Thesis (doctoral--Université de Paris X: Nanterre, 2006. / Includes bibliographical references (p. 404-443) and indexes.

Η μελέτη της νεοελληνικής λογοτεχνίας είναι οργανωμένη σε ικανοποιητικό βαθμό στο θέμα της σύστασης εμπεριστατωμένων βιβλιογραφικών έργων. Ωστόσο, δεν υπάρχει ειδική βιβλιογραφία που να καταγράφει έργα, πρωτότυπα ή μεταφρασμένα, τα οποία εντάσσονται στον «ελληνικό Ανατολισμό». Στόχος της παρούσας μελέτης, είναι να καταγραφούν, όσο το δυνατόν πιο συστηματικά, τα λογοτεχνικά έργα που συνδέονται με την Ανατολή και δημοσιεύονται στη διάρκεια του 19ου αιώνα. Στις σελίδες της παρούσας διπλωματικής μεταπτυχιακής εργασίας επιχειρείται μια πρώτη καταγραφή του ανατολικού στοιχείου στη νεοελληνική λογοτεχνία του 19ου αιώνα. Περιλαμβάνονται λογοτεχνικά κείμενα σε αυτοτελείς εκδόσεις, καθώς και σε περιοδικά της περιόδου. Συμπεριλαμβάνονται τα μεταφρασμένα κείμενα από την ευρωπαϊκή γραμματεία όπως και κείμενα που μεταφράστηκαν στα ελληνικά κατευθείαν από τις γραμματείες ανατολικών χωρών, όπως η Τουρκία, η Περσία, η Ινδία κ.ά. Σε εισαγωγικό κεφάλαιο παρουσιάζεται και σχολιάζεται η πορεία του ανατολικού στοιχείου στην ελληνική γραμματεία από τις απαρχές της επαφής του Ελληνισμού με πολιτισμούς της Ανατολής ως τα τέλη του 19ου αιώνα. Το κύριο μέρος της μελέτης ξεκινά με την καταγραφή ελληνικών λογοτεχνικών κειμένων με ανατολικά στοιχεία. Προτάσσονται οι αυτοτελείς εκδόσεις και ακολουθούν οι δημοσιεύσεις στα οικογενειακά φιλολογικά περιοδικά. Στη συνέχεια καταγράφονται οι μεταφράσεις λογοτεχνικών κειμένων από τις γραμματείες της Ανατολής, που αντλούν από τα πρωτότυπα έργα, ή από μεταφορές τους σε ευρωπαϊκές γραμματείες. Προτάσσονται και πάλι οι αυτοτελείς εκδόσεις και έπονται οι δημοσιεύσεις σε περιοδικά. Πρέπει να διευκρινιστεί πως σε ξεχωριστά υποκεφάλαια περιλαμβάνονται τα έργα που έχουν μεταφραστεί ήδη και τον 19ο αιώνα ανατυπώνονται, τα έργα που μεταφράζονται για πρώτη φορά τον συγκεκριμένο αιώνα, καθώς και τα έργα που έφτασαν στην ελληνική γραμματεία μέσω ευρωπαϊκών διάμεσων μεταφράσεων, αν και συχνά η γλώσσα διαμέσου η προτύπου δεν είναι γνωστή. Η καταγραφή λογοτεχνικών έργων ολοκληρώνεται με τα κείμενα ανατολικού περιεχομένου που προέρχονται από την ευρωπαϊκή γραμματεία και μεταφράζονται στα ελληνικά. Σε ξεχωριστό κεφάλαιο καταγράφονται οδοιπορικά κείμενα και ταξιδιωτικές εντυπώσεις, είτε αυτοτελείς, είτε δημοσιευμένες σε οικογενειακά φιλολογικά περιοδικά, από Έλληνες, Ευρωπαίους και άλλους περιηγητές, που επισκέφθηκαν διάφορες χώρες της Ανατολής ή έζησαν για χρόνια εκεί και θέλησαν να μοιραστούν τις εμπειρίες τους με το αναγνωστικό κοινό της εποχής. Ακολουθεί η ενότητα με τις «ευσύνοπτες μορφές» (παροιμίες, γνωμικά και τα αποφθέγματα) ανατολικής προέλευσης που εντοπίστηκαν στα περιοδικά. Η καταγραφή ολοκληρώνεται με ένα καταληκτικό κεφάλαιο, όπου παρουσιάζονται τα συμπεράσματα που προκύπτουν από την έρευνα. Σε όλες τις κατηγορίες το υλικό παρουσιάζεται χρονολογικά. Πρόσθετα στοιχεία που αφορούν κείμενα, συγγραφείς ή μεταφραστές, τα οποία συγκεντρώθηκαν από τη δευτερεύουσα βιβλιογραφία ή αντλήθηκαν από αυτοψία των κειμένων παρατίθενται σε σύντομο σχόλιο, κάτω από το βιβλιογραφικό λήμμα. / The study of modern Greek literature is organized satisfactorily in establishing detailed bibliographical works. However, there is no scientific bibliographical work to literature works, original or translated, which correspond to the "Greek Orientalism." The aim of this thesis is to record as consistently as possible, the literary works associated with the East and published during the 19th century. In the pages of this diplomatic thesis is attempted a first inventory of the eastern component in modern literature of the 19th century. It includes literary texts that are publicated separately or in literary magazines of the period. It also includes literary works from European literature as texts translated into Greek by the literature of eastern countries such as Turkey, Persia, India etc. In the introductory chapter is presented and commented the progress of the eastern elements in Greek literature from the