Academic literature on the topic 'Lucian of Samosata'
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Journal articles on the topic "Lucian of Samosata"
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ÇİMEN, Ünsal. "A Feminist Interpretation of A True Story of Lucian of Samosata." fe dergi feminist ele 14, no. 1 (June 10, 2022): 12–20. http://dx.doi.org/10.46655/federgi.1062414.
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Lucian of Samosata was a satirist and rhetorician who lived in the second century BC. He was the author of the earliest known science fiction novel, A True Story. In this story, Lucian travels to the Moon, joining the war between the moon people and the solar people. What makes this story interesting is that Lucian tells us there are no women among moon people, and men give birth to children. As stated rightly by Morena Deriu, this situation can be seen as a satirization of the exclusion of women from the public sphere. However, it should not be forgotten that giving a place to gods giving birth in myths was an attempt to legitimize that a child’s real parent is a man, not a woman. In this paper, in addition to Deriu’s claims, I will argue that when Lucian said Lunarian men could give birth to children, he was criticizing the order established by men, who saw themselves as the only and real parent of a child. The elements used by Lucian regarding the Eleusinian mysteries and his reference to Aristophanes’ comedy The Birds will be considered as supporting this claim.
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Schlapbach, Karin. "The logoi of Philosophers in Lucian of Samosata." Classical Antiquity 29, no. 2 (October 1, 2010): 250–77. http://dx.doi.org/10.1525/ca.2010.29.2.250.
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This paper explores Lucian's presentation of the philosopher as a creator of discourse. In particular, the paper argues that the lack of control over the discourse, once it is passed on, is at the core of Lucian's treatment of philosophers. An analysis of this eminently Platonic problem allows the interpretation both to go beyond the simplistic view that Lucian has no real philosophical interest at all but merely follows the Second Sophistic trend of subordinating philosophy to rhetoric, and to qualify the idea that the dissolution of the authorial voice represents a sense of rupture experienced on the margins of the Roman empire. More importantly, this approach opens up new possibilities to understand two portraits of philosophers in Lucian's oeuvre that stand out for their positive character, Nigrinus and Demonax. While the latter work depicts a philosopher who uses words sparingly, but ideally enables a cognitive progress in the interlocutor, the former—a portrait of a “Platonist”—stages the breakdown of philosophical teaching by focusing on the impact of the philosopher's discourse on an underprepared student. The paper argues that Lucian, while posing as a reader of Plato in shaping his characters, raises the question of whether Plato himself succeeded as a philosophical writer, or whether in Lucian's eyes Plato's success as a writer was perhaps also his failure as a philosopher. But rather than shaping his own texts in opposition to philosophy, Lucian, like Plato, explores untrodden literary ways of addressing the most fundamental of philosophical problems, namely philosophy's expression in language.
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Shaw, Damian. "Lucian of Samosata, Tennyson’s ‘Ulysses’, and Joyce’s ‘Ulysses’." Notes and Queries 66, no. 2 (April 19, 2019): 310–11. http://dx.doi.org/10.1093/notesj/gjz048.
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Góral, Piotr. "Obecność motywów z Prawdziwej historii (Alethe diegemata) Lukiana z Samosat w literaturze fantastycznej na przykładzie wybranych fragmentów." Colloquia Litteraria 32, no. 32 (March 13, 2023): 103–32. http://dx.doi.org/10.21697/cl.2022.32.1.6.
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This article is an analysis the writing of Lucian of Samosata, A True Story (Alethe diegemata). Its purpose is to indicate the presence of fantastic causes in the work today and to trace the presence of the motifs used by Lucian in later fantastic writings. The dividing line between fantasy literature and science fiction is also permanently drawn, which is helpful in examining the work, as well as in an attempt to assign it to one of the revealed trends in fantasy literature.
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Bozia, Eleni. "To Know Thyself Through the Other: The Literary Convergences of Lucian and Justin." Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 28, no. 1 (May 30, 2024): 100–122. http://dx.doi.org/10.1515/zac-2024-0005.
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Abstract The paper engages in a comparative analysis of two prominent figures from the 2d century CE—Lucian of Samosata and Justin the Martyr. Lucian, the epideictic orator and social commentator, reintroduces the Olympians while rethinking paganism and engaging with Justin and the Apologists. Conversely, Justin, embodying the Christian pepaideumenos, places the new religion at the literary forefront and questions the stereotype of Christian simplicity. The paper argues that, in the context of reformative, paideutic Imperial culture, Lucian and Justin challenge the literary and religious status quo and engage the readers in a reconsideration of Christianity through the lens of the Second Sophistic and vice versa.
