Esta tese visa a mostrar que a comédia As Nuvens de Aristófanes (423 a.C.) possui um valor heurístico para os alunos de graduação de Pedagogia, isto é, que a obra possibilita um trabalho de cotejo de textos para a formação de um quadro complexo da educação ateniense da época. Compõe-se de duas partes, a primeira dedicada ao estudo da peça e de suas possíveis relações com o ensino da filosofia em Atenas e a segunda dedicada ao relato do trabalho com alunos, desenvolvido durante duas experiências com o Curso Experimental. A metodologia utilizada baseia-se em três pilares, a pesquisa bibliográfica, a análise textual e a aplicação experimental em sala de aula. A avaliação final do trabalho mostra que As Nuvens possui um caráter altamente heurístico e que a sua aplicação em sala de aula apresenta resultados altamente satisfatórios. / The aim of this thesis is to show that the comedy Clouds (423 b. C.) by Aristophanes has a heuristic value to the graduation students in Education, i. e., that this play allows a text comparative work in order to form a complex scene of the Athenian education at Aristophanes time. It consists of two parts, the first one shows the play study and its possible relations with the philosophy teaching at Athens and the second one is the report of the work whit graduation students, during two Experimental Course. The methodology used is founded in three cornerstones, the bibliographical research, the textual analysis and the experimental application in class. The conclusive evaluation of this work shows that The Clouds has a highly heuristic character and the use in classrooms has highly satisfactory results.

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This thesis investigates the concept of leadership in four comedies of Aristophanes. In the first chapter (Lysistrata) I focus on the relationship of the female leadership with religious rituals and medical pathology, and I show that the power of women lies in their important biological role and their ability to conceive and (re)produce life in the context of marriage. In chapter two (Knights) I examine the operation of leadership through the alimentary and sacrificial codes of the play. I argue that the Sausage-seller gradually manifests himself as the sacrificial cook Agorakritos who sacrifices Demos. In this way he puts an end to the politics of savage, raw consumption as they were employed by Paphlagon (and, occasionally, by Demos himself), and saves the day by inaugurating a new era of political practice. In chapter three (Birds) I focus on the political competition between the former leader of the Birds, Tereus, and the newcomer Peisetairos. I argue that Peisetairos captivates his audience through the abuse of rhetoric and sophistry, and gradually adopts more brutal ways, by perverting the ritual of hospitality, committing cannibalism, and becoming sexually aggressive. In this respect, Peisetairos is assimilated to the tragic Tereus of the Sophoclean tragedy, but finally emerges as a more successful version of both the comic and the tragic Tereus. In the fourth and last chapter (Ecclesiazusae) I discuss the women’s disruption and overturn of the normal social order by focusing on the practice of cross-dressing and on love-magic rituals: the exchange of costume between the two sexes, as well as the control of magic practices by the women over men, empower women and, by contrast, disempower and ridicule men, who are finally reduced to a state of impotence, infertility and almost death.

Genus claudicans ou genre de 'travers', la comédie plautinienne est à la fois dérivé négatif ou forme inversée des grands genres et le lieu d'une actualité politique voilée qui lui donnent, ensemble, toute sa spécificité. Inscrite, sans discussion, dans une tradition gréco-hellénistique héritée, elle est l'objet de choix personnels et d'une originalité créatrice chargée d'intentions. Plus exactement, l'interprétation et l'adaptation des modèles induisent des moments de réflexion critique sur le rapport de l'oeuvre avec le pouvoir. Politique et poétique sont donc au centre d'une réécriture auctoriale où le senex ridiculus a aussi sa place. Dans sa lecture des sources et du monde, Plaute privilégie donc les laissés pour compte, notamment une figure parentale déviante, le vieillard souvent lubrique, capable de susciter, non seulement une satire critique, mais aussi une lecture politique en texte caché. A la polémique diffamante de son ami Naeuius, il substitue la dénonciation d'un défaut reconnu selon les règles du blâme épidictique. Mieux encore, il use d'une 'manière' cynique et d'une plaisanterie urbaine et raffinée, le lepos, qui sont les fondements mêmes d'un art poétique. Celui-ci est complété par une traversée et un mélange des genres où Aristophane et Naeuius apparaissent. Au total, parce qu'elle amuse et réclame un spectateur intelligent et perspicace, qui comprend les sens cachés, la comédie plautinienne est un théâtre complexe et intellectuel en réception spectaculaire. / Genus claudicans or 'lame' genre, Plautus' comedy bears both the inverted form or negative image of predominant genres and topical political hints which together provide its genuineness. Undisputedly embedded in the Greco-hellenistic heritage, it becomes the subject of personal choices and a creative originality laden with intention. More accurately, the interpretation and adaptation of the models induce moments of critical thinking toward the link between the work of art and power. Politics and poetic art thus lay at the core of authorial rewriting in which the senex ridiculus is awarded pride of place. Throughout his study of sources and the world, Plautus sides with the left-behinds, among others the deviant father figure of a more than often lustful old man, who has a knack into initiating not only scathing satire, but also political insight woven inside the text. Contrary to his friend Naevius' prone inclination to tackle bones of contention, he levels veiled accusations against well-known faults according to the rules of epidictic blame. Better still, he uses the lepos, urbane and refined puns, albeit in a 'cynical' way, as the very basis for poetic art. The latter being supplemented by a crossing and blending of genres out of which Aristophanes and Naeuius emerge.All in all, because it amuses and calls for an acute and discerning audience, in full awareness of hidden meanings, Plautine comedy is manifold and intellectual, it's theater given spectacular reception.