beginnings of the contact between Greeks and civilizations of the East until the late 19th century. The main part of the thesis begins by recording Greek literary texts with oriental elements. Preceded in separate versions, followed by publications in literary magazines. Then follows the record of the translated literary texts from eastern literature, which derive from the original works, or transfer in European registries. Preceded again separate versions, followed by publications in journals. It should be noted that separate sections include projects that have already been translated and reprinted in the 19th century. The bibliography ends with literary texts with eastern content from European literature that are translated into Greek. In a separate chapter are recorded travel documents and travel impressions by Greeks, Europeans and other travelers who have visited various countries of East or had lived there for years and wanted to share their experiences with literature readers. In the same chapter is also a section with proverbs and aphorisms that have Eastern origin and were found in the literary magazines. The bibliography ends with a conclusive chapter, which presents the findings of this research. In all categories the material is presented chronologically. Additional information on texts, authors or translators is placed in the brief comment under the bibliographic entry.

Made available in DSpace on 2015-12-10T14:24:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-07-31. Added 1 bitstream(s) on 2015-12-10T14:31:08Z : No. of bitstreams: 1 000851849.pdf: 1343700 bytes, checksum: f920526248474b829705a5d8a8a6cda4 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Na primeira metade do século XX, E. R. Dodds não apenas estimulou novas perspectivas com o livro The Greeks and the irrational (1953), como tornou-se referência aos futuros estudiosos ao discutir o conceito de ἄτη na Ilíada. Extremamente complexo, o vocábulo ἄτη designa, em primeira instância, um estágio de cegueira do pensamento humano e, mais tarde, a própria desgraça consumada. Suzanne Saïd (1978), acrescenta que, posteriormente, na tragédia clássica, o conceito passaria a fazer referência a toda sorte de infortúnios. Foi R. Doyle (1984) quem fez a análise do conceito em todas as tragédias clássicas, apenas tentando estabelecer seus diferentes sentidos. Dessa forma, a presente tese tem por objetivo defender que o conceito de ἄτη, ao longo da tragédia clássica grega, no século V a.C., passa por mudanças, assumindo diferentes acepções de acordo com o contexto apresentado, podendo, inclusive, ter perdido seu sentido original, aquele que a épica e toda a literatura anterior registravam. Para além disso, ao estar unido a outros termos, o conceito de ἄτη ganha novos contornos e significados diferentes, o que impede que sua tradução seja fixada em um único campo semântico. Daí a proposta, também, de pontuar que sua tradução respeite o uso adequado feito em cada uma das tragédias por seus autores. Para tanto, a tese perpassa todas as tragédias clássicas de Ésquilo Sófocles e Eurípides em que o vocábulo está presente (vinte e oito), nas quais o termo indica mudança ou acréscimo de valor semântico, fato este que será fundamentado na análise da transformação de pensamento do homem grego que, ao longo do século V, passou por mudanças extremas, desde a fundação da democracia e a vitória contra os persas, até o fim da Guerra do Peloponeso, com a queda do poderio ateniense e o desenvolvimento do pensamento racional / In the first half of the twentieth century, E. R. Dodds not only stimulated new perspectives through the book The Greeks and the irrational (1953), but also has become the benchmark for future scholars to discuss the concept of ἄτη in the Iliad. Extremely complex, the word ἄτη means in the first instance a blinding stage of human thought and, later, the very accomplished disgrace. Suzanne Saïd (1978) adds that later in classical tragedy, the concept would refer to all sorts of misfortunes. It was R. Doyle (1984) who analyzed the