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Fantappiè, Irene. "Pietro Aretino e Luciano di Samosata. Paradosso e parrhesia tra parola e immagine." Romanistisches Jahrbuch 74, no. 1 (November 14, 2023): 129–71. http://dx.doi.org/10.1515/roja-2023-0007.
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Abstract Pietro Aretino constantly flaunts his originality and uniqueness as a writer. This essay seeks to show that, on the contrary, his authorial figure arises from a rewriting and a ‘refiguring’ of Lucian, especially as far as the centrality of paradox and of parrhesia are concerned. The present study reinterprets or adduces hitherto ignored evidence (consisting of both textual and iconographic materials, such as portraits, marche editoriali, and medals) in order to reconstruct some key aspects of Aretino’s relationship to Lucian, thus questioning the traditional idea of the writer’s unfamiliarity with the processes of imitatio of antiquity. Aretino’s approach to Lucian is investigated on three different levels, i.e. the level of intertextuality, of themes and genres, and of authorship. Firstly, the analysis inspects how Aretino’s Dialogo was influenced by a specific collection of vernacular translations of Lucian (I dilettevoli dialogi, 1525). Furthermore, the essay unveils the close relationship between Dialogo and Lucian’s De parasito as a model of paradoxical eulogy, thereby showing that Aretino’s text not only reverses the structures of relevant literary genres (e.g. the Platonic dialogue) but also originates from a ‘positive’ imitation of other generic templates (such as the Lucianistic paradoxical encomium). Finally, new findings about the sources of Aretino’s motto veritas odium parit and of its iconography shed light on the way Aretino fashions himself as a parrhesiastes by reproducing and transforming – and therefore imitating – Lucian’s figura auctoris.
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Camerotto, Alberto. "Heracles and the Monkey." Mnemosyne 75, no. 1 (January 7, 2022): 113–44. http://dx.doi.org/10.1163/1568525x-bja10126.
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Abstract In the pamphlet On Salaried Posts in Great Houses Lucian of Samosata analyzes the problem of the impossible relationship between misthos, ‘money’, and paideia, ‘culture’ and ‘teaching’. Money is an indispensable asset for the necessities of life. But starting with Socrates and the Sophists it becomes problematic. In Lucian’s satire the attack is directed at philosophers and the marketing of culture in the Roman Empire at the time of the Second Sophistic.
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Flores Júnior, Olimar. "Luciano e o cinismo: o caso Alcidamas." Nuntius Antiquus 9, no. 2 (December 31, 2013): 139–80. http://dx.doi.org/10.17851/1983-3636.9.2.139-180.
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One of the axes of the so called “Lucianic Question” is the relationship of the writer from Samosata with the philosophy, and especially with the Cynicism. Even though the idea of a “Cynic Lucian” or a “Philosopher Lucian” has been abandoned, modern criticism still seems to hesitate before the image of the Cynicism that we find in the pages of this author, which fluctuate in a more or less explicit way between the approval and praise in one hand, and the attack and sarcasm in the other. This article seeks to re-examine this issue in the light of an analysis of the figure of the Cynic Alcidamas, a character that appears in the Symposium or The Lapiths. The hypothesis to be defended here is that the seemingly pitiless construction of this Cynic, the most “buffoon” of the guests in the described banquet, actually reveals the sympathy and admiration that Lucian feels about the tradition of which Diogenes of Sinope was the chief representative.
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Kuminova, Kateryna. "The image of Toxaris in the works of Lucian of Samosata." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 36 (July 3, 2022): 77–86. http://dx.doi.org/10.32626/2309-2254.2022-36.77-86.
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Мета статті – проаналізувати образ Токсаріса у творах Лукіана Самосатського. Методологічна база. Дослідження ґрунтується на засадах історич- ної імагології – міждисциплінарного напрямку, що досліджує образ «чужого». Вивчення уявлень про варварів в античній культурі допомагає зрозуміти суспільство, яке фор- мує ці стереотипи. Наукова новизна полягає в акцентуванні уваги на порівнянні об- разів Анахарсіса та Токсаріса у творах Лукіана Самосатського. У статті просте- жується, як впливало походження автора новел на використання образу благородних варварів. Висновки. Лукіан Самосатський звертається у своїх сатиричних новелах до образу мудрого скіфа Токсаріса. Він та Анахарсіс, більш відомий в античності типаж благородного дикуна, протиставляються розбещеним сучасникам і слугують взірцем для наслідування. Лукіан проводить між собою та цими героями паралель, натякаю- чи на своє провінційне походження. У новелі «Скіф» Токсаріс є героєм-провідником, який знайомить Анахарсіса з Солоном. Ім’я нового героя перекладається як лучник, вказую- чи на його варварське походження. Лукіан виділяв неаристократичне походження скі- фа Токсаріса, який при цьому виглядав і говорив як справжній еллін. Таким чином, ав- тор демонстрував, що завдяки своїм талантам і розуму можна досягти визнання, не зважаючи на походження. Автор не ідеалізує еллінський світ, адже у новелі «Токсаріс» описується зразкова героїчна дружба серед скіфів, яка протиставляється комерційній грецькій. Образ ідеального варвара характерний для античної літературної традиції І-ІІ ст. і є реакцією на кризові явища в тогочасному суспільстві.
