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O objetivo deste estudo é analisar o romance grego , Das Narrativas Verdadeiras, de Luciano de Samósata (125-180 d.C.), considerando os objetivos expostos pelo autor no proêmio do texto e sua composição por meio da alusão a outros gêneros literários. Apresenta-se também uma tradução do texto em português. / The aim of this study is to analyze the greek novel , True Histories, by Lucian of Samosata (circa 125-180 AD), regarding the aims exposed by the author in the prologue of the text, as well as its composition made by alluding to other literary genres. A Portuguese translation of the novel is also provided.

O objetivo deste estudo é analisar o romance grego , Das Narrativas Verdadeiras, de Luciano de Samósata (125-180 d.C.), considerando os objetivos expostos pelo autor no proêmio do texto e sua composição por meio da alusão a outros gêneros literários. Apresenta-se também uma tradução do texto em português. / The aim of this study is to analyze the greek novel , True Histories, by Lucian of Samosata (circa 125-180 AD), regarding the aims exposed by the author in the prologue of the text, as well as its composition made by alluding to other literary genres. A Portuguese translation of the novel is also provided.

nuestra Tesis Doctoral estudia el uso de las partículas en el griego de época imperial. En el capítulo introductorio se analizan los distintos problemas que estas formas no flexivas plantean, su definición y su categorización como clase de palabras, y las distintas perspectivas que han planteado las corrientes lingüísticas para su estudio. Frente a una koiné en la que desde época helenística se observa un progresivo descenso del uso de partículas de énfasis, la eliminación de sinónimos y su especialización funcional, en época imperial cambia la tendencia, dada la importancia que adquiere el aticismo como voluntad general de imitar el griego clásico de los autores del canon. Especial atención concedemos a Luciano de Samosata, figura clave de la Segunda Sofística, y a los Santos Padres (ss. I-IV d.C.), en cuyos textos se aprecian técnicas de la retórica clásica con marcas y rasgos aticistas. / The aim of our Ph.D. dissertation is to study the use of particles in the Imperial Age Greek. An introductory chapter contains the problematic issues relating to the study of these non-inflectional words, definition and categorization as a class of words, according to the approach of different disciplines and linguistic trends. Koiné greek shows a progressive elimination of two synonym particles, functional specialization and decrease in the use of focus particles; on the other hand, Atticism and Second Sophistic turn the tendency over because of the classical authors imitation. Special attention is focused on Lucian, a key figure of the Second Sophistic, and Early Christian Fathers as well (ss. I-IV AD), as their texts exhibit atticist and classical rhetoric features.

L’œuvre de Rabelais est celle d’un humaniste qui n’a cessé de transformer la matière de ses lectures pour en nourrir sa prose. Dans le vaste champ de l’intertexte de sa Chronique, les auteurs grecs tiennent une place importante. Après avoir cerné ce qui pourrait être une méthode de l’altération des sources à l’œuvre chez un Rabelais envisagé comme grand Altérateur, ce travail s’attache à évaluer la dette de ses livres vis-à-vis de la tradition textuelle grecque, et notamment par rapport aux deux auteurs qui ont fait l’objet de la plus constante réécriture, Lucien de Samosate et Plutarque de Chéronée. Ces deux écrivains de l’Empire, auteurs de nombreux opuscules profus et variés, permirent au Chinonais d’approfondir sa connaissance de l’hellénisme, à la fois par le sourire allusif et la polymathie sérieuse. On montrera que la parodie rabelaisienne témoigne à chaque ligne d’une excellente connaissance de ces modèles, dont l’imitatio, si elle se fit toujours avec une saine irrévérence, engageait avant tout des compétences (parfois trop sous-estimées) d’helléniste et de philologue hors pair. Rabelais apparut dès son entrée en littérature un « Lucian françois » — surnom dont il hériterait bientôt — ; quant au rôle de Plutarque il ne fut vraiment décisif qu’à partir du Tiers livre de 1546. On s’attachera à comprendre cette passion des livres de la maturité de Rabelais pour le polygraphe de Chéronée, grâce à l’étude du dernier exemplaire grec des Moralia que posséda Rabelais et qu’il annota (BnF GR Rés. g. R. 33), soit un document inestimable et inexplicablement négligé par la critique rabelaisienne. / Rabelais has always written his books transforming the matter of his readings. Greek authors have an important place in the wide field of the rabelaisian intertext. In its first part, this work aims at studying a writing method based on intertextual alteration, a word that appears as a Leitmotiv in Rabelais’s books. Then, the influence of his two favourite greek authors is analysed. In a second part, we try to consider the rabelaisian debt to the eclectic works of Lucian of Samosata, who was a model for Rabelais’s use of allusion and parody. The father of Pantagruel has discovered the lucianesque fictions early in his life of hellenist and deserved still after his death the nickname of « French Lucian ». In a third part, we show that the reading of Plutarch’s Moralia plays an important role in the genesis of the Tiers and Quart livre. Rabelais’s annotations in the in-folio BnF GR Rés. g. R. 33 allow us to understand how the French comic has read the Moralia, enjoying their polymathy and their use of the myth.

