examine the hypothetical performability and speakability of the two texts and whether cuts or modifications were introduced during the stage productions. / La ricerca si propone di condurre un esame il più possibile esaustivo dell’opera del grecista Ettore Romagnoli (1871-1938) come esegeta, traduttore e metteur en scène del dramma antico. Grazie all’analisi della reciproca interazione di questi tre aspetti si è tentato di comprendere come il grecista abbia concepito l’interpretazione del teatro greco e ne abbia progettato la ‘reinvenzione’ drammatica. Il lavoro si suddivide in tre parti. Nella prima viene condotta una ricostruzione della carriera di Romagnoli nel contesto storico-culturale di inizio Novecento, analizzando le sue idee sul rinnovamento degli studi classici e sull’aggiornamento delle traduzioni della poesia greca. In questo quadro assumono notevole rilievo le polemiche condotte da Romagnoli in opposizione alle maggiori correnti accademico-culturali dell’epoca: l’estetica crociana e la filologia scientifica. Inoltre, l’analisi prende in esame l’idea di messinscena e le produzioni dirette da Romagnoli a partire dagli spettacoli universitari (1911-1913) fino alle rappresentazioni teatrali svolte a Siracusa e in altri teatri e siti archeologici d’Italia (1914-1937), insieme alla ricostruzione di una terza polemica, definita ‘siracusana’, che coinvolse il grecista in seguito alla sua estromissione dall’Istituto Nazionale del Dramma Antico. La seconda parte prende in considerazione gli studi scientifici e divulgativi di Romagnoli circa la ricostruzione dell’ipotetica performace della tragedia e della commedia di quinto secolo a.C. e l’evoluzione della poesia greca dalla musica, individuando, inoltre, le possibili rielaborazioni di queste teorie all’interno delle traduzioni e degli spettacoli teatrali. Nella terza parte si analizzano le traduzioni di "Agamennone" e "Baccanti" che Romagnoli portò in scena a Siracusa. Si è tentato di valutare, anche sulla base degli studi teorici relativi alla traduzione per il teatro, quanto l’attenzione alla ‘performabilità’ e alla ‘dicibilità’ del testo ne avesse influenzato la composizione oppure se fossero stati introdotti tagli e modifiche in fase di produzione degli spettacoli. Le due edizioni di "Agamennone" (1914) e "Baccanti" (1922) che facevano parte della biblioteca privata di Romagnoli presentano infatti annotazioni dell’autore riconducibili proprio ai suoi allestimenti per gli spettacoli al Teatro greco di Siracusa. Il lavoro ha potuto avvalersi di scritti inediti, articoli di giornale e documenti privati custoditi negli Archivi della Fondazione INDA e presso il Fondo Romagnoli, dal 2016 proprietà dell’Accademia Roveretana degli Agiati e attualmente in catalogazione presso la Biblioteca civica “G. Tartarotti” di Rovereto.