Este trabalho pretende discutir de que forma a noção de heroísmo foi abordada nas Argonáuticas de Apolônio de Rodes em oposição ao conceito de herói presente nos poemas homéricos. A análise se baseará na distinção entre as personagens Jasão e Héracles como exemplos de modos de atuação díspares e conflitantes no poema. A tradução dos livros I e n das Argonáuticas complementa o estudo. / This work intends to discuss the notion of heroism present in Apollonius Rhodius\' Argonautica in opposition to the concept of hero in Homeric poems. The analysis is based on the distinction between the characters Jason and Heracles as examples of different and conflicting ways of action. The translation of Argonautica books I and n complements the study.

Made available in DSpace on 2014-07-29T16:17:44Z (GMT). No. of bitstreams: 1 dissertacao edson jr historia.pdf: 586704 bytes, checksum: 824151347cf48e3c208eb9b3a87c0dec (MD5) Previous issue date: 2008-02-28 / Based on literature and on the analysis of texts by Lucian of Samosata, who was a Syrian author from the second century of the Christian era, the present essay aims to pose a few questions about a very influent historiographic construct: the idealization of the antonine era. To elucidate the problem, we have elaborated the concept of memory regime, which seeks to encompass the metanarrative limits that are necessary for the construction of the discourses. For such, we debated the ways in which the elite of the Roman Empire built an imperial culture, based on dialogue with the dominated cultures hence this paper debates the notion of Romanization. We have also pointed out the ways in which the discourses are validated by historical agents and some processes that involved the art of memory, a knowledge deeply rooted in the heart of roman aristocracy. We blended similar theoretical constructions with one clear example: the myth of Heracles and its diverse representations in Lucian of Samosata s writings, a mythical element whose analysis is fundamental, since the imperial propaganda of the antonine era is permeated with it. Therefore, this paper strives to show how this golden era of roman history presents conflicts even if they are in the form of representation / Com base na leitura e na análise dos textos de Luciano de Samósata, autor sírio do segundo século da era cristã, objetiva-se na presente dissertação objetiva encaminhar alguns questionamentos sobre um construto historiográfico muito influente: a idealização do século dos antoninos. Para elucidar o problema, elaboramos o conceito de regime de memória, que visa compreender os limites metanarrativos necessários para a construção dos discursos. Para tal, debatemos as maneiras como a elite do Império Romano construiu uma cultura imperial, a partir do diálogo com as populações dominadas por isso o trabalho debate a noção de romanização. Salientamos também as maneiras como os discursos são validados pelos agentes históricos e alguns processos que envolviam a arte da memória, um saber fortemente arraigado no seio da aristocracia romana. Matizamos semelhantes construções teóricas com um exemplo claro: o mito do herói Héracles e suas mais diversas representações nos escritos de Luciano de Samósata, um elemento mítico cuja análise é fundamental, já que a propaganda imperial do período dos antoninos está permeada por ele. Por conseguinte, este trabalho enseja mostrar como esta era áurea da história romana apresenta conflitos mesmo que esteja na ordem das representações

Disney's Hercules is an apt modern reception of the ancient mythology of Herakles, acknowledging ancient and modern sources surrounding three types of classical hero: the archetypal hero, influenced by the ideas of Joseph Campbell; the Pan-Hellenic hero, distilled from ancient Greek exempla of heroism from epic and other genres of ancient literature; and the tragic hero, inspired by the heroic criteria presented in Aristotle's Poetics. By adapting these heroic types from their traditional ancient source myths, Disney's Hercules produces a new, contemporary definition of heroism—one informed by modern, Western family values. This adaptation renews the power of the myth of Herakles for a modern era, whose image and characteristics have been changed and adapted since ancient times to suit each receiving culture's conception of true heroism.

Classical mythology has been one of the main sources of inspiration for European artists for centuries. It also remained current during the 20th century. From the 1920s, one can see increasing interest in classical myths; it becomes a source of inspiration even for artists of avant-garde art movements. The 20th century artist approach themes from classical mythology from a position of newly acquired artistic freedom. Release of iconographic conventions and academic rules, emphasis on psychology and individuality of a modern man brings specific forms of reception and reinterpretation of classical myths. In many cases, classical mythology carries allegorical meanings in a relation to contemporary political and social events, often in a very critical tone. But it also represents a tool for one's personal coping with reality. The thirties and early forties of the 20th century with dark atmosphere affected by war conflicts represent the culmination period of classical myths in visual arts. The tendency can be observed both in the art of European and Czech origin. Antiquity and classical mythology become the symbols of a return to the roots of European culture and civilization, symbols of the common European humanistic heritage. The collection of nearly 180 works of modern Czech art inspired by classical...

