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Dias, Filho Vanderlei do Carmo [UNESP]. "Mito e realidade em Hesíodo." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/91566.
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Hesíodo é um nome relativamente desconhecido fora de círculos especializados dentro dos Estudos Clássicos. Apesar disso, juntamente com seu contemporâneo mais célebre, Homero, o poeta deu aos gregos a imagem dos deuses tal qual a conhecemos hoje. Em suas duas principais obras, a Teogonia e Os Trabalhos e os dias, Hesíodo compõe e coloca em prática os mitos helenos, aplica-os ao cotidiano do homem do campo. Apesar de serem praticamente contemporâneos, Hesíodo e Homero têm em comum apenas o formato de suas obras. Os temas escolhidos pelos poetas são diferentes, assim como o objetivo e público de suas composições. Enquanto Homero falava sobre grandes guerras e heróis do passado, Hesíodo fala sobre a origem dos deuses e do cosmos e traz a força dessa origem ao mundo contemporâneo, ao mesmo tempo ensinando a moral do universo aos homens simples do campo e dando sentido e significado à experiência do homem sobre a terra com os mitos. O período em que a vida de Hesíodo transcorreu, provavelmente entre os séculos VIII e VII a.C., foi um tempo de grandes transformações para o homem grego. As invasões dóricas haviam terminado e as influências do Oriente Médio e da Ásia estavam presentes entre os helenos, ainda sem uma forma definida. Nesse contexto, tornava-se necessário reunir e adaptar todas as impressões culturais e religiosas. Hesíodo fez isso em Teogonia, ao reunir e organizar várias idéias diferentes enquanto, na primeira vez que temos conhecimento, mostra a origem da cosmologia grega. Em Os Trabalhos e os Dias, o poeta faz uso, de uma forma até então inédita, da cosmologia para compor uma obra em que fala não de heróis ou guerras distantes, mas do homem do campo do agora, não envolvido em atos legendários, e sim em atos cotidianos que assumem significado quando comparados aos mitos.
Hesiod is a name relatively unknown outside of specialist circles within the Classic Studies. Nevertheless, along with his more famous contemporary, Homer, the poet gives the image of the Greek gods as such we know today. In its two major works, Theogony and The Works and days, Hesiod composes and puts into practice the Hellenic myths, applying them to the daily life of the campestry men. Despite being virtually contemporaneous, Hesiod and Homer have in common only the format of his works. The themes chosen by the poets are different, and the purpose and audience of his compositions. As Homer spoke about major wars and heroes of the past, Hesiod talks about the origin of the gods and of the cosmos and brings the strength of that rise to the contemporary world, while teaching the moral universe of the simple men of the field and giving meaning and significance to the experience of man on earth with the myths. The period in which the life of Hesiod, probably between VII and VIII centuries BC, was a time of great changes for the Greeks. The Doric invasions had finished and the influences of the Middle East and Asia were present among Greeks, even without a set. In this context, it was necessary to meet and adapt all cultural and religious views. Hesiod did this in Theogony, meeting and organizing as many different ideas, the first time we have knowledge, shows the origin of the Greek cosmology. In The Works and Days, the poet makes use of this cosmology to compose a work in which speaks not of war heroes or a distant past, but the man of the world now, not involved in acts legendary, and but in everyday acts that acquires significance when compared to the myths. At work, the poet calls for Perses, his fool brother, claiming to him that leave the path of Excess and follows the road of Justice, although it is more painful.
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Pimentel, Maria Augusta de Oliveira. "Hephaistos : o inclito ferreiro : uma leitura das representações do deus artifice em Homero, Hesiodo e na iconografia Atica." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279192.
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Orientador: Pedro Paulo A. FunariDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Objetiva-se neste texto apresentar uma leitura das representações do mito de Hefesto a partir, sobretudo das obras - Ilíada e Odisséia de Homero e Teogonia, Os Trabalhos e os Dias de Hesíodo, e da iconografia dos vasos áticos, procurando recuperar as recorrências do mito de Hefesto nas fontes selecionadas, analisar as versões míticas do deus presente nas mesmas, traçando uma relação com o homem grego, com o objetivo de compreender e explicar dois questionamentos: por que as representações de Hefesto, presente na obras textuais, o tratam como um deus inferiorizado, mediante as qualidades dos demais deuses gregos, muitas vezes o relacionando com o trabalho artesanal? Por que a presença de Hefesto nas representações iconográficas dos vasos o apresenta em contextos satíricos
Abstract: Objective in this text to present a reading of the representations of the myth of Hephaistos to leave, over all of the workmanships the 'Iliad' and 'Odyssey' of Homer and 'Theogony', the 'Works and the Days' of Hesiod, and the iconography of the vases attics, looking for to recoup the recurrences of the myth of Hephaistos in the selected sources, to analyze the mythical versions of the present god in the same ones, tracing a relation with the greek man, the objective to understand and to explain two questionings: why the representations of Hephaistos, gift in the literal workmanships, treat it as a inferiorizado god, by means of the greek qualities of excessively deuses, many times relating with the artisan work? Why the presence of Hephaistos in the iconographic representations of the vases presents it in satirical contexts
Mestrado
Mestre em História
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Vieira, Daniele Talita Florido [UNESP]. "Modos de expressão do discurso didático n'Os trabalhos e os dias' de Hesíodo." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/91583.
