In me tota ruens Venus Vênus derrubando-se inteira sobre mim, esse verso de Horácio representa claramente a posição dos personagens de Fedra e Hipólito na tragédia Hipólito de Eurípides. Em linhas gerais, Fedra, enfeitiçada por Afrodite, sofre de amor pelo seu enteado Hipólito, que a rejeita veementemente. Enfurecida pelo tratamento dispensado por Hipólito não só a ela, mas às mulheres em geral, Fedra acusa Hipólito de estupro, através de um bilhete e suicida-se logo em seguida. Teseu, pai de Hipólito, ao encontrar a esposa morta, exila o filho e providencia que ele seja morto. As tensões criadas pelos discursos de Fedra e Hipólito têm sido material de inúmeros debates críticos. A análise da fortuna crítica levanta mais perguntas que fornece respostas. De todas as linhas críticas, duas linhas antagônicas merecem ser ressaltadas. A leitura crítica do discurso misógino que irá defender que Eurípides não pregava a misoginia através dos seus textos, mas, muito pelo contrário, a combatia ao fazer mudanças no mito dando voz a personagens femininas tão fortes quanto Fedra. E a leitura do discurso feminista que irá defender que há um discurso misógino presente no texto de Eurípides, fruto de uma imposição ideológica vigente na Grécia do século V a.C.. O presente trabalho irá discutir ambos discursos e demonstrar, que a sua maneira, Eurípides não era misógino / In me tota ruens Venus Venus falling all over me, this verse of Horace clearly represents the position Phaedras and Hippolytus characters have in Euripides tragedy Hippolytus. In general lines, Phaedra, enchanted by Aphrodite, suffers because she loves her stepson Hippolytus, who rejects her strongly. Enraged for his treatment not only toward her, but to all women, Phaedra accuses Hippolytus, through a plate, of raping her and suicides right after. Theseus, Hippolytus father, while finding his dead wife, exiles his son and makes arrangements for his death. The tensions created by Phaedras and Hippolytus discourses have been used in countless debates by the critical scholarship. Analyzing Euripides critics raises more questions that enlighten answers. Of all critical postures, two opposed lines deserve to have a closer look. The readings of the misogynistic discourse, that will defend that Euripides did not preach the misogyny through his texts, but, on the contrary, stroke it while doing changes on the myths to give voice to female characters as strong as Phaedra. On the other hand, the readings of the feminist discourse that will defend that there is a misogynistic discourse in Euripides texts, product of an ideological imposition present in Ancient Greece. The present work will discuss both discourses and demonstrate that, in his own maner, Euripides was not a misogynist

A tragédia Hipólito de Eurípides é lida e analisada, sob o aspecto da paixão e sob as diversas perspectivas em que essa paixão se reflete e refrange. Hipólito incorre em hybris ao tratar a deusa Afrodite como a uma mulher mortal, pois não compreendeu que essa divindade deve ser respeitada e exige honras. Fedra apresenta-se como uma mulher que, dominada pela paixão por seu enteado Hipólito, incessantemente busca evitá-la e livrar-se dela; contudo, a rainha oscila nesse desejo amoroso, pois suas falas delirantes revelam desejos eróticos ocultos. Dotada de capacidade reflexiva e especulativa sobre a ação humana, ela é, no entanto, enganada pelo sofisticado discurso de sua aia. Examina-se ainda o longo discurso de Hipólito, que o mostra a odiar as mulheres e a desejar ora que não existissem, ora que não empregassem a linguagem verbal. A carta, deixada por Fedra ao suicidar-se, encontrada junto a seu cadáver, ganha, com a morte, ressonância como ponto de apoio da acusação contra Hipólito. Teseu comporta-se como um mau leitor desse documento e de seu contexto, ao pronunciar um injusto julgamento. A tradução, que acompanha o presente estudo analíticointerpretativo, serve-lhe tanto de fundamentação quanto de complemento e de esclarecimento, por ser-lhe simultânea na sua gênese e solidária na sua intenção. / The tragedy Hippolytus, by Euripide, is read and analysed, under the aspect of passion, and the different perspectives in which this passion reflects and refracts. Hippolytus incurs a hybris when he treats the goddess Aphrodite as a mortal woman, because he was not able to understand that this divinity must be respected and that she requires honors. Phaedra presents herself as a woman who, dominated by passion for his stepson Hippolytus, incessantly tries to avoid this feeling and get rid of it; however, the queen oscilates in this desire, since her delirious speeches reveal hidden erotic desires. Being able both to reflect and to especulate about human action, she is, however, cheated by the sophisticated discourse of her nurse. Hippolytus\'s long speech is examined, what shows him hating women, and, at the same time, desiring now that they don\'t exist at all, now that they couldn\'t use verbal language. The letter left by Phaedra when she commited suicide and which was found beside her corpse, assumes, with her death, the meaning of point of support for the accusation of Hippolytus. Theseus acts as a misreader of this document and its context, pronouncing an unfair judgment. The translation that follows the present analytic-interpretative study, works both as its basis and its complementation and explanation, since it is simultaneous to the study in its genesis and solidary in its intention.