J'ai complété l'étude du mythe des Danaïdes que j'ai effectuée au cours de mon premier Doctorat à l'Université d'Urbino. Mon travail a consisté dans l'analyse de ce mythe de l'époque archaïque à l'époque classique, traité plus ou moins longuement dans le Catalogue des femmes d'Hésiode, le poème argien Danais, la IXème Pythique et la Xème Néméenne de Pindare. Les Suppliantes d'Eschyle et le dithyrambe de Melanippide. Les Danaïdes sont des figures importantes, qui d'une part sont en relation avec l'utilisation rationnelle des eaux par le creusement de puits, d'autre part sont impliquées dans une histoire cruelle et sanglante. Les Danaïdes se sont échappées de leur patrie, l'Egypte, pour éviter un mariage avec leurs cousins, les fils d'Egyptos. Pourquoi les fuient-elles ? Une partie des critiques prétend qu'elles fuient l'inceste ; d'autres considèrent qu'elles ont horreur des Egyptiens parce qu'ils représentent la violence et la démesure ; un troisième groupe affirme qu'elles éprouvent de l'aversion pour tout mariage, quel qu'il soit. J'ai cherché à montrer que les Danaïdes, si l'on s'en tient aux sources archaïques ont fui les Egyptiens pour un motif dynastique, et que c'est Eschyle qui a mis l'accent sur le fait que le mariage doit être un acte fondé sur l'amour et un accord mutuel. Quoi qu'il en soit, quarante-huit Danaïdes ont tué leurs maris lors de la première nuit de noces. Seule Hypermnestre a épargné son époux Lyncée parce qu'elle est tombée amoureuse de lui. Selon certains auteurs, ses soeurs ont été purifiées par Athéna et Hermès et se sont remariées (le récit de leur second mariage se trouve dans la IXème Pythienne de Pindare et dans le Periegesis de Pausanias. De la seconde moitié du Vème siècle jusqu'à la première moitié du IVème siècle, les témoignages relatifs aux Danaïdes sont nombreux, à partir d'Aristophane, qui a écrit une comédie intitulée Danaïdes, à la suite d'une tragédie intitulée Lyncée, due à Théodecte, un auteur qui a vécu au IVème siècle av. J.-C. De ces deux textes nous n'avons que des fragments : quelques vers pour Aristophane, un résumé pour Théodecte. Beaucoup d'auteurs tragiques et comiques ont écrit des pièces intitulées Danaïdes : Callias, Timoclès, Diphilius, Chaerémon, mais nous n'en avons gardé que les titres ou quelques vers. Par le biais de l'analyse philologique mon travail a mis en évidence ce qui reste de ce patrimoine presque perdu. L'aspect le plus connu du mythe des Danaïdes (la punition de verser indéfiniment de l'eau d'un récipient dans un pithos percé), est presque inconnu dans la littérature classique jusqu'à la fin du deuxième siècle av. J.-C. : on en trouve la première mention littéraire dans le dialogue pseudo platonicien intitulé Axiochus. Cet aspect est bien mis en évidence dans le genre de la parémiographie : les héroïnes qui se trouvent aux Enfers, versent l'eau dans une jarre percée avec une petite passoire, ce qui est une façon de montrer l'inutilité de leur travail. Comment se sont-elles retrouvées aux Enfers ? Quel texte littéraire grec tragique ou comique a raconté cette histoire ? Aucun témoignage n'a subsisté, mais nous savons que souvent les proverbes grecs ont une dérivation littéraire. En conséquence, il est possible qu'une pièce ait été la source de cette histoire. J'ai envisagé de rechercher si tel ou tel proverbe a une origine populaire ou littéraire. Il existe en effet une autre série des proverbes liés à ce mythe des Danaïdes, à propos du triste sort des Egyptiens, proverbes dont l'antiquité est attestée. Mon travail a effectué un passage en revue et une analyse philologique de chacune des sources antiques qui ont traité des Danaïdes. D'autre part, j'ai souligné les modalités de formation du mythe et étudié sa réception à travers les différentes époques de la littérature et de la civilisation des Grecs. En résumé, pour la communauté d'Argos dans l'époque archaïque les Danaïdes furent des héroïnes cultuelles, liées à l'utilisation des eaux. / The purpose of my research is the myth of Danaïdes, women in the first wedding night have killed their husbands, son of Aegyptus. Why Danaïdes are murderers?According to the Argive mythology Danaïdes have killed their husbands for dynastic reasons, but Aeschylus Suppliant’s show that they have killed to escape the excesses and violence of their suitors. I have already studied this myth to race my first doctorate at the University of Urbino. Gold, with the University of Trento and Lille I want to pursue, based on testimony Aristophane, who wrote a comedy entitled Danaïdes to follow the tragedy Theodectes’s Lyncée, author lived in the fourth century BC. evidence they are fragmentary: we have only a few lines to Aristophane, the only summary for Theodectes. All this shows the great vitality of this myth, but the direct tradition makes us get too little! Other times, the Danaids became the subject of a proverb related to water. This aspect is very keen in the kind of parémiographie where the heroines are in hell: they're going to spill the water in a jar pierced with a small strainer, to demonstrate the futility of their travail. How the heroines are they finished in hell? Greek literary text which told this story? No evidence in respect of, but we know that the Greek proverbs often have a literary diversion. Τherefore is it possible that she was either lost the source for this story room? Μy research should investigate whether such a popular proverb or literary origin. We will say that there is another series of proverbs related to this myth Danaïdes, especially that tell the plight of Egyptian and are very ancient. In the first half of the fifth century they already have their canonical formulation, demonstration of their antiquity. Αἰγύπτου γάμος and Λέρνη κακῶν are, with respect, meaningful: the Greek, in utter such proverbs, want to denote evils and misfortunes endless.