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Esta dissertação de Mestrado intitulada “Modos de expressão do discurso didático n’Os trabalhos e os Dias de Hesíodo” propõe a análise da estrutura textual do poema hesiódico, de modo a descrever os recursos textuais usados pelo poeta para compor um texto de natureza exortativa e didática. Com a finalidade de ensinar seu irmão Perses a viver honestamente, por meio dos frutos do próprio trabalho, Hesíodo escreve seu poema, discorrendo a respeito da justiça de Zeus e da dimensão religiosa do trabalho. Para isso, o poeta apropria-se de uma série de expedientes linguísticos que validam a classificação de seu poema como um discurso didático. Entre eles: o uso das narrativas míticas, que possuem um caráter norteador; os versos que acionam a função conativa da linguagem, nos termos em que Jakobson a definiu (1973, p. 125), versos que são dirigidos para uma segunda pessoa; o uso de formas verbais apropriadas ao aconselhamento (como imperativos e infinitivos); a frequente apresentação de máximas que condensam um ensinamento, muitas delas construídas com aoristos gnômicos; uma tipologia dos sujeitos com as passagens que caracterizam o sujeito-didata, Hesíodo, e as que caracterizam os sujeitosaprendizes, Perses e os reis de Ascra e assim por diante. A busca e a descrição desses expedientes é, precisamente, o que nos compete nesta pesquisa
This Master’s Degree dissertation entitled “Manners of expression of the didactical speech in Work and Days of Hesiod” proposes the analysis of the textual structure in the hesiodic poem, so as to describe the textual resources used by the poet to compose a text of exhorting and didactic nature. With the aim of teaching his brother Perses to live honestly, by his own work, Hesiod writes his poem, discoursing upon the justice of Zeus and of the religious dimension of work. For this, the poet has appropriated a series of linguistics expedients that validate the classification of his poem as a didactical speech. Among them: the use of mythical narratives that have a guiding character; the verses that put in action the conative function of the language, in the terms that Jakobson defined (1973, p. 125), verses that are directed to a second person; the use of appropriated verbal forms for advising (as imperative and infinitive); the frequent presentation of maxims that condense a teaching, many of them constructed with gnomic aorists; a typology of the subjects with the passages that characterize the didactical-subject, Hesiod, and the ones that characterize the apprentice-subject, Perses and the kings of Ascra and so forth. We are precisely entitled to do the search and the description of these expedients in this research
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Schott, C. Joseph. "Hesiod's 'Eris and Vergil's labor in the Georgics /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487854314870809.
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Brncic, Becker Carolina. "Lectura comparada del Mito de Prometeo en el romanticismo y Nikos Kazantzakis." Tesis, Universidad de Chile, 2003. http://repositorio.uchile.cl/handle/2250/108785.
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Newington, Samantha Jane. "Hesiod's 'Theogony'." Thesis, Durham University, 2006. http://etheses.dur.ac.uk/2698/.
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This thesis offers a textual interpretation of the Theogony, which is a text often ascribed by classical scholars to the author Hesiod. The thesis then turns its attention to discuss the narrative findings in relation to historical determined interpretations of early Greek literary texts. The thesis will examine how a culture determined interpretation of ancient literary sources can either negate or support a narrative approach. Chapter One of this thesis focuses on determining a methodological approach for text analysis, and does so by providing a critique of the traditional methods of Chapter Two offers a textual analysis of the Theogony, examining its fabula, focalizations and characterizations as presented by the text. Then Chapter Three explores how useful a textual analysis can be in historical discussion. This chapter will also investigate how our findings of Chapter Two have possibly re-shaped our appreciation of former historical research for ancient Greek literature. In particular, this chapter will offer a brief discussion on ancient religion and early Greek philosophy. The Conclusion will be brief and simply outline possible next steps in research drawn from the discussions of the previous chapters.
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Nicolai, Walter [Verfasser]. "Hesiods Erga : Beobachtungen zum Aufbau / Walter Nicolai." Mainz : Universitätsbibliothek der Johannes Gutenberg-Universität Mainz, 2011. http://d-nb.info/1220952168/34.
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Park, Arum. "Parthenogenesis in Hesiod’s Theogony." Penn State University Press, 2014. http://hdl.handle.net/10150/622192.
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This article examines female asexual reproduction, or parthenogenesis, in Hesiod’s Theogony
and argues that it is a symptom of the unprecedented and unparalleled female presence Hesiod inserts into his cosmos. This presence in turn reflects Hesiod’s incorporation of gender difference and conflict as indispensable both to the creation and, paradoxically, to the stability of the universe. Five of Hesiod’s deities reproduce parthenogenetically: Chaos, Gaea, Night, Strife, and Hera, of whom all but the sexually indeterminate Chaos are female. Hesiod’s male gods have no analogous reproductive ability. The parthenogenetic phases of the early goddesses form much of the fundamental shape and character of the universe, while in the case of Hera, parthenogenesis serves initially as an act of defiance against Zeus but ultimately enforces his reign. Parthenogenesis does not have these functions in either the Near Eastern or other Greek cosmogonic traditions, a difference that reflects Hesiod’s greater emphasis on female participation in his succession myth. Yet Hesiod’s cosmogonic narrative, like others, culminates in the lasting reign of a male god, Zeus. In this context parthenogenesis is a manifestation of female creation, which ultimately reinforces the stability of a male sovereign. The relative prominence of parthenogenesis in the Theogony reflects Hesiod’s emphasis on gender difference and conflict as indispensable to a cosmos in which conflict and concord coexist as equal partners in creation and stability.
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Stoddard, Kathryn. "The narrative voice in the "Theogony" of Hesiod /." Leiden : Brill, 2004. http://catalogue.bnf.fr/ark:/12148/cb39219259j.
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Bassino, Paola. "Certamen Homeri et Hesiodi : introduction, critical edition and commentary." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/8448/.
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This dissertation provides an up-to-date introduction to the Certamen Homeri et Hesiodi, a critical edition of the text, and the first commentary in English on it. The Certamen is an anonymous work composed around the second century AD. It gives an account of the lives of Homer and Hesiod and of their poetic contest by re-elaborating biographical anecdotes attested from the sixth century BC onwards. As a biographical work that draws on older texts and oral traditions which developed over hundreds of years, it yields unique insights into the reception of early Greek Epic in the course of classical antiquity. This thesis begins with an introduction to the tradition of the contest between Homer and Hesiod that collects and discusses the extant ancient accounts of that story. It argues that all versions are equally authoritative in principle, for they testify to different acts of reception of the poets in different contexts. The thesis then offers an up-to-date analysis of the manuscript witnesses of the Certamen and of their contribution to our understanding of the textual tradition of this text, and shows that the ancient biographies of the poets form a corpus that is naturally open to variation. The Edition provides a text that accounts for such an open tradition. The line-by-line Commentary offers a systematic analysis of both general and specific issues related to the text: this is a necessary and urgent task, not least because the Certamen is a stratified text, bringing together traditions of very different provenance, which can only be assessed and interpreted through a process of close reading. The ultimate aim of the thesis is to show how the story of the contest between Homer and Hesiod provides crucial insights into the processes of reception and canonisation of early hexameter epic from the archaic period to late antiquity.
