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[pt] A análise da correspondência entre Hesíodo e Daniel revelou-se, surpreendentemente, profícua, especialmente no que diz respeito ao mito das cinco raças, em Os Trabalhos e os dias, do primeiro, e ao sonho da estátua compósita, no livro que leva o nome do segundo. A analogia revela que, guardadas as devidas proporções em termos de marco social, língua e cultura de uma forma geral, os pontos de contato se dão a partir das fontes comuns, repercutidas na estrutura e no gênero literário. O objetivo desta dissertação é averiguar em que medida Hesíodo teria influenciado o livro de Daniel, tendo em vista ser o poeta grego cerca de seis séculos anterior ao livro do redator judeu. Assim sendo, o trabalho começa com uma análise e tradução do mito grego, seguindo sempre as etapas do método histórico-crítico; em seguida, é feito um estudo acerca da origem e das características do gênero que os aproxima, o apocalíptico; posteriormente, a análise e tradução da perícope de Daniel para, por fim, sumariar a aproximação entre os dois, o que, de certa forma, já acontece ao longo do trabalho. / [en] The analysis of the correspondence between Hesiod and Daniel turn out to be, surprinsingly, proficient, specially with regard to the myth of ages, in the Works and days, belonging to the first, and the dream of compound statue, in the book that has the name of the second. The analogy shows that, retaining the proportions due to each one in terms of setting, language and culture on the whole, the contact points occur from the common sources, having repercutions on the framework and literary gender. The aim of this research is to verify in which measure Hesiod would have influenced the book of Daniel, having in mind that Greek poet lived at about six centuries before the Jewish editor´s book. In this way, the research begins analysing and translating the Greek myth, following always the stages of the historical-critical method. Next, is made a study about the origin and features of the apocalyptic gender that brings the two texts close to each other. Subsequently, the analysis and translation of the extract of Daniel to, finally, summarize the proximity between them, which, anyway, has already been occuring along the research.

Thesis (B.A.)--Haverford College Dept. of Classics, 1992. / Includes bibliographical references.

Made available in DSpace on 2015-05-14T12:39:55Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1291304 bytes, checksum: 9542dd794ea06b8a29e2b22eeddec2c2 (MD5) Previous issue date: 2014-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research, entitled STUDY OF MYTH THROUGH LITERARY ANALYSIS OF "THE CONTEST OF HOMER AND HESIOD", aims to present a theoretical study on the myth from the analysis of a literary text whose authorship is attributed to Hesiod, The Contest of Homer and Hesiod. In order to achieve its objective, the research part of the reflection on the myth considering its polysemy, that is, the different senses that the institute may have, that is, its different facets. The theoretical foundation is basically the authors, in alphabetical order, Aristotle (1991), Barthes (2001), Burkert (2001), Campbell (2007), Detienne [19--], Eliade (2010), Hegel (2004) and Vernant (1990 and 2006). The translation of the corpus, whose original is written in Greek, used in the research is that of Torrano (2005), the only version available for Portuguese language. The work is divided as follows: the first chapter presents a brief theoretical study of the myth, considering it as a narrative, as language and in its religious content, highlighting the issue of genealogy and funeral rituals, as well as a study of the function the poet in the classical world. The second chapter presents a contextualization of the corpus, especially its characterization according to gender. The third chapter presents the analysis of the literary text under consideration, The Contest of Homer and Hesiod. / A presente pesquisa, intitulada ESTUDO DO MITO ATRAVÉS DA ANÁLISE LITERÁRIA D"O CERTAME HOMERO-HESÍODO", tem como objetivo apresentar um estudo teórico sobre o mito a partir da análise de um texto literário cuja autoria é atribuída a Hesíodo, O Certame Homero-Hesíodo. A fim de alcançar o seu objetivo, a pesquisa parte da reflexão sobre o mito considerando a sua polissemia, isto é, os diversos sentidos que o instituto pode ter, as suas diferentes facetas. A fundamentação teórica está basicamente nos autores, em ordem alfabética, Aristóteles (1991), Barthes (2001), Burkert (2001), Campbell (2007), Detienne [19--], Eliade (2010), Hegel (2004) e Vernant (1990 e 2006). A tradução do corpus, cujo original é escrito em grego clássico, utilizada na pesquisa é a de Torrano (2005), única versão para a língua portuguesa disponível a que foi possível ter acesso. O trabalho está assim dividido: o primeiro capítulo apresenta um breve estudo teórico sobre o mito, considerando-o como narrativa, como linguagem e em seu teor religioso, com destaque para a questão da genealogia e dos rituais fúnebres, além de um estudo sobre a função do poeta no mundo clássico. O segundo capítulo apresenta uma contextualização do corpus, especialmente a sua caracterização quanto ao gênero. O terceiro capítulo apresenta a análise do texto literário em apreço, O Certame Homero-Hesíodo.

