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This work deals with characteristics of Greek mythology and tries to define a myth and to describe the differences between myths and fairy tales. It focuses on an origin and a history of myths, on gods and on heroes. My work also examines a concept of collective unconscious and archetypes, that appears in antique mythology (especially the archetype of a hero). Based on these findings, this work forms characteristic features of heroes, that are applied on the Greek heroes Odysseus and Achilles. Their life stories prove they deserve to be considered as archetypes of heroes. A survey, that deals with a concept of heroism according to contemporary young people, is also part of the work. It reflects not just the teenagers' image of a hero, but it examines their knowledge of Greek mythology, too.

6 Abstract The diploma thesis concerns the topic of nautical metaphorics in modern literature in a broad sense of the term as defined by Silvio Vietta. Thus besides the topic itself and its main focus on the work of Franz Kafka it also covers the process of evolution of its attributes, which led to the specific imagery of modernism on the brink of the 20th century. The work as a whole derives from the conception of the nautical space as a smooth space of nomadism as proposed by Deleuze and Guattari. The first part is based on the propositions of Bachelard's theory of material imagination. It deals with the characteristics of the literary space shaped by the sea element and the possibility of alogorical reading of such images. The hydraulics of the sea provides the nautical space with its unique qualities: shapelessness, flexibility and ambivalence. These enable to percieve the nautical space not only as the space of happenings, but also as the happenings of the space. Thus it puts emphasis on the activity and dynamic plasticity of the substance. The second part reveals the ancient and Christian roots of nautical imagery and its tradition in the European literature. The work of Comenius exemplifies the change in the symbolism of the ship with the arrival of the Age of Exploration which rendered the ship a...

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Entre os séculos III e IV d.C., no Período Imperial, Quinto de Esmirna compôs uma epopeia posteriormente intitulada Pós-Homéricas. Dentre as quatorzes partes que compõem o poema, os Livros V (O julgamento das armas) e XII (O cavalo de madeira) enaltecem a atuação da μῆτις em relação ao ambiente bélico, bem como exibem a depreciação acerca de seu modo de operação. Entretanto, ela se revela como uma habilidade vantajosa aos guerreiros por seu caráter múltiplo, capaz de mudar situações, sair de impasses e assegurar o sucesso àquele que for mais πολύμητις nas interações sociais e estratégicas. Desse modo, Odisseu torna-se um líder vital para que a guerra troiana chegue ao fim e, essencialmente, garante a vitória ao exército aqueu. Nesse sentindo, o trabalho pretende examinar o quanto a μῆτις e o herói astucioso são componentes imprescindíveis para o curso das ações. Ademais, a tradução dos Livros V e XII complementam o estudo e promovem o conhecimento sobre parte da obra. / Between the 3rd and 4th centuries A.D., during the Empire Period, Quintus of Smyrna composed an epic poem later called Posthomerica. Among the fourteen parts that compose the poem, Books V (The judgement of the arms) and XII (The wooden horse) praise the action of μῆτις in the war environment, while also depreciating its modus operandi. However, μῆτις reveals itself as an advantageous skill for warriors due to its varied character, capable of changing situations, escape impasses, and assure the success of the one who is better πολύμητις in the social and strategic interactions. Thus, Odysseus becomes an essential leader for the Trojan War to meet its end and is the primary responsible for the Achaean armys victory. In this sense, this study aims to examine how μῆτις and the astute hero are indispensable for the course of actions throughout the poem. Furthermore, the translations of Books V and XII complement the study and foster knowledge on part of the poem.

