Por meio da análise das ações de dois heróis de peças do teatro Ático antigo, o presente trabalho elabora uma comparação entre a construção de dois tipos de comportamento marginal, e entre as diferentes consequências advindas dessas condutas que se colocam à margem da sociedade dramática. Nesse sentido, a partir da caracterização da marginalidade do herói personagem-título, da tragédia de Eurípides, Hipólito, demonstrarei de que modo a escolha do rapaz pela virgindade está intrinsecamente ligada às consequências desgraçadas que se abatem sobre a casa de seu pai, Teseu. De fato, considero que porque Hipólito escolhe deliberadamente, ou seja, sem coerção física ou mental, viver à margem dos costumes de sua comunidade dramática, ele é completamente responsável por desencadear a vingança de Afrodite que arruinará a vida de sua família. Do mesmo modo, através da delimitação da atitude marginal do herói Diceópolis, da comédia de Aristófanes, Acarnenses, elaborarei de que modo da escolha que o personagem faz pela paz privada, transgressora em relação à decisão da maioria dos cidadãos pela continuidade da guerra, decorrem as consequências etílicas, sexuais e gastronômicas com as quais ele arca. Assim, o objetivo desse trabalho diz respeito a entrelaçar de que modo Hipólito é desgraçado por causa de suas ações marginais e o porquê Diceópolis é feliz graças à marginalidade de suas ações. E, em última instância, pretendo explicitar por quais vias tanto o personagem da tragédia quanto o personagem da comédia são responsáveis pelos frutos que colhem de seus modos de vida à margem. / Through an analysis of the actions of two heroes present in plays from the Ancient Attic drama, this work draws a comparison between the construction of two types of marginal behavior, as well as between the different consequences resulting from these behaviors. In this sense, following the characterization of the marginality of Hippolytus, the homonymous hero of Euripides tragedy, I shall demonstrate how the young mans choice for virginity is intrinsically related to the disgraceful consequences that befall Theseuss house. In fact, I consider that because Hippolytus deliberately chooses (i.e. without physical or mental coercion) to live outside his dramatic community refusing its customs, he is completely responsible for Aphrodites revenge, which ruins his family. In the same way, by delimiting the marginal attitude of Dikaiopolis, from Aristophanes comedy, Acharnians, I shall elucidate the manner in which the characters choice for private peace, transgressive of the majoritys decisions for the continuity of the war, is followed by ethylic, sexual and gastronomic consequences he is faced with. Hence, the aim of this thesis is the intertwining of the way Hippolytus is disgraceful because of his marginal actions and the reason why Dikaiopolis is happy thanks to this very marginality. And, lastly, I intend to cast light upon the ways by which both the tragedy and comedys characters are responsible for whatever they reap from their marginal ways of life.

Esta dissertação dedica-se ao estudo da persuasão nos discursos proferidos por Odisseu no canto XIV da Odisseia, levando em consideração a interação de três elementos:o orador, o auditório e a argumentação. É seu objetivo refletir sobre qual tese Odisseu busca compartilhar com seu público, Eumeu, e as estratégias de que se vale para atingir esse fim. / This dissertation is a study about the persuasion in Odysseus´ speeches in Odyssey XIV, observing three elements: the orator, the audience and the argumentation. My target is make a reflection about what idea Odysseus wants to share with his audience, Eumaios, and the strategies to do it.