This dissertation demonstrates how props act as conduits of knowledge and (thus?) power in Sophocles’ “non-Theban” plays. I show how certain props challenge the definitions and values that they accrue as they move between actors onstage. Key props in these four plays behave unlike other props in extant tragedy, opening up the possibility for a sustained inquiry into the ways that property speaks to and for power. Focusing on the urn in Electra, the bow in Philoctetes, Hector’s sword and Ajax’s own shield in Ajax, and the robe in Trachiniae, this project argues for the centrality of these props in these plays’ verbal exchanges. The introduction sets up a framework and methodology that draws on Michel Foucault’s notion of power-knowledge (pouvoir-savoir) and the sociology of Pierre Bourdieu alongside contemporary thinkers like Jack Halberstam, Jane Bennett, and Sara Ahmed. The first chapter, “The Urn is the Wor(l)d in Sophocles’ Electra,” builds on prior scholarship on this much-studied stage object by showing how it accrues “symbolic power” and comes to construct reality and the social world. The possibility of that consensus breaks down, however, in the face of the familiar/l strife at Argos, and it is through this breakdown that the urn gives audience members a way to examine the play’s puzzling lack of resolution. The second chapter, “Stringing a Bow: Learning, use, and power in Sophocles’ Philoctetes,” builds on the previous chapters’ by showing how the bow defines the limits of Neoptolemus’ education on Lemnos and the terms of its own exchange. The bow’s frequent back and forth between characters and its role in Odysseus’s subterfuge belie the fact that it still belongs to Heracles, who alone can authorize its use. This reading draws out the strange relationship between the deceptions of the False Merchant and the divine interventions of Heracles, demonstrating an uncomfortable consonance between the two scenes. The third chapter, entitled “Ajax’s economy of hostility: the necropolitics of kleos,” explores how Ajax paradoxically gives up his shield even as it merges with his identity as a defense for the Achaeans against the Trojans. Ajax himself attempts to manipulate this threat through the handling and “exchange” of the sword of Hector with its native soil, misleading his compatriots — and possibly himself — about his intentions in his so-called “deception speech.” When Hector’s sword pierces Ajax’s body, Trojan and personal hostilities merge until Odysseus manages to rectify the play’s errant exchanges and restore Ajax’s status as a shield for his companions. The fourth and final chapter, “Ceci n’est pas un prop: The robe as gift and garment in Sophocles’ Trachiniae,” shows that the robe’s failure to appear onstage as a prop — the audience might see it as part of Heracles’ costume at the end of the play — enacts the conflict between oikos and wilderness that the characters inhabit, exposing them to the threats of order and disorder as they attempt to integrate Heracles’ pure excess into the oikonomia of Trachis. This process ultimately reveals the futility of attempts to analyze the play in terms of its dichotomies: female-male, oikos-polis, concealed-revealed, etc. The circulation of the robe in its box charts a path for understanding the play in terms that defy dichotomization by locating the play’s exchanges along intersecting modes of valuation. In the conclusion, I widen the perspective of this methodology again, turning to the instrumentalization of bodies in Sophocles’ Theban plays. I raise questions about how meaning, use, value, and power come to be confused via onstage exchanges, and I gesture towards possible future avenues of inquiry that might account for the trouble with bodies that Ajax raises.