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Rykov, Anatoly V. "Lucian, Modernism and Intertextuality. Towards a Pragmatic Theory of Culture." Voprosy Filosofii, no. 8 (2022): 115–24. http://dx.doi.org/10.21146/0042-8744-2022-8-115-124.
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The paper considers the issues of modernist and pragmatic discourses in the works of the Ancient Greek writer of the 2nd century AD. Lucian of Samosata. His famous work The Passing of Peregrinus is placed in the conceptual field of “Theory of the avant-garde” by Renato Poggioli, terminologically close to the conception of the menippea of Mikhail Bakhtin. Ancient modernism and pragmatism are analyzed in connection with the modern European intellectual history and general theory of culture. The author comes to the conclusion that it is necessary to separate the elements of modernist aesthetics and pragmatic theory in the work of Lucian. In addition, the author insists on the identification of several proper modernist discourses competing with Lucian (and the corresponding classification of connotations): primitivist (populist) and intellectualist (elitist). Lucian's philosophical instrumentalism becomes an ideal background for the collage (intertextual) aesthetics of novelty and shock, the autonomy of the aesthetic sphere. At the same time, the rejection of ontologism and metaphysics by Lucian leads to a situation of considering artistic, political and philosophical problems within the framework of a kind of unified media theory, which also anticipates contemporary conceptual approaches.
Dissertations / Theses on the topic "Lucian of Samosata"
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ZANOTTI, FREGONARA ANNALISA. "Commento a il Simposio di Lapiti di Luciano di Samosata." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/174.
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Il lavoro è un commento continuo al dialogo "Il simposio o i lapiti" di Luciano di Samosata, con una propria traduzione in lingua italiana. Oltre ai problemi linguistici, testuali, contenutistici e stilistici dell'opera, particolare attenzione è stata dedicata anche agli aspetti antiquari e archeologici del momento simposiale.This work is a commentary on the dialogue the symposium or the lapiths written by Lucian of samosata, with an Italian translation. In addition to the linguistic, textual, stylistic problems, I paid also attention to archaeological matters relating to the symposion.
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ZANOTTI, FREGONARA ANNALISA. "Commento a il Simposio di Lapiti di Luciano di Samosata." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/174.
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Il lavoro è un commento continuo al dialogo "Il simposio o i lapiti" di Luciano di Samosata, con una propria traduzione in lingua italiana. Oltre ai problemi linguistici, testuali, contenutistici e stilistici dell'opera, particolare attenzione è stata dedicata anche agli aspetti antiquari e archeologici del momento simposiale.This work is a commentary on the dialogue the symposium or the lapiths written by Lucian of samosata, with an Italian translation. In addition to the linguistic, textual, stylistic problems, I paid also attention to archaeological matters relating to the symposion.
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Menini, Romain. "« Græciser en François ». L’altération de l’intertexte grec (Lucien, Plutarque) dans l’œuvre de Rabelais." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040262.
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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 rabelaisienneRabelais 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
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Marquis, Emeline. "Sur la mort de Pérégrinos, Les Fugitifs et Toxaris de Lucien de Samosate : édition avec traduction et commentaire." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040165.
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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 paroleThe 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
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Sano, Lucia. "Das Narrativas Verdadeiras, de Luciano de Samósata: tradução, notas e estudo." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-19012009-160813/.
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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.
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Diarra, Myriam. "Figures et fictions d'auteur chez Lucien de Samosate." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040141.
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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 réceptionThe 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
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Páez, Martínez Martín. "Estudios sobre las partículas en el griego de época imperial." Doctoral thesis, Universidad de Murcia, 2013. http://hdl.handle.net/10803/117527.
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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.