The thesis attempts at providing a critical evaluation of the city as the mythological site of modernity. For that purpose, highlighting such special nature of the urban context as it finds expression by the cinematic medium, what is aimed at is the analysis of, first, the mythical dimensions of modern urban life as the prime site of enthusiasm and spirit with its fleeting impressions and changing images, secondly, the (re)creation of the city myth through cinema as an elaborate perceptive vehicle for a specific way of picturing and enframing the cityscape and, lastly the representation of the destruction of such myth. In this way, it will also be possible to point out concretely that the city experience of the modern individual simultaneously embodies fascination and horror, hope and despair. In order to explain the situation of the modern individual in the big city, Odysseus&rsquo / s encounter with mythological forces in ancient world are taken as a parable in the footsteps of Adorno and Horkheimer&rsquo / s allegoric interpretation of Homer&rsquo / s Odyssey. Specifically speaking, the cinematic representation of Istanbul-myth and the destruction of this myth in Turkish cinema of the nineties will be examined through three prominent examples in the light of the above theoretical considerations.

This paper compares Odysseus and Achilles from an existential, psychological and religious perspectives in order to understand the Homeric characters and shed light on the importance of, particularly Odysseus, in our postmodern time. It starts by describing the Homeric field of research and the ideas about Odysseus that were common for the ancient Greek philosophers, and continues with the discussion of the topicality, value and advantage in studying the antiquity. In comparing Odysseus and Achilleus, the paper elaborates on the idea of the relationship between man and god, notably the relationship between Odysseus and Athena and Zeus respectively. It ends with the discussion of the divine connection between Zeus’ and Odysseus’ kingship.

Este trabalho tem o objetivo de estudar o personagem Neoptólemo na tragédia Filoctetes (c. 409 a.C.) de Sófocles (c. 496-406 a.C.). Neoptólemo inicialmente é trazido para Lemnos por Odisseu com a missão de auxiliá-lo a reconduzir Filoctetes e o arco de Héracles para Troia. Ao descobrir qual o procedimento proposto por Odisseu, Neoptólemo hesita, propondo que utilizem persuasão aberta para convencer Filoctetes em vez de enganá-lo. Neoptólemo oferece alguma resistência, mas acaba aceitando o sofisma de Odisseu. Ao tomar contato com Filoctetes, Neoptólemo aos poucos aprende sobre o modelo ético de que abriu mão aceitando a proposta de Odisseu. Cria-se um dilema em que o jovem Neoptólemo precisa decidir como irá agir. O próprio ato de decidir é motivo de hesitação para o jovem. Ao optar por uma ou outra atitude, Neoptólemo deverá necessariamente enfrentar todas as consequências de sua escolha, incluindo a impossibilidade voltar atrás, isto é, retroceder ao momento anterior a sua decisão, uma situação infantilizada em que as possibilidades ainda não teriam sido reduzidas por causa de cada escolha feita. Nos momentos finais, antes da chegada de Héracles, Neoptólemo finalmente decide por um caminho aparentemente próprio, intermediário aos que lhe foram apresentados inicialmente e aceita as consequências de sua escolha. / This work aims to study the character Neoptolemus in the tragedy Philoctetes (c. 409 BC) by Sophocles (c. 496-406 BC). Neoptolemus is initially brought to Lemnos by Odysseus with the mission of helping bring Philoctetes and the bow of Heracles back to Troy. Upon discovering the procedure of this mission proposed by Odysseus, Neoptolemus hesitates, suggesting they should openly persuade Philoctetes instead of tricking him. Neoptolemus offers some resistance, but eventually accepts Odysseus' sophistry. Upon making contact with Philoctetes, Neoptolemus gradually learns about the ethical model that he gave up by accepting Odysseus' proposal. This creates a dilemma in which the young Neoptolemus must decide how to act. The act of deciding in itself is cause for hesitation for the youngster. By choosing one attitude or another, Neoptolemus must face all the consequences of his choice, including the inability to go back, that is, back to the moment before the decision was made, a childish situation in which the possibilities have not yet been reduced because of each of his choices. In the final moments before the arrival of Heracles, Neoptolemus finally decides his own path, which is at an intermediate position in relation to the choices that were presented to him and he accepts the consequences of his choice.