concept in all classical tragedies, just trying to establish its different meanings. Thus, this thesis aims to defend that the concept of ἄτη, along the classical Greek tragedy in the fifth century BC, undergoes changes, assuming different meanings according to the context presented, and may even have lost its original meaning, that the epic and all previous literature recorded. In addition, being united with other terms, the concept of ἄτη achieves new contours and different meanings, which prevents its translation to be fixed at a single semantic field. Hence the proposal, also, to point out that the translation respects the proper use made in each of the tragedies by their authors. Therefore, the argument permeates all the classic tragedies of Aeschylus, Sophocles and Euripides in which the word is present (twenty-eight), in which the term indicates change or addition of semantic value, a fact that will be based on the analysis of the transformation of thought of the Greek man, along the fifth century, underwent extreme changes from the foundation of democracy and the victory against the Persians, until the end of the Peloponnesian War, the fall of the Athenian power and the development of rational thought

Little scholarly work has been done on Amores 1.13 despite the fact that it is thematically unique in the extant corpus of Latin elegy and an altogether brilliant example of Ovidian ingenuity. The theme of the poem, Aurora’s premature arrival and disruption of a lovers’ union, is derived chiefly from Hellenistic love epigram. Scholars have often noted that two epigrams in particular, both composed by Meleager of Gadara, may have served as Ovid’s literary models. In fact, there are three Meleagrian epigrams which appear to have influenced the composition of Amores 1.13: A.P. 5.172, 5.173, and 12.137. In the following chapters, I examine the Meleagrian dawn epigrams without reference to Amores 1.13. Once the constituent elements of the Meleagrian dawn epigram have been properly established, I then consider Meleager’s influence on Amores 1.13 and the way in which Ovid adapts the Meleagrian model to suit his specific poetic needs. Finally, I provide a detailed literary-critical commentary on all elements of note. / Thesis / Master of Philosophy (MA)

The three works of Procopius of Caesarea, the History of the Wars, the Buildings and the Secret History, form a corpus which can be profitably studied as a whole. My thesis is a typology of the visual in Procopius’ corpus, which is embedded in a study of narrative technique. It concerns itself with the representation of material reality and the complex relationship between materiality and the text. It utilises the digressive and the descriptive as an indirect entry point to expose Procopius’ literary finesse and his use of poikilia. In the first half of this thesis, the main object of my study is the representation of the material world in Procopius. The first chapter is devoted to the first book of the Buildings as it depicts the city of Constantinople. The second chapter moves to the representation of space and the third chapter to that of objects of all sizes and kinds. From these three different angles, I demonstrate how the visual is deeply charged with both ideological and meta-textual intentions. The second half of the thesis goes beyond materiality to examine what I discuss as the imaginaire of Procopius. The fourth chapter examines the way violence is depicted in a material and spectacular manner as well as its meta-textual implications, and the fifth and final chapter addresses the omnipresence of the supernatural in the corpus as well as Procopius’ self-representation as narrator and character. While preoccupied to some extent with ideological and political concerns, this thesis is first and foremost centred on the text itself and how its relationship to the description of material culture throws light on a crucial author on the cusp between the classical and the medieval imaginaire, one of the most significant authors in Byzantine literary culture.