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Fakas, Christos. "Der Hellenistische Hesiod : Arats Phainomena und die Tradition der antiken Lehrepik /." Wiesbaden : Dr. Ludwig Reichert Verlag, 2001. http://catalogue.bnf.fr/ark:/12148/cb38969094m.
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Canevaro, Lilah-Grace. "Hesiod's works and days : an interpretative commentary." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/5255/.
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Hesiod’s Works and Days was performed in its entirety, but was also relentlessly excerpted, quoted and reapplied. This thesis places the Works and Days within these two modes of reading and argues that the text itself, through Hesiod’s complex mechanism of rendering elements self-contained and detachable whilst tethering them to their context for the purposes of the poem, sustains both treatments. However, Hesiod gives remarkably little advice on how to negotiate such modes of reading. The seeds of reception are there in the poem’s structure and formulation, but a fully worked out schema of usage is not. This thesis argues that this strategy is linked to the high value Hesiod places on self-sufficiency, which is consistently foregrounded in the Works and Days as the Iron-Age ideal. Hesiod’s emphasis on self-sufficiency creates a productive tension with the didactic thrust of the poem: teaching always involves a relationship of exchange and, at least up to a point, reliance and trust. This thesis argues that the poem’s structure and modes of reading reflect the interplay between self-sufficiency and the very point of didactic literature. Hesiod negotiates the potential contradiction between trust and independence by advocating not blind adherence to his teachings but thinking for oneself and working for one’s lesson. The issues are presented in an extensive essay, and then followed through the poem in a line-by-line analysis. This thesis complements the available commentaries on the Works and Days (West 1978, Ercolani 2010) by offering a sustained analysis of key aspects of the poem and by using the commentary format self-reflexively to track different ancient reading practices.
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Boparai, Jaspreet Singh. "Politian's Hellenism : Homer, Hesiod, Theocritus, Aratus and Callimachus translated, adapted and commented." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708799.
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Schott, C. Joseph Jr. "Hesiod's eris and Vergil's labor in the Georgics." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273490223.
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Van, Noorden Helen Anne. "Reading Hesiod's 'myth of the races' in Classical Antiquity." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613120.
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Asquith, Helen Catherine Aeronwy. "Listed narratives in Greek poetry from Hesiod to Callimachus : the development of a genre." Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/251986.
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Proclus, Marzillo Patrizia. "Der Kommentar des Proklos zu Hesiods "Werken und Tagen" : Edition, Übersetzung und Erläuterung der Fragmente /." Tübingen : Narr, 2010. http://d-nb.info/984512950/04.
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Mason, Henry Charles. "The Hesiodic Aspis : introduction and commentary on vv. 139-237." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:05a4c022-03d0-4508-800c-9e68e8429999.
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This thesis is concerned with the pseudo-Hesiodic Aspis, also known as the Scutum or Shield of Herakles (Heracles). It is divided into two halves: the Introduction, consisting of four chapters, is followed by detailed line-by-line commentary on a portion of the Greek text. Chapter I surveys the evidence for the poem's origins and dating before moving on to its scholarly reception since Wolf. It then argues that, for a proper understanding of the Aspis, the methodologies of oral poetics must be balanced with an awareness of its responses to fixed texts (in particular the Iliad). Chapter II examines the author as a poet within the oral tradition, focussing on: narrative style and structuring; type-scenes; similes; poetic ethos; the poem's position relative to the Hesiodic corpus; the use of formular language; and the growth of the poem in the author's hands. These problems are most fruitfully approached by taking account of the interplay of tradition on the one hand and of allusion to specific texts on the other. Wider points about the advanced stages of the oral tradition also emerge; in particular, from an analysis of narrative inconsistencies in the Aspis it is suggested that writing played a role in the poem's composition. Chapter III positions the poet within the literary tradition: his interactions with other songs and tales are sometimes sophisticated engagements of a kind more often detected in Hellenistic and Roman poetry. The presentation of the protagonist of the Aspis evinces the poet's skilful handling of myth, here manipulated for political purposes. Chapter III concludes with a survey of the poem's reception in early art and in literature up to Byzantine times. In Chapter IV the central section of the poem, the description of Herakles' shield (vv. 139-320), is examined in detail, both in relation to the Homeric Shield of Achilles and within the context of the Aspis. The second half of the thesis comprises a critical edition of and lemmatic commentary on vv. 139-237.
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Martenn, Kristopher Andrew. "Ouranos." Bowling Green, Ohio : Bowling Green State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1268071854.
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Thesis (M.M.)--Bowling Green State University, 2010.Document formatted into pages; contains 1 score (33 p.) For flute, oboe, clarinet in B♭, bassoon, horn in F, piano and strings. Duration: 11 min. Includes bibliographical references.
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SOARES, DIONISIO OLIVEIRA. "HESIOD AND DANIEL: THE RELATIONS BETWEEN THE MYTH OF AGES AND THE NEBUCHADNEZZAR S DREAM OF A COMPOUND STATUE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8970@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
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.
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.
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Hattori, Austin A. "Dreams of Mount Helicon: Callimachus and Oneiric Inspiration." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1613732017667735.
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Falcone, Vincent. "An Age Worse than Iron: The Evolution of the Myth of the Ages." Thesis, Boston College, 2004. http://hdl.handle.net/2345/440.
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Thesis advisor: David GillThe idea that mankind's history is one of regress rather than of progress has been seen as central to the classical outlook on life. Bury and others have gone so far as to state that the idea of Progress in its modern sense could not have even occurred to the Greeks. This is perhaps too extreme, but it does reflect an important point: if regression over time was not the only idea for the Greeks, it was at least the dominant one. No story in classical literature reflects this idea more clearly than the Myth of the Ages. The earliest extant version of the story comes in Hesiod's Works and Days (c. 700 B.C.), after which it appears dozens of times throughout ancient literature. The myth in its standard form tells that the history of mankind takes the form of four ages, each represented by a metal: the first is a happy and virtuous Golden Age; the next is a less perfect Silver Age, followed by a warlike (and even worse) Bronze Age; and the last, the most impious and wretched of all, is the current Iron Age. The early Hesiodic version uses this framework merely as a means to show man that he has fallen from divine favor and is left with a life of hardship that he must deal with through honest work and reverence for the gods. As other authors pick up the myth, alluding to it in genres as diverse as philosophy, theology, humor, and panegyric, the story changes in several ways. Each author of course uses it for his own purposes and alters it accordingly. In addition the Myth of the Ages undergoes an overall change: after Hesiod authors such as Aratus, Ovid, Seneca, and Maximus use the myth as a means to pair material progress with moral regression. These authors do not merely tell a story; they present a model, a simple and pre-civilized way of living that they see as vastly superior to modern “advanced” society. These authors look at the results of technological progress and see only negatives; for them the ship and the sword have brought nothing but greed and violence. They present a simple and virtuous Golden Age that lacks the fruits of civilization and a wretched and bloodied Iron Age that is flooded by them. The implication is clear: mankind has fallen from a life of primeval bliss at its own hands as a direct result of technological and societal advances. This becomes the dominant message of the Myth of the Ages, so much so that by the time of the Romans the myth had become little more than a literary cliché for criticizing civilization
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: Classical Studies
Discipline: College Honors Program
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Naddaf, Gerard. "La alegoría. Orígenes y desarrollo de la filosofía desde los presocráticos hasta la Ilustración." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113274.