El origen y significado de la inspiración poética” ha sido siempre objeto de considerable controversia. Lo que los críticos no preguntan muy a menudo es: ¿cuáles son las palabras o frases que los textos poéticos tempranos, previos al Período Clásico, usaron para expresar el genio poético o mousikē que nosotros asociamos con la inspiración en la poesía griega temprana? En este ensayo examino, en primer lugar y principalmente, tanto la terminología empleada por Homero y Hesíodo para expresar la experiencia poética, como el rol del aoidoso cantor/poeta en sus descripciones respectivas. Sostengo no solo que se confunden en Homero y Hesíodo las nociones físicas y figurativas de inspiración”, es decir, que no son diferenciadas por los poetas de manera consciente, sino que la poesía misma debe haber sido vista por Homero y Hesíodo como un don divino –de acuerdo a la voluntad de los dioses–. También sostengo que diversas etimologías y contextos sugieren fuertemente que un tipo de mania o posesión extática fue una parte importante del proceso poético temprano. El trabajo aquí presentado es una versión abreviada de un proyecto de investigación más amplio que busca examinar el origen y desarrollo de las actitudes pre-platónicas, platónicas y post-platónicas hacia la inspiración y la alegoría. --- Some Reflections on the Early Greek Notion of Poetic Inspiration”. The origin and meaning of poetic inspiration” has always been the subject of considerable controversy. What critics rarely ask are: what words or phrases did the early poetic texts use to express the poetic genius or mousikē we associate with inspiration in the early Greek poetry, and thus prior to the Classical period? In this paper, I examine first and foremost both the terminology employed by Homer and Hesiod to express the poetic experience and the role of the aoidos or singer/poet in their respective accounts. I argue that not only are the physical and figurative notions of inspiration” in Homer and Hesiod confused, that is, they are not consciously distinguished for the poets, but poetry itself for Homer and Hesiod must have been seen as a divine gift –as willed by the gods. I also argue that a number of etymologies and contexts strongly suggest that a type of mania or ecstatic possession was very much a part of the early poetic process. The work presented here is an abridged part of a larger research project that seeks to examine the origin and development of pre-Platonic, Platonic and postPlatonic attitudes toward inspiration and allegory.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-09-24T13:02:39Z No. of bitstreams: 2 Dissertação - Heloíse Cardoso da Silva Aguiar - 2018.pdf: 1388684 bytes, checksum: 59f754782221720a404a54d041c79f52 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-09-24T13:30:27Z (GMT) No. of bitstreams: 2 Dissertação - Heloíse Cardoso da Silva Aguiar - 2018.pdf: 1388684 bytes, checksum: 59f754782221720a404a54d041c79f52 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-09-24T13:30:27Z (GMT). No. of bitstreams: 2 Dissertação - Heloíse Cardoso da Silva Aguiar - 2018.pdf: 1388684 bytes, checksum: 59f754782221720a404a54d041c79f52 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-30 / In Plato's Republic books II and III, Plato examines the poets' methods and their effects before the public, and in doing so concludes that they are not compatible with his educational goal, as they oppose his ethical conception and political project. However, when we read the poem Works and Days, we find a discourse that seeks to ground human action in an absolute conception of justice. And precisely because of this, it provides an important background for the construction of the conception of justice present in the Republic. Hence, this dissertation intends to establish parallelisms between the conception of justice of the poet Hesiod and the one Plato presents in the Republic with the objective of determining if, in fact, the poet's conception is so opposed to that of the philosopher as he presents it in the mentioned dialogue. / Nos livros II e III da República, Platão examina os métodos dos poetas e seus efeitos diante do público e ao fazê-lo conclui que não são compatíveis com seu objetivo educacional, pois se opõem à sua concepção ética e ao seu projeto político. No entanto, quando fazemos uma leitura do poema Os trabalhos e os dias, encontramos um discurso que procura fundamentar a ação humana numa concepção absoluta de justiça. E justamente por isso, fornece um importante pano de fundo para a construção da concepção de justiça presente na República. Em virtude disso, esta dissertação pretende estabelecer os paralelismos entre a concepção de justiça do poeta Hesíodo e a que Platão apresenta na República com o objetivo de determinar se efetivamente a concepção do poeta é tão oposta à do filósofo como ele a apresenta no mencionado diálogo.