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This study considers the role of tragedy in Ovid’s Metamorphoses as demonstrated in four different episodes, those of Cadmus, Hercules, Hippolytus, and Medea. I have identified two main themes that the episodes share, namely, generic tension, particularly between epic and tragedy as emphasized by intertextual allusion to Virgil’s Aeneid, and the use of apotheosis as a means of not only transforming the character in question, but also signalling a generic shift, more appropriate for Augustan Rome. However, Ovid’s treatment of tragedy varies dramatically from one narrative to the next. Cadmus’ civic foundation is plagued with tragic themes and his apotheosis occurs only by later substitution. Hercules and Hippolytus achieve relatively standard deifications by pushing past the boundaries of their tragedies, but their refashioned selves are called into question. And the apparent apotheosis of Medea is even less straightforward, as she appears forever preserved in tragedy through meta-literary self-consciousness.

Thése-- Universit́e de Paris. / "Bibliographie"; p. [157]-163.

This study considers the role of tragedy in Ovid’s Metamorphoses as demonstrated in four different episodes, those of Cadmus, Hercules, Hippolytus, and Medea. I have identified two main themes that the episodes share, namely, generic tension, particularly between epic and tragedy as emphasized by intertextual allusion to Virgil’s Aeneid, and the use of apotheosis as a means of not only transforming the character in question, but also signalling a generic shift, more appropriate for Augustan Rome. However, Ovid’s treatment of tragedy varies dramatically from one narrative to the next. Cadmus’ civic foundation is plagued with tragic themes and his apotheosis occurs only by later substitution. Hercules and Hippolytus achieve relatively standard deifications by pushing past the boundaries of their tragedies, but their refashioned selves are called into question. And the apparent apotheosis of Medea is even less straightforward, as she appears forever preserved in tragedy through meta-literary self-consciousness.

This study explores how in central plays of Euripides – namely, Alcestis, Hippolytus, Helen, and Bacchae – bodies, landscapes, and objects (both seen on stage and described in speeches, dialogues, and choral odes) serve as media for assessing affective states, materializing the characters’ feelings and sensations and hence enabling the audience to vividly perceive them. My focus is grounded in the ancient conceptions of bodies and the senses in material from the Pre-Socratic and the Hippocratic writings, including theories about how the surrounding environment influences bodily types. It is also underpinned by theoretical perspectives that have come to prominence in recent research in ancient literature and culture. First, it draws on insights from phenomenology, aesthetics, and affective theory that in ancient drama highlight embodiment, synaesthesia, and the circulation of affects among characters and spectators. Second, it engages with works inspired by the new materialisms, which have produced a new attention to the mutual and symbiotic relationship between humans and nonhuman entities. Finally, it is based on the “enactive” approach to cognition, which makes a compelling case for visualization (e.g., spectators’ imagination of the things sung, spoken, or narrated) as grounded in the active, embodied structure of experience. Building on such theories, I posit that Euripides’ plays illustrate how the characters’ feelings and emotions combine with sensory indicators (sight, taste, smell, and touch), so that they operate as visible marks of states usually conceived of as inner. These states are, I suggest, exteriorized not only on bodies but also in their surroundings, such that landscapes as mapped onto the dramatic stage and objects with which the characters interact function as supplements to embodied affective manifestations. In addition to onstage action, I focus on how Euripides’ language triggers a strong resonance in the spectators’ imagination. In this regard, my argument takes up the insights of ancient critics such as Longinus, who has praised Euripides’ ability to generate “emotion” (τὸ παθητικόν) and “excitement” (τὸ συγκεκινημένον) in the audience through “visualization” (φαντασία) and “vividness” (ἐνάργεια). Thus, I examine how references to onstage performance and visualizing language interact, giving the spectators a full picture of the dramatic action. In Alcestis, I explore how embodiment, sensorial phenomena, and physical interactions put the characters’ feelings of pain and grief on prominent display, eliciting the audience’s sensory reaction. In Hippolytus, I examine how the characters’ emotions blend into the surroundings, such that forms, colors, and textures of landscape and objects allow the spectators to perceive inner states more forcefully. In Helen, I investigate how material and nonhuman things, such as rivers, plants, costumes, weapons, statues, ships connect to the characters as parts of an affective entanglement that heightens the experiential appeal of the characters’ feelings and sensations. In the Bacchae, I regard Dionysus’ action as an affective force that spreads throughout the world of the play, cracks, and mutates things, including human and animal bodies, natural elements, and objects. This action creates an enmeshment between things, which is embodied by the thyrsus topped with Pentheus’ head (mask) that gives the spectators a keen sense of the multiple, productive, and transformative nature of Dionysus’ power. In conclusion, this study argues that bodies, landscapes, and objects represent the privileged sites for exploring the affective exchange between the characters and the audience, refining our understanding of the intensity, impact, and reception of the Euripidean theater.