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Much has been written on the famous transition from muthos to logos or from myth to reason. However, there is little on how the proponents of myth responded. They fought back with mutho-logia, that is, with a logos about myth. This rational approach invoked the same logos that is generally associated with philosophia. In fact, philosophia and muthologia are at times so intimately connected that until the Enlightenment period, it is often difficult to distinguish between them. This is due to the spell of myth or more precisely because of the allegorical interpretation of myth. In this essay, I attempt to shed some light on the origin and development of this rather unremarked and yet remarkable event in the history of philosophy.Mucho se ha escrito sobre la célebre transición del muthos al logos, o del mito a la razón. Sin embargo, el tratamiento que se le ha dado al asunto de cómo respondieron los defensores del mito es más bien escaso. Ellos respondieron con mutho-logia; es decir, con un logos sobre el mito. Esta aproximación racional invocaba el mismo logos con el que generalmente se asocia la filosofía. De hecho, la philosophía y la muthología están tan estrechamente relacionadas por momentos que hasta el período de la Ilustración suele ser difícil distinguirlas entre sí. Esto se debe al encanto del mito o, más precisamente, a la interpretación alegórica del mito. En este ensayo pretendo esclarecer el origen y el desarrollo de este poco notado, aunque notable, evento en la historia de la filosofía.
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Leclerc, Marie-Christine. "La parole chez Hésiode : à la recherche de l'harmonie perdue /." Paris : les Belles lettres, 1993. http://catalogue.bnf.fr/ark:/12148/cb355748623.
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DiLorenzo, Kate. ""To share in the roses of Pieria" relationships to the Muses' gift in the epic poets and Sappho /." Diss., Connect to the thesis, 1992. http://hdl.handle.net/10066/1475.
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Aguiar, Heloíse Cardoso da Silva. "Possíveis paralelismos entre Os trabalhos os dias de Hesíodo e a República de Platão." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8905.
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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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Mota, Késia Viviane da. "Estudo do mito através da análise literária d"O Certame Homero-Hesíodo"." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/6271.
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Previous issue date: 2014-02-27Coordenação 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.
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Naddaf, Gerard. "Algunas reflexiones sobre la noción griega temprana de inspiración poética." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/112947.
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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.
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Chacón, Leiva Natalia. "Βίος et ζωή chez Aristote : qu’est-ce que la vie pour un biologiste?" Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080042.
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Le présent travail s’inscrit dans une démarche de reconstitution de la notion de vie au sein de la pensée antique. Il s’agit de rétablir son sens au coeur de la langue et de la culture grecque, et particulièrement, à l’intérieur de la philosophie et de la pensée aristotélicienne. L’étude s’organise autour de deux termes fondamentaux et propres à la langue grecque, à savoir les mots βίος et ζωή. La première partie s’attache à dégager la forme et le sens «original» des mots, et étudie les facteurs linguistiques et culturels intervenant dans la formation et l’évolution de la forme et du sens des mots en question. Les mots βίος et ζωή se présentent donc comme les éléments structurants de cette étude. La reconstitution du contexte historico-linguistique des mots conduit à la deuxième partie de ce travail, où sont analysés le travail de poètes tels Homère et Hésiode, ainsi que des premiers philosophes, usuellement nommés présocratiques. Dans cette partie du travail de recherche, la notion de vie est dégagée de l’enquête naturelle menée par les premiers penseurs, ainsi que des images fournies par la tradition poétique. Après avoir replacé la notion de vie au sein de son contexte historico-culturel et linguistique, on entame l’étude de la pensée aristotélicienne sur la vie. L’interrogation de départ tient au fait de déterminer si la notion de «vie» chez Aristote passe nécessairement et uniquement par l’étude des êtres vivants et de l’âme, ou si elle dépasse la finalité biologique pour embrasser autres domaines de sa philosophie. Cette partie vise une approche intégrationniste et dynamique de la vie à l’intérieur de la pensée aristotélicienne. La reconstitution de la notion de vie chez Aristote amène à une réflexion sur son lien avec l’enquête naturelle menée par les premiers penseurs. En dernier ressort, l’hétérogénéité de cette étude permet de voir de quelle façon Aristote, certes pionnier dans les recherches sur la vie, conserve pourtant toujours une structure de pensée propre à la Grèce antique : Aristote élabore sa pensée à partir et à l’intérieur de son temps et de la tradition qui lui précèdeThe reconstitution of the notion of life within the ancient philosophy is the principal idea of the present study. The aim is to re-establish the conception of this notion within the Greek language and culture, especially within the knowledge of early philosophers and the philosophy of Aristotle. The arrangement of this contribution is based on the meaning and relation of the words βίος and ζωή, two fundamental terms, exclusive to the Greek language. The first part of the study shed new light on the formal constitution and «original» meaning of these words. In particular the linguistic and cultural factors which converge in their formation and evolution are investigated in detail. The reconstruction of the historical and linguistic context of the words βίος and ζωή gives rise to the second part of the study by the means of reconstructing the notion of life within the poetical tradition and investigation of nature, conducted by the early philosophers. The third part of the study approaches the notion of life in the philosophy of Aristotle from the principle question at issue: whether the idea of life is reduced to the investigation of living organisms and his theory of soul or if it exceeds the biologic purpose to encompass other categories of his philosophy. This analysis of the notion of life within the philosophy of Aristotle is conducted by an integrating and dynamic perspective. The reconstitution of the notion of life in the work of Aristotle leads to a reflection about the closeness of his ideas to anterior investigations of natural objects and processes done by the early philosophers. Apart from being a pioneer in the investigation of life, he is also tributary to a particular kind of thinking in ancient Greece. Aristotle’s way of thinking, although far-reaching, is based within his period and preceding traditions
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Zanon, Camila Aline. "Onde vivem os monstros: criaturas prodigiosas na poesia hexamétrica arcaica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-13022017-130921/.
