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The thesis focuses on Plato’s treatment of poetry in the Ion, Gorgias and Republic X. Although these discussions provide three quite different accounts of poets and their activity and have thus commonly not been associated, a similar objective may be detected in them: they all aim to disqualify poets, presenting them as incompetent in what they do or also (in the Gorgias and Republic X) as morally harmful. My aim is first to show how the three discussions differ from Plato’s other major discussions of poetry in Republic II-III and Laws II and VII: while the former provide (disqualifying) answers to the descriptive questions of whether poets have relevant knowledge and how they morally affect their public, the latter are concerned with the prescriptive questions of what poets should do in their envisaged role as political instruments (Chapter I). In the close study of the three discussions, my aim is to identify, critically examine and compare the ‘disqualifying’ strategies employed in them: I consider, on the one hand, how they substantiate the charges of poets’ incompetence or moral harmfulness and on the other hand, how they counter and account for the widely shared appreciation of Homer and other poets (Chapters II-V). Before discussing Republic X, however, I consider separately the notion of poets’ μίμησις (representation/ imitation), which in Republic X has a prominent role, but at the same time appears difficult to understand in itself as well as seemingly inconsistent with Plato’s other arguments about poets’ μίμησις, in particular in Republic III. Rejecting the widely accepted assumption of ‘narrower’ and ‘wider’ meanings of the term μίμησις respectively in Books III and X of the Republic, I analyse the notion of μίμησις in itself, and, following this I distinguish between three kinds of poets’ μίμησις and define in what elements they differ (Chapter IV). In the final overview of the three discussions, I reconsider how successful are their disqualifying depictions of poets.

This thesis examines the contributions of Ezra Pound to the modern readers' awareness of the classics.

The Bare Units is a transmission from a queer body/brain navigating an After-Hours Members-Only Club, a site of graymarket sexuality and commerce. Alive to the fizz and froth of visceral sensation- be it the damp texture of a limp dollar bill or the soft meaty slap of an ass- yet awkwardly vigilant to the unstated but specific social exchanges in a semi-regulated space, the role of the Newcomer collapses into the persona of the Participant, awash and implicated in the complexity of each moment. Collecting details from a personalized capitalism enmeshed in mutated systems of value and power, The Bare Units fantasizes a nebulous architecture built from a self-conscious fictional narrative of self, and all the provisional and mutually-beneficial transactions that might be possible within.

This work analyses the most important sources for manumission in Ancient Greece from a legal perspective, with the aim of unearthing the legal concepts and definitions that informed the liberation of slaves in the ancient documents. More specifically, this study will examine the legal nature of manumission in exchange for money while also analysing the legal condition of those ἀπελεύθεροι who, after their liberation, were required to perform παραμονή-services towards their former masters. This analysis will focus on the origins of manumission in Greece (which can be traced back to the Homeric poems), on the body of Hellenistic inscriptions from Delphi and Chaeronea, on some forensic speeches from Classical Athens and, finally, on the so-called ‘public manumissions’. All these sources are unequivocal in showing that, on the one hand, manumission in exchange for money had the nature of a bilateral legal transaction between the slaves’ masters and a third party, other than the slaves; and on the other hand, that the legal condition of manumitted slaves is always understood as one of freedom, independently of the possible imposition of post-manumission obligations upon them. This work ultimately shows not only that the Greeks’ conceptualisation of manumission relied on a solid understanding of key legal concepts such as slavery, freedom and ownership, but also that this institution was informed by common legal principles shared by different geographical and chronological contexts of the Greek world.

The surviving fragments of Numenius' On the Good show the progression of a discernable argument; the dialogue as a whole deals with the search for a deeper understanding of the Form of the Good that is discussed in Plato's Republic. Fragment 1a provides a statement of method that governs Books 1-3. Book 1 attempts to use dialectical reasoning to reconstruct the "arguments" (logoi) of Pythagoras. Book 2 attempts to find confirmation of these arguments in the Platonic dialogues. Book 3 attempts to find further confirmation in the traditions of the "peoples of good repute." Fragment 9, taken from Book 3, gives a novel telling of the Jewish story of the Exodus, and is carefully constructed so as to be in conformity with Plato. It is best read as an allegory for the interaction of God and Matter. Book 4 is lost, but likely treated the necessity of a lower creator god beneath the highest god who is "free of labor." Book 5 introduces the Three Gods, who should be understood as the highest god, and two aspects of the lower god: a contemplative aspect and a creative aspect. Book 6 ties together the themes of the dialogue as a whole, and concludes that the Good is God.