Thesis (PhD)--Stellenbosch University, 2005 / ENGLISH ABSTRACT: This study investigates the cosmological context of Pindar' s victory odes, and its importance for their encomiastic purpose. The introductory chapter deals with selected aspects of Pindaric scholarship in order to establish the usefulness of such an investigation. The first part of the study focuses on gnomai as a reflection of cosmological ideas. In Chapter 2 modem scholarship on the proverb and maxim, various ancient texts on gnomai and a number of references in Pindar are analysed in support of the contention that gnomai provide a legitimate basis for an overview of the cosmology revealed in Pindars poetry. The overview presented in Chapter 3 discusses three broad topics. The first concerns the elemental forces, fate, god and nature, the second deals with the human condition and the third considers man in society from the perspectives of the household and family relationships on the one hand and relationships outside the OtKOs on the other. The overview suggests that Pindar's work is founded on a mostly conventional outlook on man and his relationships with both extra-human powers and his fellow man. To complement the overview three epinikia, Olympian 12, Isthmian 4 and Olympian 13 are analysed in Chapter 4. They demonstrate how the complexity of an actual situation compels the poet to emphasise different aspects of the cosmology or even to suggest variations to accepted views. The analyses imply that presenting the cosmological context of a particular celebration in an appropriate way is part of the poet's task. This aspect is further investigated in Chapter 5, which looks at the role of the poet as mediator of cosmology. In some cases the poet demonstrates certain preferred attitudes which in tum presuppose particular cosmological convictions. In others this role involves changing the perspective on the circumstances or attributes of a victor or his family through a modification of cosmological principles. Different approaches to the same theme in different poems show the author Pindar shaping the narrator-poet to represent varying viewpoints in order to praise a specific victor in the manner most suitable to his wishes and circumstances. The fact that the poet's task includes situating the victory in its cosmological context means that the glorification of a victor includes presenting him as praiseworthy in terms of broader life issues, such as the role of the divine in human achievement, a man's attitude to success and his status in society. Pindar's use of cosmological themes in general speaks of pragmatism rather than conformity to and the consistent defense of a rigid framework of values. However, the prominence of cosmology in the odes and the sometimes very conspicuous role of the poet in communicating it also reveal Pindar's abiding interest in man and his position in the world / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die kosmologiese konteks van Pindaros se oorwinningsodes, en die belangrikheid daarvan vir die gedigte as prysliedere. Die inleidende hoofstuk behandel geselekteerde aspekte van Pindaros-navorsing om die nut van so 'n ondersoek te bepaal. Die eerste deel van die studie fokus op gnomai as 'n bron van kosmologiese idees. In hoofstuk 2 word moderne navorsing oor spreekwoorde en wysheidspreuke, verskeie antieke tekste oor gnomai en 'n aantal verwysings in Pindaros se werk ontleed ter ondersteuning van die stand punt dat gnornai 'n redelike grondslag bied vir 'n oorsig van die kosmologie wat in Pindaros se digkuns na vore kom. Die oorsig aangebied in hoofstuk 3 bespreek drie bree onderwerpe, eerstens die fundamentele magte, die noodlot, god en die natuur, tweedens die menslike toestand en derdens die mens in die samelewing uit die hoek van die huishouding en familieverhoudings enersyds