Aquele que se empenha no estudo da Língua Grega, logo perceberá que tem diante de si um grande sistema lingüístico composto por elementos enriquecidos de significação. A riqueza das noções e das idéias que nela estão presentes e os recursos que oferece tornam-se mais evidentes e fascinantes à medida que a respeito dela refletimos. Quanto mais profundamente for possível conhecê-la, mais fica indubitável a sua coesão e a sua coerência. Através de sua estrutura complexa, é possível reconhecer qual a intenção do escritor que dela fez uso e a dimensão de seus argumentos, pois, quando realiza as escolhas formais para a expressão escrita, ele as fará em harmonia com a mensagem que pretende transmitir. Desse modo, os termos possuirão seus motivos e seus objetivos, tanto quanto o discurso que estabelecem. Não foi sem razão que o Cristianismo obteve divulgação tão ampla em seus dias primitivos. Os apóstolos perceberam que a mensagem cristã poderia ser mais bem propagada através de um idioma que não só ?portasse? os ensinos de Cristo para o mundo afora, mas que também pudesse representá-los de forma arrazoada. A Língua Grega, em especial, a Língua Grega que Alexandre Magno tornou comum (h( koinh\\\\\\\\\\\\\\ glw=tta) a todo o mundo conhecido ocidental antigo, atendia a tais anseios; os evangelistas reconheceram que ela permitia uma difusão doutrinária que atingiria não só o espírito, mas também a mente humana racional do mundo helenizado. Comum e adaptado a todo o povo, mesmo no período do Império Romano, o grego era a língua através da qual a recomendação de Cristo, registrada em Marcos 16.15, poderia ser cumprida: kai. ei=pen auvtoi/j\\ poreuqe,ntej eivj to.n ko,smon a[panta khru,xate to. euvagge,lion pa,sh| th/| kti,seiÅ e disse-lhes: tendo ido ao mundo todo, anunciai o evangelho a toda criatura. Se alguém no Cristianismo aproveitou-se das possibilidades lingüísticas disponíveis nessa língua para expandir suas doutrinas, certamente o apóstolo Paulo é o indicado. Ele é, por excelência, o apologeta cristão do primeiro século. Em seu afã, procura apresentar argumentos de que o Cristianismo é a absoluta sabedoria (1Coríntios 1:17-25, 30; 2:1,4-8; Efésios 3.10; Colossenses 2:27-28) e que oferece respostas tanto às questões relativas à origem (Efésios 3.9; Colossenses 3.10) quanto às concernentes à finalidade (Romanos 8.14-19; Efésios 1.1-6, 11, 12; Gálatas 4.4-6; Filipenses 2.14,15) humanas. Entretanto, é provável que o exegeta encontre dificuldades para a compreensão dos enunciados caso os traços aspectuais e modais não sejam considerados de modo adequado. A Língua Grega, observada a partir de seu próprio funcionamento interno, é ferramenta hermenêutica de extrema importância a fim de que os significados não se percam nem em traduções descomprometidas com o sistema da língua original, nem em análises superficiais do texto. Por essa razão, este trabalho visa a oferecer uma tradução linear, colada ao texto, tomando como exemplo a Epístola de Paulo aos Efésios, levando em consideração os matizes gramaticais contidos no texto grego, sobretudo no que se refere ao verbo e seus traços: o modo e o aspecto; e, no que se refere ao léxico e suas alternativas de significado. Considerando que as traduções até então encontradas na Língua Portuguesa não possuem tal preocupação, os desdobramentos disso são diretamente observados na imperfeita compreensão dos textos. Apesar de ter sido escrita em tamanho relativamente pequeno (seis capítulos), a Epístola possui número suficiente de ocorrências verbais (328) e recursos lingüísticos bastantes que permitem reflexão significativa. / Those who endeavor in the study of the Greek language will soon realize that they are facing a large linguistic system composed of elements that are rich in meaning. The wealth of notions and ideas therein and the resources offered by this language become more evident and fascinating as you reflect about it. The deeper you get to know it, the more unquestionable its cohesion and coherence become. Through its complex structure, it is possible to identify the intention of the writer who used it and the scope of his arguments, for when he makes the formal choices in writing, the author does it in harmony with the message he intends to convey. Therefore, the terms will embody his reasons and objectives, as much as the discourse they form. It is not without reason that Christianity was so largely divulged in its early days. The apostles realized that the Christian message would be better delivered through a language that not only carried Christ\'s teachings to the world, but would also represent them in a rational way. The Greek language, more particularly the Greek language Alexander the Great spread (h( koinh\\ glw=tta) all over the ancient known western world, accomplished such aims; the evangelists recognized that it allowed a doctrinal dissemination that would reach not only the soul, but also the rational human mind of the hellenized world. Common and adapted to all the people, even under the Roman Empire, Greek was the language through which Christ\'s recommendation, documented in Mark 16.15, could be fulfilled: kai. ei=pen auvtoi/j\\ poreuqe,ntej eivj to.n ko,smon a[panta khru,xate to. euvagge,lion pa,sh| th/| kti,seiÅ and said to them: Go into all the world and proclaim the good news to the whole creation. If anybody in Christianity took advantage of the linguistic possibilities available in this language to expand his doctrines, it was certainly the apostle Paul. He is, par excellence, the Christian apologist of the first century. In his eagerness, he argues that Christianity is the absolute wisdom (1Corinthians 1 :17-25, 30; 2:1,4-8; Ephesians 3.10; Colossians 2.:27-28) and that it answers both questions concerning the human origin (Ephesians 3.9; Colossians 3.10) and those concerning the human ends (Romans 8.14-19; Ephesians 1.1-6, 11,12; Galatians 4.4-6; Philippians 2.14,15). However, the exegete may find it difficult to understand the statements if the aspect and mood characteristics are not appropriately considered. Observed from its own internal functioning, the Greek language is an extremely important hermeneutic tool to prevent the loss of meaning, either in translations unconcerned with the system of the original language or in superficial text analyses. Therefore, this work aims at offering a linear translation, close to the text, taking as example the Epistle of Paul to the Ephesians. It will consider the grammatical nuances present in the Greek text, especially those concerning the verb and its characteristics: mood and aspect; and those concerning the lexicon and its alternatives of meaning. As the translations so far available in Portuguese do not have such concern, the consequences can be directly verified in the imperfect comprehension of the texts. Although the Epistle is relatively short in size (six chapters), it contains a sufficient number of verbal occurrences (328) and enough linguistic resources to allow a significant study.

En el presente trabajo llevo a cabo un estudio comparativo de las técnicas teatrales y metateatrales que utilizaron el novelista español del Siglo de Oro Miguel de Cervantes en la Segunda Parte de Don Quijote de La Mancha y el dramaturgo modernista italiano Luigi Pirandello en las obras teatrales Sei Personaggi in Cerca d'Autore y Enrico IV. Si bien estos dos autores han sido objeto de numerosos estudios por separado, en la actualidad no existen análisis comparativos de sus obras. Para investigar la utilización que hicieron de técnicas teatrales y metateatrales, parto del teatro griego clásico como tertium comparationis. Pese a que durante mucho tiempo el concepto de metateatro se consideró incompatible con el teatro clásico, la relación entre los dos ha comenzado a reconsiderarse en los últimos tiempos. En mi estudio me baso en las publicaciones más recientes sobre el tema y muestro la importancia del teatro griego clásico para la metateatralidad cervantina y pirandelliana. Lo hago, en primer lugar, trazando el interés de Cervantes por la cultura mediterránea (en concreto, por la Commedia dell’Arte italiana) y, a través de esta, por el teatro griego clásico. Luego me aproximo a través del folclore siciliano a la filosofía del teatro de Pirandello, la cual, aunque se suele identificar con los movimientos de vanguardia europeos de comienzos del siglo XX, se nutrió profundamente de la filosofía y la tragedia griegas. Seguidamente procedo a examinar las técnicas teatrales y metateatrales cervantinas y pirandellianas desde la perspectiva de algunos topoi clave del teatro griego clásico. Asimismo, hago un repaso por los temas clave que comparten Don Quijote de La Mancha, Sei Personaggi in Cerca d'Autore y Enrico IV y su relación con el teatro griego clásico mediante el análisis de las técnicas teatrales y metateatrales de las que se valieron sus autores. Por último, me enfoco en una de dichas técnicas (el uso de títeres) para ilustrar la recurrencia de motivos y temas entre lo clásico (el teatro griego), lo moderno temprano (Cervantes) y lo vanguardista (Pirandello). En este caso, voy más allá de Cervantes y Pirandello para incluir al poeta y dramaturgo modernista español Federico García Lorca, quien fue contemporáneo del dramaturgo italiano y que compartía con él el interés en renovar el panorama teatral de su época regresando al novelista español del Siglo de Oro y, por extensión, al teatro griego clásico.