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O objetivo desta tese é analisar as criaturas amiúde consideradas monstruosas bem como os termos geralmente traduzidos por monstro presentes em três poemas da tradição de poesia hexamétrica arcaica, a saber, a Teogonia de Hesíodo, o Hino Homérico a Apolo e a Odisseia de Homero. A análise dessas criaturas tem como foco o modo como são descritas e o papel que desempenham nas narrativas contidas nesses poemas, para a qual são utilizadas como abordagem teórico-metodológica a referencialidade tradicional proposta e desenvolvida por John Miles Foley ao longo da década de 1990 bem como a perspectiva de que os poemas que constituem a tradição hexamétrica arcaica compõem uma história do cosmo, conforme desenvolvida por Barbara Graziosi e Johannes Haubold na década de 2000. Como resultado da análise das criaturas, de um lado, e dos termos traduzidos por monstro, de outro, questiona-se a pertinência da categoria monstro como geralmente pressuposta para essas criaturas no mundo moderno, tendo-se em vista que ela possa não existir na poesia hexamétrica arcaica, já que fazem parte de um sistema de pensamento em um mundo ainda não desencantado em termos weberianos, no qual a realidade empírica e a esfera divina enquanto representativa do sobrenatural estão profundamente imbricadas. Como instrumental teórico-metodológico para o questionamento acerca da existência ou não do monstro enquanto categoria em tal tradição poética, lançou-se mão das teorias de categorização de Wittgenstein, desenvolvida nas décadas de 1940 e 1950, daquelas desenvolvidas por Eleanor Rosch e sua equipe durante a década de 1970, bem como as presentes nas obras de George Lakoff a partir da década de 1980. A proposição de que a categoria monstro como pressuposta e entendida no mundo moderno é inexistente para a poesia hexamétrica arcaica tem implicações na compreensão moderna dessas criaturas, que devem ser percebidas enquanto integrantes de um cosmo que não separa o sobrenatural, o maravilhoso e o divino nos mesmos termos que o faz a sociedade moderna ocidental, revelando a necessidade de compreender essas criaturas sob o ponto de vista da tradição que as criou ou as incorporou e ressignificou.The aim of this thesis is to analyse the creatures often considered monstrous as well as the words generally translated as monster in three poems belonging to the tradition of archaic hexametric poetry, namely, Hesiod\'s Theogony, the Homeric Hymn to Apollo, and Homer\'s Odyssey. The analysis of the creatures focuses on the ways they are described and the role they play in the narratives presented in those poems. The theoretical and methodological approach used to such analysis is the traditional referenciality proposed and developed by John Miles Foley in the 1990\'s in addition to the perspective that such poems that inform the archaic hexametric tradition constitute a history of the cosmos, as developed by Barbara Graziosi and Johannes Haubold during the 2000\'s. The analysis of the creatures, in one hand, and of the words translated by monster, in the other, results in questioning the validity of the monster category as usually taken for granted in the modern world, considering that it might not exist in archaic hexametric poetry, since those creatures are part of a system of thought in a world not yet disenchanted in Weberian terms, in which the empirical reality and the divine sphere as representative of the supernatural are deeply entangled. As theoretical and methodological framework for questioning the existence of monster as a category in such poetical tradition, this thesis adopted the theories of categorization formulated by Wittgenstein during the 1940\'s and 1950\'s, as well as the theories developed by Eleanor Rosch and her team during the 1970\'s, along with the ones presented by George Lakoff from 1980\'s onward. The proposition that the category of monster as pressuposed and understood by the modern world is non-existent in archaic hexametric poetry has consequences to the modern understanding of those creatures which must be perceived as part of a cosmos that does not separate the supernatural, the wonderful, and the divine in the same terms as the modern western world does, revealing the need to understand those creatures under the point of view of the tradition that created them or incorporated and ressignified them.
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Tedeschi, Guillaume. "Etude philologique du texte d'Hésiode aux époques hellénistique et romaine." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209752.
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La présente dissertation analyse toutes les prises de position attribuées dans les scholies hésiodiques à un commentateur de l'Antiquité. Cette étude a pour optique d'apporter un regard nouveau sur les méthodes philologiques appliquées par les exégètes des époques hellénistique et romaine à la lecture des textes poétiques archaïques.Doctorat en Langues et lettres
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Miller-Dorangeon, Emeline. "Aristophane et l’épopée : Formes et fonctions des parodies, citations et imitations épiques dans les comédies d’Aristophane." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE3031.
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Ce travail décrit les différentes formes que prennent les emprunts à l'épopée dans les comédies d'Aristophane afin de définir le rapport construit par la comédie entre les deux genres littéraires, entre dérision comique et hommage littéraire, ruptures et continuités idéologiques, filiations et innovations poétiquesThis study tries to describe the various forms of Aristophanic borrowing to epic poetry, in order to define the relationship between the two genres: mockery or homage to the poet, ideological break or continuity, poetic filiation or innovation?
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Hütwohl, Dannu. "The Birth of Sacrifice: Ritualized Deities in Eastern Mediterranean Mythology." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1606754016335887.
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Solntseva, Irina. "Les récits de Platon sur le passé : entre le mythe et l'histoire." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040083.