Cette thèse de doctorat a pour objet l’édition critique, la traduction et le commentaire de trois textes de Lucien de Samosate : Sur la mort de Pérégrinos, Les Fugitifs et Toxaris ou l’Amitié (les numéros 55, 56 et 57 dans l’ordre canonique des œuvres de Lucien). L’édition est fondée sur l’examen de tous les témoins manuscrits et sur l’étude des liens qu’ils entretiennent entre eux (pour chaque texte, un stemma a été réalisé). L’apparat critique est positif. Il s’appuie sur un nombre limité de manuscrits, nécessaires à l’établissement du texte, tout en donnant une image représentative de la tradition. La traduction française cherche à conjuguer impératifs littéraires et souci de rester au plus près du texte. Le commentaire est linéaire sous forme de notes. Il associe principalement deux approches, historique et littéraire. L’apport de ce travail est triple. En matière d’édition, il met en lumière des textes de Lucien à tradition simple, un type de transmission qui n’avait pas jusque là été étudié pour lui-même par les précédents éditeurs ; le contraste observé par rapport aux textes à tradition double conduit à la réévaluation des différentes familles de manuscrits. En outre, il souligne l’intérêt historique des œuvres de Lucien : malgré leurs différences en terme de situation temporelle, chacun de ces trois textes renvoie aux réalités des premiers siècles de l’Empire romain. Enfin, il permet de mieux cerner la posture auctoriale adoptée par Lucien : celle d’un homme fier d’être un pepaideumenos, attaché à la vérité sous toutes ses formes, et conscient des pouvoirs et des dangers de la parole. / The subject of this PhD thesis is the critical edition, with a French translation and a commentary, of three texts by Lucian of Samosata : On the Death of Peregrinus, The Runaways et Toxaris or Frienship (the numbers 55, 56 and 57 in the canonical order of Lucian’s works). The edition is based on the study of all handwritten testimonials as well as their connection (for each text a stemma was established). The critical apparatus is positive. It relies on a limited number of manuscripts necessary for establishing the text while at the same time giving a representative picture of its tradition. The french translation aims at combining literary aspect with staying close to the original text. The commentary is linear ; it unifies an historical and literary approach. The benefit of this work is threefold. Regarding the edition, it sheds light on the texts of Lucian which have a simple tradition, a type of tradition that had not been studied on its own by previous editors. The observed differences in comparison with texts in double tradition leads to the reevaluation of the different families of manuscripts. Moreover it underlines the historical interest of Lucian’s works : in spite of their differences concerning their temporal situation, each of the three texts has roots in the life of the first centuries of the Roman Empire. Finally, it allows to better evaluate the role taken by Lucian as an author : the role of a man that is conscious of being a pepaideumenos, committed to the truth in all its forms and aware of the power and danger of speech.

Made available in DSpace on 2015-05-14T12:39:46Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 6810166 bytes, checksum: 72862ec585981c3324a09618bb6118e9 (MD5) Previous issue date: 2013-02-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research work, entitled The human and the divine in Zeus Rants, by Lucian of Samosata , analyses Lucian's mentioned text, in order to identify, through comparative and theoretical approaches, the articulation of comic and dramatic resources as formal elements of literary composition and recreation of the ancient Greek canon, examining dramatic traits which are particular to Lucian's poetics. This work analyses the action, focusing on the construction of the characters in the dialogue, considering its intrinsic relation to the representation of the philosopher, the orator, the rhetoric master and the deities. Essential influences that help understand Lucian's text were considered in this analysis, such as the historical moment of the Second Sophistic in the II d.C and the contradictions in Greece under the domain of imperial Rome; the condition of the foreigner as an element of Lucian's poetics, in which the representation of a dislocated paideia tradition is present and constant; the fusion of philosophic dialogue with dialogues inspired by Tragedy and Comedy in the recreation of the historical and artistic past through the literary mimesis. From the selected theories about literary genres, Greek society, laughter and humor, the dramatic effects, among others, the chosen concepts were analyzed in the work through readings of the Spanish and the English versions compared in the light of the original Greek text, applying the hypothesis presented in the theoretical framework. The study led us to confirm the initial hypothesis that Lucian of Samosata recreated the Hellenic tradition both in a dramatic and comic way by placing together in Zeus Rants the Greek literary and rhetoric creation, submitting them to particular elements of his poetics, which brings back and dethrones the canonical places of religion, philosophy and Greek oratory. / A finalidade da presente pesquisa, intitulada "FIANDO O FADO DOS DEUSES: O HUMANO E O DIVINO EM ZEUS TRÁGICO, DE LUCIANO DE SAMÓSATA", é estudar o texto Zeus Trágico de Luciano de Samósata, procurando identificar, através da análise teórica e comparativa, a articulação dos recursos de dramaticidade e comicidade, enquanto elementos formais de composição literária e recriação do cânone antigo grego, examinando quais traços dramáticos acentuam as características da poética luciânica. Nosso estudo atém-se à analise da ação, focalizando a construção das personagens no diálogo, sobretudo, em relação intrínseca com a representação das figuras do filósofo, do orador, do mestre de retórica e das divindades. Partimos daquilo que consideramos influências essenciais para a leitura do texto luciânico: o momento histórico da Segunda Sofística no século II d.C. e as contradições da Grécia sob o comando imperial de Roma; a condição de estrangeiro como marca da poética luciânica, na qual a representação do deslocamento da tradição da paideia se faz presente e constante; a fusão do diálogo filosófico com os diálogos da Tragédia e da Comédia, na recriação do passado histórico e artístico através da mimesis literária. A partir das teorias selecionadas sobre os gêneros literários, a sociedade grega, o riso e o humor, os efeitos dramáticos, entre outras, aferimos a validade dos conceitos estudados analisando a obra, comparando as versões em espanhol e inglês à luz do texto original grego, utilizando as hipóteses elencadas na fundamentação teórica para a análise do Zeus Trágico. A pesquisa demonstrou, de acordo com nossas perspectivas iniciais, que Luciano de Samósata recriou a tradição helênica de forma dramática e cômica ao amalgamar no Zeus Trágico a criação retórica e literária grega aos elementos próprios de sua poética, os quais retomam e destronam os lugares canônicos da religiosidade, da filosofia e da oratória gregas.