en verhoudings buite die OtKOs ; andersyds. Die oorsig dui aan dat Pindaros se werk gebaseer is op 'n hoofsaaklik konvensionele uitkyk op die mens en sy verhoudings met beide buite-menslike magte en sy medemens. Ter aanvulling van die oorsig word drie oorwinningsodes, Olimpiese Ode 12, lsmiese Ode 4 en Olimpiese Ode 13 in hoofstuk 4 ontleed. Die ontledings toon aan hoe die kompleksiteit van 'n gegewe situasie die digter verplig om verskillende aspekte van die kosmologie te beklemtoon of selfs afwykings van aanvaarde menings voor te stel. Die ontledings impliseer dat dit deel van die digter se taak is om die kosmologiese konteks van 'n spesifieke viering op die gepaste wyse aan te bied. Hierdie aspek word verder ondersoek in hoofstuk 5, waarin die rol van die digter as bemiddelaar van kosmologie bekyk word. In sommige gevalle demonstreer die digter sekere voorkeurhoudings wat op hulle beurt spesifieke kosmologiese oortuigings veronderstel. In ander gevalle behels hierdie rol die verandering van die perspektief op die omstandighede of eienskappe van 'n oorwinnaar of sy familie deur die modifisering van kosmologiese beginsels. Verskillende benaderings tot dieselfde tema in verskillende gedigte wys hoe die outeur Pindaros die vertellerdigter vorm om wisselende standpunte te verteenwoordig sodat 'n spesifieke wenner op die mees geskikte manier in ooreenstemming met sy wense en omstandighede geprys kan word. Die feit dat die digter se taak die plasing van die oorwinning in sy kosmologiese konteks insluit, beteken dat die verheerliking van 'n wenner insluit dat hy voorgestel word as lofwaardig kragtens breer lewenskwessies, soos byvoorbeeld die rol van die goddelike in menslike prestasie, 'n mens se houding tot sukses en sy status in die gemeenskap. Oor die algemeen spreek Pindaros se gebruik van kosmologiese temas van pragmatisme eerder as onderwerping aan en die volgehoue verdediging van 'n rigiede stel waardes. Die belangrikheid van kosmologie in die odes en die soms besonder opvallende rol van die digter in die kommunikasie daarvan openbaar egter ook Pindaros se blywende belangstelling in die mens en sy plek in die wereld.

Η παρούσα διατριβή μελετά τη διαχρονική διαδρομή ενός αρχαίου μύθου, την πρόσληψή του από τους νεοέλληνες συγγραφείς και τις αλληλεπιδράσεις μεταξύ των ποιητών, με απώτερο στόχο τη διαχρονική ανάγνωση του μύθου της Κασσάνδρας. Ο Όμηρος αναφέρει για πρώτη φορά το όνομα της Κασσάνδρας και επικεντρώνεται στην ομορφιά και στο θάνατό της. Στα Κύκλια Έπη και στη λυρική ποίηση η Κασσάνδρα εμφανίζεται με προφητικές ικανότητες. Στην τραγική και ελληνιστική ποίηση το μυθικό πρόσωπο αποκτά αυτοδύναμο πρωταγωνιστικό ρόλο. Στον Αισχύλο και στον Ευριπίδη εμφανίζεται ως εμπνευσμένη προφήτισσα. Στην Αλεξάνδρα του Λυκόφρονα η Κασσάνδρα, έγκλειστη σε μια φυλακή, προφητεύει την άλωση της Τροίας, το νόστο των Ελλήνων, τη δική της τύχη και τον πόλεμο Ευρώπης-Ασίας. Tο πέρασμα από την παραδοσιακή στη νεοτερική ποίηση σηματοδοτεί μια νέα λειτουργία του μυθικού προσώπου. Ο Παλαμάς εκμεταλλεύτηκε ποιητικά το μυθικό πρόσωπο περισσότερο από τους άλλους ποιητές στην προσπάθειά του να ανασυνθέσει ολιστικά το παρελθόν. Στις νεοτερικές της αποτυπώσεις η Κασσάνδρα συμβολοποιείται και εμφανίζεται άλλοτε ως χρησμολόγος δεινών (Σικελιανός, Καρέλλη), άλλοτε ως σύμβολο διαχρονικών αξιών (Παλαμάς, Σεφέρης, Ρίτσος), άλλοτε αποτελεί απλά πηγή ποιητικής έμπνευσης και δημιουργίας (Πολέμης, Καβάφης). Ο μύθος της Κασσάνδρας αποτέλεσε πόλο έλξης τόσο για τους αρχαίους όσο και για τους νεοέλληνες συγγραφείς. Έτσι έχει δημιουργηθεί ένα μετα-μυθικό υπερκείμενο που εμπλουτίζεται και εξελίσσεται, επιτρέποντας παράλληλα το διακειμενικό διάλογο ανάμεσα στους συγγραφείς και την παλίνδρομη κίνηση παρελθόντος-παρόντος. / The present thesis studies a mythical figure, the interactions between ancient Greek and modern Greek