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This thesis is a narratological study of Nonnus of Panopolis' Dionysiaca, focussing on the figure of the narrator whose interventions reveal much about his relationship to his predecessors and his own conception of story-telling. Although he presents himself as a follower of Homer, whom he mentions by name in his poem, the Dionysiaca are clearly influenced by a much wider range of sources of inspiration. The study of narratological interventions brings to light the narrator's relationship with Homer, between imitation and innovation. The way he renews and transforms epic narratorial devices attests to his literary skills as he strives for ποικιλία in his poem. His interventions hint at sources of inspiration other than Homer, such as lyric poetry, historiography, and didactic epic. Another innovation is the way the narrator intervenes not to draw the narratee's attention to the contents of his text, but to underline his own role as story-teller. Some interventions signal a change in tone or the integration of another genre; the expected proems and invocations to the Muse become spaces for a display of ingeniousness, a discussion of the sources and a reflection on the role of the poet. The efforts made by the Nonnian narrator to renew well known devices also denotes his mindfulness of his narratee, whom he involves in the story through metaleptic devices, or by drawing on a shared cultural background to enhance the narrative with allusions to extradiegetic references. The study of narratorial interventions proves that the Dionysiaca were not written only in an attempt to recreate a Homeric epic, but are a compendium of influences, genres, and myths, encompassing the influence of a thousand years of Greek literature.

This thesis focuses on the ancient reception of the Categories of Aristotle, a work which served continuously, from late antiquity into the early modern period (Frede 1987), as the student’s introduction to philosophy.  There had previously been no comprehensive study of the reception of the Categories during the age of the first philosophical commentaries (c. 80 BC to AD 220). In this study, I have collected, assigned, and analyzed the relevant fragments of commentary belonging to this period, including some that were previously undocumented or inexplicit in the source texts, and sought to establish and characterize the influence of the early commentators’ activity on the subsequent Peripatetic tradition. In particular, I trace the early evolution of criticism and defense of the text through competing accounts of its aim (skopos), which would ultimately lead Stoic and Platonic philosophers to a partial acceptance of the Categories and frame its role in the later Neo-Platonic curriculum.

This thesis adopts a mixed-method approach of quantitative and qualitative analysis to discuss the role of women, especially female speakers and addressees, in Valerius Flaccus’ Argonautica. In addition to the traditional individual mortal and divine speech roles, discourse categories such as the influence of the Muses, the presentation of female personifications, female collectives, frame and inserted speakers, and goddesses in disguise are also taken into consideration. The study shows that, despite the shared subject matter and greatly overlapping ensemble of speakers, Valerius makes significant changes in nearly all categories of female speech representation. Valerius entirely omits some of Apollonius’ female speech acts, reduces speeches from oratio recta to mere speech summaries, replaces Greek goddesses with similar, but not equivalent Roman speakers, assigns new speech roles to previously silent female characters, adds important new episodes with female speakers that do not occur in Apollonius’ epic, changes the speech contexts, the conversational behaviour and the overall characterization of speakers – in isolated individual instances as well as in more complex character portrayals. Valerius even modifies or transfers entire discourse patterns such as conversational deceit in speech and silence, or divine disguise, from one speaker group to another, usually of the opposite sex. Valerius transforms the Apollonian arrangement of a male-dominated, 'epic' first half following the invocation of Apollo and a second female, 'elegiac' half with many female speech acts and epiphanies, after a revision of the narrator’s relationship with the Muses, into a more traditional portrayal of the Muses and a much more balanced occurrence and continued influence of female speakers. The different female voices of the Argonautica, especially Juno, can continuously be heard in the Flavian epic and provide the reader with an alternative perspective on the events. Even the less prominent female speakers are part of a well-balanced and refined structural arrangement and show influences of several pre-texts, which they sometimes self-consciously address and use to their advantage. There can be no doubt that, like Apollonius, Valerius does not merely use female speech acts to characterise the male protagonists, but follows a clear structuring principle. Whereas Apollonius in accordance with his revised invocation of the Muses concentrates the female speech acts in the second half of his epic, especially the final book, Valerius links episodes and individual characterizations through same-sex and opposite-sex speaker doublets and triplets that can be ascribed to and explained by Jupiter’s declaration of the Fata. From Juno’s unofficial opening monologue to Medea’s emotional closing argument, the female voice accompanies and guides the reader through the epic. The female perspective is not the dominant view, but rather one of many perspectives (divine, mortal, female, male, old, young, servant, ruler, et al.) that complement the primary viewpoint of the poet and the male, mortal protagonists and offer an alternative interpretation.