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Face à la diversité des textes platoniciens consacrés au passé, les commentateurs ont le plus souvent proposé d'y voir soit une philosophie de l'histoire unitaire et profondément pessimiste, soit une simple forme rhétorique permettant à Platon de défendre ses différentes idées. En mettant en cause la lecture historiciste des récits sur l’origine et la chute de l'État idéal dans la République et du mythe cosmologique du Politique, nous en présentons une lecture analytique, tout en prenant en compte le rapport qu'entretiennent ces textes avec la tradition hésiodique et sophistique des récits sur le passé. Nous proposons de distinguer, d'autre part, la catégorie particulière des textes platoniciens qu'on pourrait appeler les « mythes sur le passé d'Athènes » : le récit atlante et la partie historique du Discours funèbre de Socrate dans le Ménexène, dont la spécificité se comprend le mieux, à notre avis, compte tenu de l'idée de noble mensonge proposée par Platon dans la République. Nous nous intéressons enfin au statut du récit des Lois III, considéré souvent comme le texte le plus historique chez Platon, et nous nous efforçons de montrer, à l'aide de cet exemple, comment Platon réussit à combiner le matériau historique concret et ses théories politiques et psychologiques, en adoptant ainsi la même démarche que dans les récits de la République II et VIII – IXIn view of the diversity of Plato's texts about the past, the commentators have most commonly suggested to consider them either as a unitary, profoundly pessimistic, conception of history or as a rhetoric form that enables Plato to defend his different ideas. By calling into question the historicising interpretation of the narratives discussing the origin and the decline of the ideal state in the Republic and of the cosmic myth of the Statesman, we offer an synchronic reading of them, taking in consideration the connections between these passages and the Hesiodic and Sophistic tradition of narratives about the past. We suggest to distinguish, on the other hand, a specific category of the Platonic historical accounts that could be called the «myths about the past of Athens» : the Atlantis story and the historical section of the Funeral oration of Socrates in the Menexenus that we could understand the most clearly, in our opinion, if we take in consideration the notion of the “Noble Lie” that Plato introduced in the Republic. Finally, we're focusing our attention on the status of the narrative of the past in the Laws III, often considered as the most historical text in Plato, and we try to show, from this example, how Plato manages to combine the concrete historic facts and his political and psychological theories, following the same approach as in his accounts in the Republic II and VIII – IX
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Violas, Aurore. "Les préverbes a)na- et kata- en grec ancien (Homère, Hésiode, Hérodote) : étude linguistique." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040216.
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Les préverbes a)na- et kata- sont souvent considérés comme un couple complémentaire, parce qu’avec des verbes de déplacement a)na- marque un mouvement vers le haut et kata- un mouvement vers le bas. Ces deux préverbes ont pourtant eu des emplois très variés qui dépassent largement l’emploi spatial.L’étude des composés présents dans les oeuvres d’Homère, Hésiode et Hérodote permet d’identifier les connotations essentielles associées à ces préverbes dès les premiers textes. A défaut de pouvoir identifier une Urbedeutung, il est possible de comprendre comment le sens de ces préverbes a évolué d’un sens concret vers des emplois plus abstraits. L’étude successive de ces deux composés, en établissant des catégories de significations parmi les verbes, nous per-met découvrir un certain nombre de sèmes qui semblent constitutifs de chacun des deux préverbes. Cela nous montre que le préverbe a)na- est surtout associé à des verbes de mouvement, alors que le préverbe kata- est davantage lié à des verbes statifs ou qui évoquent un processus de destruction.La question de la valeur aspectuelle de ces préverbes est aussi un élément fondamental. L’étude de ces deux préverbes permet de comprendre comment ils ont pu tous les deux acquérir une valeur aspectuelle pour souligner notamment l’accomplissement du procès. Cependant, on constate qu’ils ne correspondent pas au même accomplissement, puisqu’a)na- dénote un accomplissement créatif, tandis que kata- souligne le plus souvent l’accomplissement d’un processus de disparitionThe preverbs a)na- et kata- are usually considered as a couple, because for motion verbs a)na- bears an up motion and kata- a down motion. These two preverbs have nevertheless been employed variously and more widely than for merely spatial indications.Studying the compound verbs of the works of Homer, Hesiod and Herodotus allows us to identify the essential conno-tations linked to these preverbs since early literature. Even if we cannot find the Urbedeutung, it’s possible to unders-tand how the meaning of these preverbs has progressed from a concret meaning to an abstract. The ordered investiga-tion of these compound verbs, by distinguishing the different categories of meaning, help us discover some semantic classes which seem to be essential for each preverb. Thus we see that the preverb a)na- is mostly linked to motion verbs, whereas the preverb kata- is more combined with stative verbs or verbs which discribe a disappearance.The question of aspect for the preverbs is also fundamental. The study of these two preverbs allows us to understand how they could, both of them, own an aspectual value to emphazise the process accomplishment. But we can see that it’s not the same accomplishment, since a)na- indicates a creative accomplishment, while kata- most often highlights the accomplishment of a dying process
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Milan, Johan. "Vers une grammaire du désir : dire l’union et la chair en grec préclassique (étymologie, lexicologie et sémantique)." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL086.pdf.
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Comment dire le désir érotique et ses concrétisations ? Des épopées homériques aux odes de Pindare, de la cosmogonie hésiodique à l’invective moraliste et à la passion des lyriques, la présente étude passe au crible l’ensemble des textes grecs de la période archaïque pour éclairer ce phénomène linguistique. Le désir et la sexualité sont traités comme une langue à part, au sein du grec, convoquant un lexique, une syntaxe et une stylistique spécifiques. Le lexique détoure les mots de la langue commune et bâtit les concepts du désir dans une chronologie particulière, détaillant ce que le français construit souvent comme synonymes. Le désir se fait force implacable et artefact magique redoutable. La syntaxe de l’union et de la procréation – au cœur de l’élaboration des généalogies, notamment – se déploie sous de fortes contraintes. Elle oscille entre le frein de la bienséance – érotisme perçu comme inconvenant, alors qu’il joue un rôle incontournable dans la construction des personnages et la structuration de l’univers – et l’excès obscène qui le change en arme morale. Difficile à dire, l’érotisme s’énonce à demi-mot, ou mots grossis, dans un système complexe de conventions. Sa stylistique, enfin, lui donne corps : elle le dessine comme un objet palpable, proche des parures travaillées et des amulettes, lui donnant matière et éclat ; elle le met en scène, surtout dans la nature, qui reflète en profondeur ses ambivalences, entre fascination et danger. Les métaphores érotiques et sexuelles convoquent paysages, plantes et animaux pour ancrer l’homme et son désir dans le monde. La grammaire du désir est un mécanisme complexe qui joue de connivence et questionne la nature humaineHow to express erotic desire and its success? From Homeric epics to Pindar’s odes, from Hesiod’s cosmogony to the harsh moral invective, and the passion of lyrics poets, this study examines all the linguistic material from the archaic period to show that process. Desire and sexuality are considered an idiom of their own, within ancient Greek, using their own words, syntax and stylistics. Their words dwell in those of the common tongue and build concepts of desire inside a specific timeline. French is often blind to such a differentiation. Desire turns into an overpowering force and a formidable magical artefact. The syntax of sexual congress and procreation – at the heart of genealogies – thrives through strong constraints, such as decency – and, although eroticism is fundamental in building characters or structuring the world, it is seen as inappropriate – and obscene excess, while fighting for morality. Eroticism is hard to express: it uses the implicit or the caricature, and follows complex conventions. Its stylistics, at last, words its embodiment: desire becomes an object one can touch, wear like an amulet or an ornament, and see, thanks to its glow and material. It is staged, especially in nature, because it reflects its inner ambivalence, between fascination and danger. Erotic and sexual metaphors call out landscapes, plants, and animals, in order to insert desiring human beings into the world. The grammar of desire forms a complex mechanism based on complicity and the questioning human nature
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Raphael, Rebecca. "Divine work, divine song : inspiration and authority in Hesiod and First Isaiah /." 1997. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9729865.