poets, with final objective the diachronic reading of the myth of Cassandra. Homer in the mid-eighth century BC is the first poet who mentions her name. He focused on her beauty and described her death. In Epic Cycle and in lyric poetry Cassandra is presented as a prophet. In tragic and hellenistic poetry she acquires a self-reliant leading role. Exploring her role in the plays of Aeschylus and Euripides leads to an understanding of her role as a seer. Kassandra, also appears in Lykophron, who wrote an obscure poem in the third century BC called Alexandra. In this poem Cassandra, imprisoned, prophesies the fate of Troy, the nostos of Greeks, her fate and the battle between Europe and Asia. The figure of Kassandra reappears in greek poetry through the transition from traditional to modern poetry. In most greek poets, such as Palamas, Seferis, Cavafis, Silelianos, Ritsos, Cassandra becomes a symbol. The specific parallels between the myth and the experiences of the poets create anachronisms which eliminate the time-distance, present the mythical figure as a symbol in order to represent a dramatic view of the different modern reality.

This thesis explores Hellenistic and imperial Greek texts that represent or discuss the river Nile. The thesis makes an original contribution to scholarship by examining such texts in he light of the history of Greek discourse about the Nile and in the context of social, political and cultural changes, and takes account of relevant ancient Egyptian texts. I begin with an introduction that provides a survey of earlier scholarship about the Nile in Greek literature, before identifying three themes central to the thesis: the relationship between Greek and Egyptian texts, the tension between rationalism and divinity, and the interplay between power and literature. I then highlight both the cultural significance of rivers in classical Greek culture, and the polyvalence of the river Nile and its inundation in ancient Egyptian religion and literature. Chapter 1 examines the significance of Diodorus Siculus' representation of the Nile at the beginning of his universal history; it argues that the river's prominence constructs Egypt as a primeval landscape that allows the historian access to the distant past. The Nile is also seen to be useful to the historian as a conceptual parallel for his historiographical project. Whereas Diodorus begins his universal history with the Nile, Strabo closes his universal geography with Egypt; the second chapter demonstrates how Strabo incorporates the Nile into his vision of the new Roman world. Chapter 3 presents a diachronic study of Greek discourse concerning the two major Nilotic problems, the cause of the annual inundation and the location of the sources. It examines first the construction of the debates, and second the transformation of that tradition in Aelius Aristides' Egyptian Oration. The functions of the Nile in Greek praise-poetry are the subject of chapter 4; it is shown that the Nile and its benefactions are used by poets to lay claim to political, religious or cultural authority, and to situate Egypt within an expanding oikoumene. The fifth and final chapter turns to Greek narrative fictions from the imperial period. The chapter demonstrates that the Nile is more familiar than exotic in these texts. It is shown that Xenophon of Ephesus and Achilles Tatius play with the trope of 'novelty' in this very familiar literary landscape, while Heliodorus articulates a more profound disruption of the expected Egyptian tropes, and ultimately replaces Egypt with Ethiopia as a new Nilotic environment.

Thesis (doctoral)--Rijksuniversiteit te Groningen. / Includes bibliographical references (p. 294-299) and index.

Thesis (doctoral)--Rijksuniversiteit te Groningen. / Includes bibliographical references (p. 294-299) and index.