[pt] Desde os primeiros séculos de sua existência, o cristianismo convive com as heresias, que têm como principal característica a negação de uma verdade de fé, devidamente ensinada pela Igreja. A forma utilizada pelos Padres da Igreja, sobretudo nos primeiros séculos, para determinar se estavam ou não diante de uma heresia, consistia em confrontar a doutrina ensinada com a regra de fé. Esta consistia em uma medida que fundamentava-se na Sagrada Escritura e nos ensinamentos dos apóstolos. A doutrina que estivesse fora desta medida era considerada herética. A fim de evitar a proliferação de tais doutrinas e punir os que causavam desordens na comunidade, aos poucos foram se desenvolvendo na Igreja critérios de discernimento. Hipólito de Roma, no século III, utilizou a regra de fé no combate aos hereges. É um personagem polêmico, seja em razão da autoria de suas obras ou por sua forte personalidade, historicamente considerado o primeiro antipapa em virtude do cisma com o Papa Calisto. Este trabalho demonstra a forma como Hipólito combatia as heresias que ameaçavam o cristianismo nos primeiros três séculos e como suas obras foram importantes na defesa da ortodoxia da fé, sobretudo a partir da Philosophumena. Pretende-se também apresentar Hipólito de Roma muito mais como um guardião da fé do que um cismático, pois ao final da vida, morre no exílio reconciliado com a Igreja, combatendo o bom combate e, literalmente, guardando a fé. / [en] From the earliest centuries of its existence Christianity has lived with heresies, whose main characteristic is the denial of a truth of faith duly taught by the Catholic Church. The way bishops used, especially in the early centuries, to determine whether or not they were facing heresy, was to confront the doctrine taught with the rule of faith. This consisted in a measure that was based on the Sacred Scripture and the teachings of the apostles. Doctrine outside this measure was considered heretical. In order to prevent the proliferation of such doctrines and to punish those who caused disorder in the community, a code of laws was gradually developed in the Church. Hippolytus of Rome in the third century used the rule of faith in the fight against heretics. He is a controversial character, either because of the authorship of his works or for his strong personality, historically considered the first antipope because of the schism with Pope Callisto. This work demonstrates how Hippolytus fought the heresies that threatened Christianity in the first three centuries and how his works were important in defending the orthodoxy of faith, especially from the Philosophumena. It is also intended to present Hippolytus of Rome much more as a guardian of the faith than a schismatic, for at the end of his life he dies in exile reconciled to the Church, fighting the good fight and literally guarding the faith.

My purpose in this study is twofold. Firstly, I intend to examine the existence of honour in Greek society by an analysis of its presentation in works of Greek literature. In order to achieve this, I shall first examine the values of the Homeric, heroic society so that a picture of the code of honour that was used in those times, might be established. This code of honour provided the foundation upon which later honourable behaviour was based and from which it grew; it is, therefore, a necessary addition in a study such as this. Then, I shall proceed to a study of Euripides' Medea and Hippolytus, two plays that firmly incorporate the motif of honour and revenge. Secondly, I intend to examine a few examples of modern societies. The purpose of this is to ascertain whether any relationship between archaic, classical and contemporary cultures can be established. Shared values and beliefs will be examined in order to determine any possible similarities between cultures and societies that are chronologically separated by hundreds of years. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1998.

The purpose of this thesis is to uncover the meaning of the difference between original versions and translations of two texts from Publius Ovidius Naso's Heroides, "Phyllis to Demophoon" and "Phaedra to Hippolytus." The first chapter describes John Dryden's system of translational practices and some theoretical issues surrounding literary translation and its critical interpretation. Even though translations have connections to the source text to some degree, each product of translation is a literary artifact on its own. The second chapter uses three translations of "Phyllis to Demophoon" by respectively Wye Saltonstall, Edward Pooley, and Edward Floyd as case studies demonstrating the variety of literary works that can originate from a single source text. The third chapter interprets Thomas Otway's translation of "Phaedra to Hippolytus" against Ovid's original in order to reveal the extensive presence of a certain characteristic irony in Otway's text. Otway also effectively translates Ovid's witty subtext.