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Stamatopoulou, Zoe. "Boiotos aner tade phonesen : the reception of Hesiod in epinician poetry /." 2008. http://wwwlib.umi.com/dissertations/fullcit/3326993.
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Pang, Colin Cromwell. "Hesiod and the critique of Homer in Quintus of Smyrna's Posthomerica." Thesis, 2019. https://hdl.handle.net/2144/39001.
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While scholars have noticed important allusions to Hesiod in Quintus of Smyrna’s Posthomerica, there is still a need to explain Hesiod’s relevance in a poem that is so overtly Homeric. I argue that an understanding of Hesiod’s reception, especially during the Second Sophistic period, will lead to a deeper appreciation of the Posthomerica and the world that produced it. Hesiodic allusions appear at key moments in the narrative and invite us to see Quintus of Smyrna as reading Homeric epic and ethics through a Hesiodic lens. Rather than read the Posthomerica solely as a work of Homeric emulation, I propose that Quintus of Smyrna relies on Hesiod’s reputation as Homer’s rival to articulate his critique of Homeric poetics and heroism.
Chapter One argues that Quintus of Smyrna reorients his reader’s gaze from Homer to Hesiod right when he seems to ape a Homeric practice, namely the ekphrasis of Achilles’ shield. Chapter Two asserts that Quintus of Smyrna’s use of Hesiod contributes to the Posthomerica’s narrative structure and highlights his revision of the Homeric idea of virtue (arete), such that Iliadic force must be joined with Hesiodic wisdom. Chapter Three examines Quintus of Smyrna’s Hesiodic self-portrayal and argues that the Posthomerica may be read as a telling of the Trojan saga through a Hesiodic lens. Chapter Four discusses Quintus of Smyrna in the context of Hesiodic reception. And Chapter Five places Quintus of Smyrna’s reception of Homer and Hesiod within the broader landscape of Second Sophistic and Late Antique literature, comparing his allusive practices to those of Greek hexameter poets of his era. This study concludes that Quintus of Smyrna’s revision of Homer reflects a trend among some Second Sophistic authors who re-write and critique Homeric narratives. Moreover, his direct and pervasive engagement with the works of Hesiod is unique when compared to his fellow Greek hexameter poets, whose allusions to Hesiod are mediated through a Hellenistic filter. By bridging studies of the Posthomerica and studies in Hesiod’s reception, my work enables us to gain a better understanding of Quintus of Smyrna’s dynamic engagement with his archaic literary tradition.
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Kavadas, Richard J. P. "No mere mouthpiece: An examination of the Hesiodic farmer." Thesis, 2008. http://hdl.handle.net/1828/893.
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Examines the character construction of the Hesiodic ‘farmer’ in the scholarship of Works and Days. Questions Hesiod’s intimacy of agricultural knowledge: was he a practical farmer or a non-farming poet? Using my farming experience I question the adequacy of the information in Works and Days for use as a farming manual. Lines 635-640 - Hesiod’s description of the climatic conditions of Ascra in respect to farming are set against soil properties (soil biochemistry as an evaluating tool) and agricultural responses (farming methods of other cultures) shows Hesiod to have little grasp of the farming methods each situation requires. Text comparatives: Fan Shêng-Chih Shu an ancient Chinese agricultural text detailed with attention to soil fertility. Supporting ancient texts: Cato on Agriculture, Columella on Agriculture, Theophrastus on Plants, Xenophon Oeconomics and Homer’s Odyssey for references to dung and soil fertility. The vague farming information suggests a non-personalized experience - the Hesiodic ‘farmer’ is probably not a practical farmer at all.
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Βάλβης-Γερογιάννης, Μάριος. "Η χρήση του Ησιόδου από τον Πλάτωνα στους πρώιμους και μέσους διαλόγους." Thesis, 2011. http://hdl.handle.net/10889/5285.