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

Partant du constat de l'omniprésence de Lucien dans son corpus, notre thèse se propose de dresser un panorama des autoreprésentations auctoriales dans l'ensemble de l'œuvre de Lucien de Samosate, mais dans une perspective résolument théorique. En effet, parce qu'il se constitue comme point focal de sa propre œuvre, Lucien a souvent tendance à faire l'objet d'une lecture biographique de la part de la critique. Cette thèse se donne pour objet de redonner à l'autoreprésentation de l'auteur son sens de geste poétique. En choisissant le terme de figure, auquel on donne ici un sens plus restreint qu'à celui de persona, on s'intéressera uniquement aux moments où l'auteur fait explicitement l'objet de son propre discours.La première partie de notre thèse consiste donc en une importante typologie des mises en scène de soi chez Lucien: on part des apparitions les plus explicites de l'auteur en contexte référentiel, dans le corpus oratoire ou biographique, pour traiter ensuite de la partie fictionnelle du corpus. L'un des objectifs de ce travail est en effet de redonner à Lucien sa place de pionnier dans l'invention de l'autofiction.La seconde partie de notre thèse tire les conclusions poétiques de cette typologie, en dégageant aux autoreprésentations de l'auteur une double fonction : d'abord, elles doivent dire l'individu social et intellectuel, mais dans une démarche qui transcende les genres et la séparation traditionnelle entre référentialité et fiction. Ensuite, les figures de l'auteur ont pour fonction de servir de vecteur à un message métapoétique extrêmement riche, qui va de la théorie de la fiction à celle de la réception. / The starting point of this PhD thesis was the constatation of Lucian's omnipresence within his own corpus. This phenomenon often led critics to have an excessively biographical approach to this author. The aim of this thesis is thus to give an account of the vast scope of self-representations within Lucian's corpus, in a theoretical perspective, in order to show that the staging of the self can be seen as a poetical gesture. The first part of this work thus consists in a typology of all the auctorial self-representations that can be found within Lucian's œuvre. It ranges from the most explicit forms of authorial presence, in referential works, such as prolaliai and biographies, to the most fictional part of the corpus. The aim of this work is to establish Lucian's position as a pioneer in the invention of autofiction.The second part of this thesis draws the theoretical conclusions of this typology, by showing that authorial self-representations have two main functions : first, they help defining Lucian's social and intellectual identity, beyond generic boudaries ; second, they serve a metaliterary purpose : as vicarious surrogates, Lucian's doubles appear as a powerful means of expressing his aesthetical views.

The master's thesis Witchcraft and Inquisition in literal and historical context of "El Crótalon" offers a look at displays od the Witchcraft in the literature of first half of the 16th century with special attention on classical Greek and Roman literal models. Furthermore, the thesis analyzes the influence of Erasmus'work and impact of the Reformation movement on intelectual panorama as well as on the popular opinion; it concentrates on the evolution of Witchcraft and its growing influence over the social life. It also studies how the changing caracter of the Witchcraft reflected in the literal activity of its times. Second part of the thesis is dedicated to religious aspects of the Witchcraft, its connection with heretical movements and persecutions by the Inquisition.