English, Afrikaans and Zulu summaries / While there is increasing interest in the effect of landscape on ancient imagination, less attention has been paid to the impact of restless karst hydrology on ancient beliefs. By identifying shared themes, this study compares and contrasts the way Hittites and Aegean people in the Late Bronze and Early Iron Ages reshaped peripheral karst landscapes into physical and imagined transitional zones. Karst geology underpins much of the Aegean and Anatolian landscape, allowing subterranean zones to be visible and accessible above ground via caves, springs, sinking streams, sinkholes and other unusual natural formations. In both cultures, certain dynamic landscapes were considered to be sacred porous points where deities, daemons, heroes and mortals could transit between cosmic realms. Evidence suggests that Hittites and Aegean people interpreted dramatic karst landscapes as liminal thresholds and spaces situated between the world of humans and the world of deities. Part One investigates physical zones of transition via the karst ecosystems of rural sanctuaries. Part Two considers the creative interpretation in myth and iconography of karst phenomena into metaphysical zones of transition. The examples reveal the way in which Hittites and Aegean people built their concept of the sacred on the extraordinary characteristics of karst geology. Numinous karst landscapes provided validity and a familiar reference point for the creation of imagined worlds where mortal and divine could connect. / Vandag is daar toenemende belangstelling in die effek van die landskap op die verbeelding van die mensdom in die oudheid - maar minder aandag word bestee aan die impak van die rustelose karst landskap op die mens se gelowigheid in die oudheid. Deur die identifisering van sekere gemene temas, vergelyk hierdie verhandeling die manier waarop die Hetiete en die Egeïese volkere in die Laat Brons- en vroeë Ystertydperke die omliggende karstlandskap herskep het in fisiese en denkbeeldige oorgangszones. Die Egeïese en Anatoliese landskap bestaan grotendeels uit karst geologie, met tot gevolg dat ondergrondse zones bo die grond sigbaar en toeganklik is in die vorm van grotte, bronne, sinkgate en ander uitsonderlike natuurlike formasies. In beide bogenoemde kulture is sekere landskapstonele beskou as heilige en poreuse punte waar gode, demone, helde en sterwelinge tussen die kosmiese zones kon beweeg. Die getuienis van die tyd suggereer dat die Hetiete en die Egeïese volkere die dramatiese karst landskappe as grense of drempels tussen hulle wêreld en dié van die gode beskou het. Deel Een ondersoek die fisiese oorgangszones deur te kyk na die karst ecostelsels waarin plattelandse heiligdomme hulle bevind het. Deel Twee beskou die kreatiewe gebruik van karst verskynsels as voorstellings van metafisiese oorgangszones in die gekrewe bronne en ikonografie. Die geselekteerde voorbeelde dui aan die manier waarop die Hetiete en Egeïese volke hulle konsepte van heiligdom gebaseer het op die buitengewone verskynsels van karst geologie. Numineuse karst landskappe het hulle idees gestaaf en ‘n bekende verwysingspunt uitgemaak waar die menslike en die goddelike met mekaar in kontak kon kom. / Ngenkathi intshisekelo ekhulayo yethonya lokwakheka komhlaba emcabangweni wasendulo, kunakwe kancane umthelela we-karst hydrology engenazinkolelo ezinkolelweni zasendulo. Ngokukhomba izingqikithi okwabelwana ngazo, lo mqondo uqhathanisa futhi uqhathanise indlela amaHeti nabantu base-Aegean kweLate Bronze kanye ne-Early Iron Ages abuye abuye abumbe kabusha imigwaqo ye-karst yomngcele ibe yizingxenye zesikhashana zomzimba nezicatshangwe. I-Karst geology isekela kakhulu indawo yezwe i-Aegean ne-Anatolian evumela ukuthi izindawo ezingaphansi komhlaba zibonakale futhi zifinyeleleke ngaphezu komhlaba ngemigede, iziphethu, imifudlana ecwilayo, imigodi yokushona nokunye ukwakheka okungokwemvelo okungajwayelekile. Kuwo womabili amasiko izindawo ezithile eziguqukayo zazithathwa njengezindawo ezingcwele zokungena lapho onkulunkulu, amademoni, amaqhawe nabantu abafayo bengadlula phakathi kwezindawo zomhlaba. Ubufakazi bukhombisa ukuthi amaHeti nabantu base-Aegean bahumusha imidwebo emangazayo yekarst njengemikhawulo yemikhawulo nezikhala eziphakathi komhlaba wabantu nezwe lonkulunkulu. Ingxenye yokuqala iphenya izindawo eziguqukayo zomzimba ngokusebenzisa imvelo ye-karst yezindawo ezingcwele zasemakhaya. Ingxenye Yesibili ibheka ukutolikwa kokudala kunganekwane nakwizithonjana zezinto ze-karst kube izingxenye eziguqukayo zenguquko. Izibonelo ziveza indlela abantu abangamaHeti nabantu base- Aegean abawakha ngayo umqondo wabo ongcwele ngezimpawu ezingavamile ze-karst geology. Amathafa amahle we-karst ahlinzeka ngokusebenza kanye nephuzu elijwayelekile lesethenjwa lokwakhiwa kwamazwe acatshangelwe lapho abantu abafayo nabaphezulu bangaxhuma khona. / Biblical and Ancient Studies / M. A. (Ancient Near Eastern Studies)