La notion de « bile », exprimée par le substantif χολή, représente l’un des plus importants et des plus célèbres concepts de la médecine hippocratique, inséparable dans la pensée moderne de la fameuse théorie humorale. Au premier abord, les choses semblent donc claires. Cependant, lorsqu’on se plonge dans la lecture des écrits hippocratiques, la notion de cholè s’avère moins simple et évidente. Notre analyse des textes hippocratiques montre, en effet, que la cholè diffère d’un traité à l’autre et que chaque auteur hippocratique élabore sa propre notion de cholè. Nous nous sommes posé alors la question de l’origine de ce concept médical, ainsi que de l’origine de son cadre, qui est la théorie humorale. Notre quête des origines nous a amenée jusqu’aux idées homérique de chólos et aristophanique de cholè, qui se présentent toutes les deux comme fondamentalement différentes de l’idée médicale de cholè, unissant en elles-mêmes les notions de substance et d’état d’esprit. C’est justement cet écart entre les concepts non-médicaux et les concepts médicaux qui nous a intéressée au plus haut point, car il permet de voir comment les médecins hippocratiques élaborent leurs idées et leur discours. L’essentiel de notre travail consiste, donc, en un examen approfondi des procédés par lesquels les hippocratiques s’approprient des idées non-médicales : ce qu’ils retranchent, ce qu’ils rajoutent et ce qu’ils remanient. Nous espérons ainsi mettre en évidence les chemins par lesquels passe la pensée médicale ancienne, dans son processus d’émancipation de la culture traditionnelle, mais aussi des autres « sciences » de l’époque, telle que la philosophie. / The notion of « gall », expressed by the noun χολή, is one of the most important as well as the most celebrated concepts of the hippocratic medicine, inseparable for the modern mind from the humoral theory. At first sight then, the idea of « gall » seems fairly obvious. However, reading hippocratic treatises in detail, one realizes that the notion of cholè turns out to be far more complex and intricate than expected. Our analysis of the most relevant hippocratic texts shows indeed that the concept of cholè varies according to the texts involved, as every author tends to develop his own concept of cholè. We tried to find out whether the complex nature of the medical concept known as cholè could be elucidated by a survey of its origins, and a survey of the origins of the humoral system as a whole. Our search for the origins of cholè has led us to the Homeric concept of chólos and to the Aristophanic concept of cholè. The prerequisites of both notions conspicuously differ from the medical concept of cholè, because they unite the substance with a state of mind. This discrepancy between medical and non-medical concepts was of utmost importance for us, since it helped to understand how hippocratic authors developed their ideas and their discourse. The main asset of our work consists, therefore, in an in-depth analysis of the ways in which hippocratic authors take over some non-medical ideas to frame concepts of their own : what are the components they cut out, add or modify. Our goal is to show how ancient medical thought proceeds, in its endeavour to emancipate itself from the tradition as well as from the other contemporary “sciences”, as philosophy.