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Fonsaca, Karina. "Fiando o fado dos deuses: o humano e o divino em Zeus trágico, de Luciano de Samósata." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6239.
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Previous issue date: 2013-02-14Coordenação 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.
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ARANTES, JÚNIOR Edson. "Regime de memória romano: imagens do herói Héracles nos escritos de Luciano de Samósata (século II d.C.)." Universidade Federal de Goiás, 2008. http://repositorio.bc.ufg.br/tede/handle/tde/2349.
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Previous issue date: 2008-02-28Based 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
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Scarpa, Elena <1989>. "Luciano di Samosata, prolegomena al Lessifane." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4306.
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Con la presente trattazione si è voluto analizzare il rapporto di Luciano, autore satirico e di grande produttività della Seconda Sofistica, con la retorica coeva, in particolare in merito alla moda iperatticista.
Uno studio introduttivo del panorama letterario atticista e delle fonti ad esso correlate, introduce un'analisi linguistica e contenutistica dell'opera.
Vengono analizzati i processi di creazione verbale: su di essi si costruisce la parodia di Luciano che deride la moda iperatticista nei suoi eccessi linguistici e dimostra infine la scorrettezza grammaticale.
Vengono, inoltre, analizzati i modelli soggiacenti all'opera: il background culturale di Luciano utilizza trasversalmente lessico e immagini dell'epica e della tragedia, attinge dalla commedia e dall'ambito medico e ancora si serve dei lexica di autori contemporanei.
Un'attenzione particolare è stata dedicata al Contro-simposio ad opera del protagonista, approfondendo i modelli, il rovesciamento di essi e i meccanismi di satira.
Books on the topic "Lucian of Samosata"
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R, Ligota C., Panizza Letizia, and Warburg Institute, eds. Lucian of Samosata vivus et redivivus. London: The Warburg Institute, 2007.
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Contestazione e conservazione: Luciano nell'esegesi di Areta. Berlin: De Gruyter, 2011.
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Branham, R. Bracht. Unruly eloquence: Lucian and the comedy of traditions. Cambridge, Mass: Harvard University Press, 1989.
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Lucian. Chattering courtesans and other sardonic sketches. London: Penguin Books, 2004.
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Arturo, Ramírez Trejo, ed. Diez diálogos de Luciano de Samosata: Versión yuxtalineal. México: Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas, Centro de Estudios Clásicos, 1985.
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Samosata, Lucian of, ed. Das Lob der Fliege von Lukian bis L.B. Alberti: Gattungsgeschichte, Texte, Übersetzungen und Kommentar. Bern: P. Lang, 2000.
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David, Marsh. Lucian and the Latins: Humor and humanism in the early Renaissance. Ann Arbor: University of Michigan Press, 1998.
Find full textBook chapters on the topic "Lucian of Samosata"
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Nesselrath, Heinz-Günther. "Skeletons, shades and feasting heroes. The manifold underworlds of Lucian of Samosata." In Reading the Way to the Netherworld, 45–60. Göttingen: Vandenhoeck & Ruprecht, 2016. http://dx.doi.org/10.13109/9783666540301.45.
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Gaullier-Bougassas, Catherine. "Alexandre post-mortem et la dérision : des romans médiévaux aux premières traductions et adaptations françaises de Lucien de Samosate." In Alexander redivivus, 125–38. Turnhout: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.ar-eb.5.124956.
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Mestre, Francesca. "Visions du pouvoir chez Lucien de Samosate. De la royauté dans un monde imaginaire à la vie quotidienne d’un citoyen de l’Empire." In Recherches sur les Rhétoriques Religieuses, 87–97. Turnhout, Belgium: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.rrr-eb.5.133097.
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Nordera, Marina. "Une commande laïque à un clericus literatus : la traduction latine du dialogue Peri orcheseos de Lucien de Samosate par Athanase Chalkeopoulos et la culture de la danse en Italie du sud vers la fin du XVe siècle." In Humanistes, clercs et laïcs dans l’Italie du XIIIe au début du XVIe siècle, 505–18. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.cem-eb.1.101212.
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Swain, Simon. "Lucian." In Hellenism and Empire, 298–329. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198147725.003.0010.
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Abstract The satirist and essayist Lucian was born between 11 5 and 12 5 at Samosata, a city of Roman Syria. Samosata had been the capital city of the independent kingdom of Commagene until AD 72, when on the basis of unfounded allegations king Antiochus IV was removed by the legate of Syria, Caesennius Paetus.2 Antiochus and his family were well treated by the emperor Vespasian and enjoyed prominence in the Roman world. His grandson, Plutarch’s acquaintance C. Julius Antiochus Epiphanes Philopappus (‘Fond of Grandfather’), rose to a suffect consulship in 109, and his granddaughter Julia Balbilla the sister of Philopappus accompanied Hadrian and Sabina when they visited the ‘singing’ colossus of Memnon in Egypt on 19-21 November 130.