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Les différents commentateurs de Lovecraft se sont au fil du XXe siècle jusqu’à nos jours entendus sur un point : l’originalité de son oeuvre. Impossible à cataloguer dans un genre littéraire précis, offrant de multiples couches d’interprétation, celle-ci fut analysée à la fois sous l’angle psychanalytique et sous l’angle philosophique et scientifique. Cependant, la dimension purement esthétique semble, peut-être par négligence, avoir été oubliée. Notre mémoire propose une investigation de l’esthétique dans l’oeuvre de Lovecraft. Notre hypothèse de recherche repose sur les analogies évidentes et pourtant peu approfondies par la critique entre l’esthétique de celle-ci et l’esthétique cosmogonique de l’Antiquité. Dans un premier temps, nous situerons l’œuvre dans son contexte littéraire, c’est-à-dire que nous nous pencherons sur les rapports évidents qu’elle entretient avec des auteurs tels que J.R.R. Tolkien et Arthur Conan Doyle et sur les différences moins évidentes qui la distinguent d’autres d’auteurs tels que H.G. Wells et William Hope Hodgson. Ensuite, nous mettrons en perspective les différences qui la séparent logiquement de la cosmogonie hébraïque et de la tradition théologique et philosophique qu’elle inaugure, entre autres, tel qu’elle se cristallise dans La Divine Comédie de Dante. Finalement, nous démontrerons à partir d’une comparaison serrée de motifs analogues, présents dans la longue nouvelle de Lovecraft, At the Mountains of Madness et dans le poème d’Hésiode, La Théogonie, le parallèle révélateur entre leurs esthétiques respectives; leurs esthétiques qui découlent de paradigmes du réel historiquement et essentiellement distincts, mais non pas opposés ou contradictoires. / Throughout the 20th century and until now, the different Lovecraft commentators have agreed on one point: the originality of his oeuvre. Impossible to pigeonhole in a specific literary genre, and open to many layers of interpretation, it has been analysed both from a psychoanalytic angle and from a philosophical and scientific angle. However, the purely aesthetic dimension seems to have been forgotten, possibly through negligence. This dissertation proposes an investigation of the aesthetic aspect of Lovecraft’s oeuvre. Our research hypothesis rests on the obvious, yet rarely elaborated upon by critics, analogies between it and the cosmogonical aesthetics in Antiquity. First, we shall position Lovecraft’s work within its literary context, e.g. by establishing its evident connection to such authors as J.R.R. Tolkien and Arthur Conan Doyle, but also by underlining the subtler differences that distinguish it from other writers such as H.G. Wells and William Hope Hodgson. Then, we will put into perspective the elements that logically separate it from Hebrew cosmogony and from the theological and philosophical tradition it inaugurates, as crystallized in Dante’s Divine Comedy, notably. Finally, we intend to demonstrate, based on a close comparison of similar motifs present in Lovecraft’s novella, At the Mountains of Madness and in Hesiod’s poem, Theogony, a revelatory parallel between their respective aesthetics; aesthetics that spring from historically and essentially distinct paradigms of reality, but which are not opposed or contradictory.

This study explores the relationship between poetry and politics in Books 1 and 15 of Ovid’s Metamorphoses. Vergil had refashioned the concept of the golden age to better resonate with Roman values, and Ovid in turn responds to Vergil by making his own golden age free from law, seafaring, and warfare (Met. 1.89-112). Ovid’s golden age clearly foils his ‘praise’ of Augustus in Book 15 (819-70), and thus challenges Vergil’s innovations. Ovid closely connects his demiurge (opifex, 1.79), who created the conditions necessary for the existence of the golden age, to himself (15.871-9); they together display the potency of poetic power. Poesis is different than the power of empire, which is inherently destructive: Jupiter terminates the golden age (1.113), and Augustus’ accomplishments are only ostensibly ‘peaceful’ (15.823, 833). Ovid suggests that the power of poesis remains beyond the destructive reach of Augustus, since Rome’s power is limited to the post-golden, chaotic world, and that poesis enjoys the status of eternality which Rome and Augustus claimed to possess themselves.