Thesis (M. Phil.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

This dissertation examines exile in Homeric epic and in particular the relationship between exile as a narrative motif and the thematic significance of exile in specific contexts. The Homeric exile motif is defined and found to include four stock elements involving the causes of exile, the role of compulsion in exile, the permanence of exile, and the possible outcomes of exile. The more thematic issues surrounding exile are also considered, especially in the light of ancient and modern theoretical discussions of exile. Three examples of exile in the Iliad and the Odyssey are then analyzed. In each case, close attention is paid to the way in which the exile narrative fits into the immediate context and is thematically relevant to it. The exile narrative delivered by Phoenix to Achilles in Iliad 9 is interpreted as an attempt to dissuade Achilles from carrying out his threat to abandon the expedition against Troy. More precisely, it is argued that Phoenix uses the parallels between his own exile and the situation facing Achilles to suggest that in abandoning the expedition Achilles would become something close to an exile himself, thereby compromising his heroic standing. It is argued that the ghost of the unburied Patroclus uses his exile narrative to Achilles in Iliad 23 to present his experience of death as a parallel to his experience of exile in life and does so in order to persuade Achilles to provide him with ‘hospitality’ in the form of burial, just as Achilles’ family provided Patroclus with hospitality as an exile. Finally, the false exile narrative delivered by Odysseus to Athena (disguised as a shepherd) in Odyssey 13 is interpreted as a reaction to Odysseus’ uncertainty as to whether or not he has reached Ithaca. It is argued that Odysseus uses his exile narrative to contrast the possibility that he is finally home with the possibility that he is still a nameless wanderer. The exile motif is found to be flexible enough to be adapted to the thematic requirements of the contexts in which these three exile narratives occur.

This dissertation examines exile in Homeric epic and in particular the relationship between exile as a narrative motif and the thematic significance of exile in specific contexts. The Homeric exile motif is defined and found to include four stock elements involving the causes of exile, the role of compulsion in exile, the permanence of exile, and the possible outcomes of exile. The more thematic issues surrounding exile are also considered, especially in the light of ancient and modern theoretical discussions of exile. Three examples of exile in the Iliad and the Odyssey are then analyzed. In each case, close attention is paid to the way in which the exile narrative fits into the immediate context and is thematically relevant to it. The exile narrative delivered by Phoenix to Achilles in Iliad 9 is interpreted as an attempt to dissuade Achilles from carrying out his threat to abandon the expedition against Troy. More precisely, it is argued that Phoenix uses the parallels between his own exile and the situation facing Achilles to suggest that in abandoning the expedition Achilles would become something close to an exile himself, thereby compromising his heroic standing. It is argued that the ghost of the unburied Patroclus uses his exile narrative to Achilles in Iliad 23 to present his experience of death as a parallel to his experience of exile in life and does so in order to persuade Achilles to provide him with ‘hospitality’ in the form of burial, just as Achilles’ family provided Patroclus with hospitality as an exile. Finally, the false exile narrative delivered by Odysseus to Athena (disguised as a shepherd) in Odyssey 13 is interpreted as a reaction to Odysseus’ uncertainty as to whether or not he has reached Ithaca. It is argued that Odysseus uses his exile narrative to contrast the possibility that he is finally home with the possibility that he is still a nameless wanderer. The exile motif is found to be flexible enough to be adapted to the thematic requirements of the contexts in which these three exile narratives occur.

Thesis (M.A.)--Zheng zhi da xue, 1978. / Spine title. Reproduced from ms. copy. Appendices (p. 676-708): "Sheng zheng lun / Wang Su ; Can kao shu mu". eContent provider-neutral record in process. Description based on print version record. 880-04