The aim of the thesis is to investigate and define from a genre perspective how cultural, social, and situational factors interacted in old comedy between 425 and 388 BCE.

Generally speaking, scholarship in the field of Germanistik has taken an interest in Friedrich Schlegel’s early publication, “Vom aesthetischen Werte der griechischen Komoedie” (1794), either because of its perceived influence on German Romantic Comedy [(Catholy 1982), (Kluge 1980), (Holl 1923), (Japp 1999)], or else because of its relevance as an example of Schlegel's still inchoate aesthetic philosophy [(Dierkes 1980), (Behrens 1984), (Schanze 1966), (Michel 1982), (Dannenberg 1993), (Mennemeier 1971)]. As a theory of comedy in its own right, Schlegel’s essay has garnered little attention, in part because of its supposed inapplicability to comedic praxis and at times utopian implications, in part because of its seemingly contradictory argument, and lastly in part because Schlegel himself abandoned the essay’s central premise soon after its publication. However, it is the central argument of the present study that Schlegel’s essay can be shown to be interesting and relevant precisely for the theory of comedy it contains. Through a close reading of Schlegel’s essay on Old Greek Comedy, as well as an examination of Schlegel’s early political and aesthetic beliefs, which will help render Schlegel’s theory more intelligible, it will be shown that Schlegel’s theory of comedy is novel in so far as it is one of the first aesthetic theories to claim that comedic practice is necessarily deprived of aesthetic validity unless it exists in a social atmosphere of freedom of expression, namely, such as that of the Athenians. The implication is that Schlegel here predicates an aesthetic theory upon one of society. Schlegel’s theory is also interesting for the peculiar type of comedy it advocates, namely a joyous comedy (Comedy of ‘Freude’), which stands in direct opposition to the ‘Satirische Verlachskomoedie’ of the Enlightenment and makes use of a comedic mechanism (joy) that is anathema to traditional negative comedic elements (satire, derision, mockery etc.). The conclusion discusses what the relevance and value of these implications might be for future research.

Generally speaking, scholarship in the field of Germanistik has taken an interest in Friedrich Schlegel’s early publication, “Vom aesthetischen Werte der griechischen Komoedie” (1794), either because of its perceived influence on German Romantic Comedy [(Catholy 1982), (Kluge 1980), (Holl 1923), (Japp 1999)], or else because of its relevance as an example of Schlegel's still inchoate aesthetic philosophy [(Dierkes 1980), (Behrens 1984), (Schanze 1966), (Michel 1982), (Dannenberg 1993), (Mennemeier 1971)]. As a theory of comedy in its own right, Schlegel’s essay has garnered little attention, in part because of its supposed inapplicability to comedic praxis and at times utopian implications, in part because of its seemingly contradictory argument, and lastly in part because Schlegel himself abandoned the essay’s central premise soon after its publication. However, it is the central argument of the present study that Schlegel’s essay can be shown to be interesting and relevant precisely for the theory of comedy it contains. Through a close reading of Schlegel’s essay on Old Greek Comedy, as well as an examination of Schlegel’s early political and aesthetic beliefs, which will help render Schlegel’s theory more intelligible, it will be shown that Schlegel’s theory of comedy is novel in so far as it is one of the first aesthetic theories to claim that comedic practice is necessarily deprived of aesthetic validity unless it exists in a social atmosphere of freedom of expression, namely, such as that of the Athenians. The implication is that Schlegel here predicates an aesthetic theory upon one of society. Schlegel’s theory is also interesting for the peculiar type of comedy it advocates, namely a joyous comedy (Comedy of ‘Freude’), which stands in direct opposition to the ‘Satirische Verlachskomoedie’ of the Enlightenment and makes use of a comedic mechanism (joy) that is anathema to traditional negative comedic elements (satire, derision, mockery etc.). The conclusion discusses what the relevance and value of these implications might be for future research.

Ce travail décrit les différentes formes que prennent les emprunts à l'épopée dans les comédies d'Aristophane afin de définir le rapport construit par la comédie entre les deux genres littéraires, entre dérision comique et hommage littéraire, ruptures et continuités idéologiques, filiations et innovations poétiques. / This study tries to describe the various forms of Aristophanic borrowing to epic poetry, in order to define the relationship between the two genres: mockery or homage to the poet, ideological break or continuity, poetic filiation or innovation?