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Panizza, Letizia. "Ariosto and Lucian of Samosata:." In Chivalry, Academy, and Cultural Dialogues, 17–31. Modern Humanities Research Association, 2016. http://dx.doi.org/10.2307/j.ctv16kkzcq.7.
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Thomas, Edmund. "The Architectural Descriptions of Lucian of Samosata." In Monumentality and the Roman Empire. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199288632.003.0024.
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In addition to public speeches, rhetors of the second century also composed shorter, less formal exercises, ‘introductions’, prolaliai, or, more generally, dialexeis, ‘discourses’, as initial remarks on a topic or substitutes for longer orations. One writer who favoured this medium was the sophist Lucian, who flourished during the 160s and 170s. But his examples of the genre are not straightforward, since, as John Dryden observed, ‘[n]o man is so great a master of irony as our author’. Even that may be an oversimplification. Perhaps more accurate is the recent claim, about one of Lucian’s works, that it ‘treads along a knife-edge line between sincerity and irony’. Because of the satirical position he adopts, Lucian’s works provide a valuable source of contemporary social attitudes. On repeated occasions in his dialogues and stories, this Hellenized Syrian, sufficiently detached from the assumptions of Greek and Roman sophistic culture to be able to offer an independent perspective, observes how individuals regarded as innately superior could provoke speechless awe (thauma) in their ignorant audiences, whether at wonderful objects, like the possessions of the rich, or at abstract concepts and admirable philosophical principles, like the prize of happiness, political proposals, poetic fictions, or intellectual ideas. The amazement often rests on the achievement of a paradox. Architecture too was an object of wonder. The science of geometry, on which architects like Nicon prided themselves, seemed ‘miraculous’ to the ignorant. Nicon’s model Socrates was the archetype of these shaman-like characters, who, after creating aporia as a result of an impressive paradox, left their companions expressing disbelief. In matters of philosophy, science, religion, or higher culture, the layman could only address the expert as ‘O wondrous one’ (ō thaumasie). The satirical Lucian sees through such conventions, which are invariably betrayed by hypocritical behaviour, but this did not prevent their being taken seriously by contemporary audiences. In short, the picture that Lucian paints of these performances by sophists and sensationalists is one of an elite group or culture using their superior education or supposed access to hidden secrets to pull the wool over the eyes of those outside their group.
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Kuin, Inger N. I. "Diogenes vs. Demonax." In Laughter, Humor, and Comedy in Ancient Philosophy, 263–84. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190460549.003.0014.
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Lucian of Samosata is an invaluable source for the activities of the philosophical schools in the 2nd century CE and their attitudes to laughter. But he can also be understood as a philosopher in his own right, especially for his views on the value of laughter in philosophy and on the potential of laughter as philosophy. This chapter analyzes these views in order to show that Lucian’s writings form a key stage in the history of laughter’s place in philosophical thought. Two prominent forms of philosophical laughter in Lucian are analyzed side by side: the improvisational, inclusive laughter of Demonax, and the exhibitionist, exclusive laughter of the Cynics, (Lucian’s) Diogenes in particular. This chapter argues that Demonax’s laughter ultimately comes closer to Lucian’s own mode of philosophical laughter than Diogenes’ laughter.
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Peterson, Anna. "Old Comedy Revived." In Laughter on the Fringes, 82–116. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190697099.003.0004.
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Lucian of Samosata is the Imperial-era author who most closely associates himself with the ribald and satiric humor of Old Comedy. In two of his dialogues, Fisherman and Double Indictment, Lucian takes up Old Comedy’s status as a problematic genre, imagining that a satiric character, who is all but explicitly an authorial cipher, has been brought up on trial for comically debasing philosophy and must defend his use of comedy. Here, through scenarios drawn directly from Old Comedy, Lucian cultivates the comic poet’s position as a literary underdog in danger of having his comic license revoked by the philosophical tradition. It is ultimately this premise that allows Lucian to recreate the generic interplay and self-reflexivity of Old Comedy.
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"Lucian of Samosata on Magic and Superstition." In Knowledge and Profanation, 9–22. BRILL, 2019. http://dx.doi.org/10.1163/9789004398931_003.
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