This thesis combines a philosophical interpretation of Epicurean attitudes to language with literary analysis of the language of DRN. Chapters 1-2 describe Epicurean attitudes to diachronic and synchronic linguistic phenomena. In the first chapter I claim that the Epicurean account of the first stage of the development of language involves pre-rational humans acting under a ‘strong’ form of compulsion. The analogies with which Lucretius describes this process were motivated by a structural similarity between the Epicurean accounts of phylogenetic and ontogenetic psychology. Chapter 2 explores the Epicurean account of word use and recognition, central to which are ‘conceptions’. These are attitudes which express propositions; they are not mental images. Προλήψεις, a special class of conception, are self-evidently true basic beliefs about how objects in the world are categorized which, alongside the non-doxastic criteria of perceptions and feelings, play a foundational role in enquiry. Chapter 3 offers a reconstruction of an Epicurean theory of metaphor. Metaphor, for Epicureans, involves the subordination of additional conceptions to words to create secondary meanings. Secondary meanings are to be understood by referring back to primary meanings. Accordingly, Lucretius’ use of metaphor regularly involves the juxtaposition in the text of primary and secondary uses of terms. An account of conceptual metaphor in DRN is given in which the various conceptual domains from which Lucretius draws his metaphorical language are mapped and explored. Chapter 4 presents a new argument against ‘atomological’ readings of Lucretius’ atoms/letters analogies. Lucretian implicit etymologies involve the illustration, via juxtaposition, of language change across time. This is fully in keeping with the Epicurean account of language development. Chapter 5 describes Lucretius’ reflections on and interactions with the Greek language. I suggest that the study of lexical Hellenisms in DRN must be sensitive to the distinction between lexical borrowing and linguistic code-switching. I then give an account of morphological calquing in the poem, presenting it as a significant but overlooked strategy for Lucretian vocabulary-formation.

The study of old age in the humanities has developed significantly in the last few decades, but there is still much scope for progress. This thesis, therefore, seeks to contribute to the growing academic discourse in this area by considering ageing as it is represented in ancient Greek theatre. At the same time, it seeks to take its place within Classical Studies by developing new readings of the plays. To develop a context for its analysis, this study begins with consideration of the contemporary demographics, social position, and stage portrayal of old age, and following this dedicates a chapter to each of the four surviving fifth century dramatists. In Aiskhylos’ Agamemnon, old age emerges as a crucial element in choral self-identity, and an important component of the authority that they display. Following this, the thesis considers the chorus of Euripides’ Herakles, in particular its use of metadramatic language, and the impact this has on plot-development and the representation of their age. The next chapter, on Oidipous Koloneus, shifts to consideration of the protagonist. The old age of Oidipous emerges as a powerful driver of his mental and spiritual power, and forms a striking background to the exploration of his character. The final chapter of the thesis examines how mechanisms of renewal that old men undergo in Aristophanes’ comedies (Knights, Akharnians, Peace, Wasps, Birds) differ across the dramas, and the impact this difference has on their interpretations. Such reassessments of ancient dramatic texts through the lens of old age can provide significant insight into the complexity of old men’s characterisations and of their involvement in the dramas. At the same time (from a gerontological perspective), this thesis’ analysis contributes to the developing discussion of the history of ageing, and highlights the differences between the ancient and modern worlds in this respect.