Full textAbstract:
Στην παρούσα εργασία εξετάζονται οι τρόποι με τους οποίους ο Πλάτων χρησιμοποίησε τον αρχαϊκό επικό ποιητή Ησίοδο κατά την πρώιμη και μέση περίοδο του φιλοσοφικού του έργου. Κύριο αντικείμενο εστίασης της ερευνητικής διαδικασίας απετέλεσαν οι διάλογοι στους οποίους απαντούν παραθέσεις ησιόδειων στίχων, καθώς και αναφορές (όχι verbatim παραθέσεις) που αφορούν είτε τον ίδιο τον ποιητή είτε πτυχές του έργου του. Παρουσιάζει ενδιαφέρον το γεγονός ότι οι μεν παραθέσεις είναι ειλημμένες πρωτίστως από τα Έργα και Ημέραι, οι δε αναφορές στον ποιητή και σε θέματα των επών του από τη Θεογονία. Πιθανότατα ο διδακτικός –και άρα γνωμολογικός– χαρακτήρας των Έργων ευθύνεται για αυτήν τη διαφορά προσέγγισης των δύο επών από την πλευρά των ομιλούντων προσώπων στους πλατωνικούς διαλόγους: ιδιαίτερα οι σοφιστικοί κύκλοι στην κλασική Αθήνα συνήθιζαν να κάνουν χρήση απομονωμένων από τα αρχικά συμφραζόμενα φράσεων από το συγκεκριμένο διδακτικό έπος. Αυτές οι φράσεις, πλέον, είχαν αποκτήσει τη βαρύτητα γνωμικών. Συχνότατα ο Πλάτων στηλίτευσε την ανωτέρω πρακτική των σοφιστών, οι οποίοι τις περισσότερες φορές παρουσιάζονται από τον συγγραφέα να επικαλούνται την ποιητική αυθεντία του Ησιόδου (δευτέρου μετά τον Όμηρο) προκειμένου να προσδώσουν κύρος σε μια φιλοσοφικώς αναληθή πρόταση. Κατά ένα γενικό σχήμα, και η θεογονική ποίηση του Ησιόδου επικρίνεται από τον Πλάτωνα. Η κορύφωση της φιλοσοφικής δριμύτητας απέναντι στην αρχαϊκή θεογονική σκέψη εντοπίζεται στο δεύτερο βιβλίο της Πολιτείας, όπου ο Σωκράτης υποστηρίζει διαρρήδην ότι ο Ησίοδος εξιστόρησε το πιο μεγάλο και ηθικά επιβλαβές ψέμα, όταν αφηγείτο τις πράξεις βίας κατά τα στάδια διαδοχής της θεϊκής βασιλείας. Τέτοιοι στίχοι πρέπει να θεωρηθούν καθ’ ολοκληρίαν αποβλητέοι από την ιδεατή εκπαίδευση των φυλάκων της Καλλίπολης˙ προβάλλουν μια εικόνα της θεϊκής σφαίρας που πόρρω απέχει από τον πλατωνικό πανάγαθο θεό. Το υλικό της Θεογονίας φαίνεται να εκτιμάται από τον Πλάτωνα μόνον όταν μας προσφέρει γενεαλογήσεις θεοτήτων με τρόπο που φαίνεται να έχει μερίδιο αληθείας. Σε τέτοιες περιπτώσεις, όπως είναι φυσικό, η φιλοσοφική έρευνα δεν μπορεί να αποδειχθεί χρήσιμη εξαιτίας της μεγάλης παλαιότητας των γεγονότων. Ο Πλάτων, όμως, πέρα από την αρνητική κριτική που άσκησε στον Ησίοδο, ενίοτε φαίνεται να επηρεάστηκε και από αυτόν σε όχι αμελητέο βαθμό, στο πλαίσιο ορισμένων διαλόγων. Παράδειγμα αποτελεί ο τρόπος με τον οποίο χρησιμοποιεί τον μύθο των ανθρώπινων γενών από τα Έργα στην Πολιτεία. Τέτοιες περιπτώσεις επίδρασης του φιλοσόφου από τον αρχαϊκό ποιητή φέρουν μεγάλο ενδιαφέρον για την πληρέστερη ερμηνεία ερμηνεία του πλατωνικού έργου.In this master thesis are examined the ways and methods with which Plato made usage of the archaic epic poet Hesiod during the early and the middle period of his philosophical work.
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Freitas, António José Gonçalves de. "A reflection on Hesiod's Cosmos: the beginnings of greek philosophical speculation." Doctoral thesis, 2011. http://hdl.handle.net/10400.13/1448.
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Li, Pei-jing (Carrie), and 李珮菁. "Dynamics of the Self: "Caves" in Hesiod's Theogony, Homer's The Odyssey, Plato's The Republic and Vergil's Aeneid." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/17793865375249673411.
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碩士國立臺灣師範大學
英語學系
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In literary creation, caves are often associated with the human body and thefemale womb. Literary cave experiences dramatize our internal experiences ofdesire, love, hate and untamed unconscious forces and metaphorically incarnatethe confrontation of the inner and the outer worlds in the experiences ofhuman consciousness. Caves thus become psychological and metaphysical spacesof projection and abstraction to express the inexpressible, to enact thepossibilities of the self as genuine experiences. This thesis purports toexplore the cave as the metaphorical manifestation of the dynamics of theself, as we find it in the pre-Hellenic mythology, in the Hellenic epic poetryof Hesiod and Homer, and in Plato and Vergil. The discussion will come tofocus on the allegorical functions of caves as static (metaphysical) imagesand as the dynamic dialectic on both psychological (vertical) and narrative(horizontal/vertical) levels. This scrutiny will witness its culmination inthe Aeneid, for Vergilian caves illuminate triadic tensions at psychological,socio-historical and literary levels. Given the contemporary awareness thatthe conscious self and sexuality are socially and historically constructed,the cave becomes a symbolic medium through which social values can work on thehuman soul and body. Therefore, in caves, we perceive a symbiosis of theindividual, sexuality and society. Cave experiences then illustrate thethe concentration of the natural, cosmic movements and also the allegoricalexpansion of human psychological turmoil. The implied ambiguity and mutabilitythus constitute the core meaning of caves as the dynamics of the self, forthis ambiguity and mutability mirror the ongoing process of indeterminacyinvolved in the forging of the conscious self.
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Longard, Bradley J. "PUTTING THE EMPIRE IN ITS PLACE: OVID ON THE GOLDENNESS OF ROME." 2012. http://hdl.handle.net/10222/15830.
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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.
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Lavoie, Montemiglio Jean-Carlo. "H.P. Lovecraft : étude comparative de récits des origines." Thèse, 2009. http://hdl.handle.net/1866/3469.
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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.
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Fleischerová, Andrea. ""Dobro" v klasické řecké filosofii a literatuře." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-308183.
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The matter of the Good in classical Greek philosophy and literature is so important and extensive that it can hardly be covered in one document. Therefore the aim of the first part of the thesis is to express both fundamental context and critical attitude towards the concept of the Good in the philosophy of Socrates, Plato and Aristotle. The second part provides a coherent perspective on the development of archaic literature in terms of forming the idea of gods, virtues, good and evil in classical Greek epic and tragedy. Theoretical basis of the thesis relies on the studies of important philosophers, literature historians, religionists and mythologists, whose views are connected systematically or outlined comparatively in corresponding chapters. Both main parts of the thesis are divided into chapters which follow in logical sequence. The thesis is theoretical and corresponds to the assigned topic.