Orientador: Marcos Antônio Siscar / Banca: Miguel Castillo Didier / Banca: Constança Terezinha Marcondes Cesar / Banca: Arnaldo Franco Júnior / Banca: Orlando Nunes Amorim / Resumo: O tema da viagem de Odisseu foi largamente retomado pela tradição literária após a Odisséia de Homero, seja para confirmar o ideal do herói nostálgico, que anseia o retorno à pátria, seja para reafirmar o ímpeto do eterno navegador de mares. Nikos Kazantzakis (1883-1957) igualmente retoma o Odisseu lendário, insatisfeito com o retorno ao lar, como seu protótipo de herói e constrói, na modernidade, o poema épico Odisséia (1938), a partir do canto XXII no verso 477 do poema de Homero, sendo Odisseu levado a um novo itinerário ao deixar Ítaca definitivamente. Embora se baseie na obra clássica, recuperando personagens e a estrutura épica, Kazantzakis participa de seu tempo, compondo um novo Odisseu representante do mundo moderno, próximo das filosofias de Nietzsche e de Bergson. Como figura "entre mundos", o Odisseu de Kazantzakis recupera as antigas delineações de Homero e incorpora as questões da modernidade: o niilismo, a desesperança, a multiplicidade. No entanto, além de prolongar os feitos de Odisseu e a narrativa de Homero, Kazantzakis compõe um poema épico de dimensões admiráveis - 33.333 versos de 17 sílabas poéticas, em 24 cantos - contrariando (e reafirmando) as intenções inovadoras de seus contemporâneos da primeira metade do século XX. A epopéia configura na modernidade um gênero considerado esgotado, que teria dado lugar ao romance como gênero mais apropriado às produções modernas. Esta investigação, no entanto, procura evidenciar que o épico de Kazantzakis, ainda que represente um anacronismo em tempos modernos e, para muitos, uma afronta às normas estéticas, é, assim como muitas das obras de sua época, a confirmação das intenções inovadoras em tempos de crise, por meio da incorporação de uma trajetória filosófica de Odisseu baseada no niilismo heróico de cunho nietzschiano e na evolução criadora de Bergson... (Resumo completo clicar acesso eletrônico abaixo) / Abstract: The theme of Odysseus‟ journey was broadly retaken by the literary tradition after Homer‟s Odyssey, whether to confirm the nostalgic ideal of the hero yearning to return to his homeland, or to reaffirm the impetus of the eternal navigator. Nikos Kazantzakis (1883-1957) also incorporates as his prototypical hero the legendary Odysseus, unhappy about returning home, and writes, in the modernity, the epic poem Odyssey (1938), based on the canto XXII and on the verse 477 of Homer‟s poem, and taking Odysseus to a new route when he leaves Ithaca for good. Although based on the classic work, restoring its characters and its epic structure, Kazantzakis takes part of his own time, creating a new Odysseus, now representative of the modern world, and close to the philosophies of Nietzsche and Bergson. As a figure "between worlds", Kazantzakis‟s Odysseus recovers the old delineations of Homer and incorporates the issues of modernity: nihilism, hopelessness, and multiplicity. However, besides prolonging Odysseus‟ prowess and Homer‟s narrative, Kazantzakis wrote an epic poem of remarkable dimensions -- 33,333 verses of 17 poetic syllables, along 24 Cantos -- contradicting (and reassuring) the innovative intentions of his contemporaries in the first half of the 20th century. In the modernity, epic poetry configures a genre considered to be already exhausted, and which would have given rise to the novel as a genre much more suitable to the modern productions. This research, however, intends to show that the Kazantzakis‟s epopee, even being an anachronism in the modern times and, for many, an affront to aesthetic standards, is, like many of the works of his time, the confirmation of innovative intentions that take place in times of crisis, through the incorporation of a philosophical trajectory of Odysseus based upon Nietzsche‟s heroic nihilism and on Bergson‟s ...(Complete abstract click electronic access below) / Doutor