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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.
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Wälchli, Philipp. "Studien zu den literarischen Beziehungen zwischen Plutarch und Lukian : ausgehend von Plutarch: "De genio Socratis" und Lukian: "Philopseudeis /." München : K.G. Saur, 2003. http://catalogue.bnf.fr/ark:/12148/cb39234536x.
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Tosello, Martina <1988>. "Luciano di Samosata, "Cataplus". Introduzione, traduzione e commento." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/2769.
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Con la presente ricerca si è voluto offrire un'analisi completa dei motivi, dei paradigmi e degli aspetti stilistici che intervengono nella composizione del “Cataplus” di Luciano di Samosata, uno degli autori più versatili ed eclettici comparsi nel panorama della Seconda Sofistica. Nel corso della trattazione ci si è soffermati in particolare sui significati che assume nell'opera la rappresentazione dell'Ade, delineato attraverso un mosaico di tessere contenutistiche e linguistiche provenienti dalla tradizione classica, e sullo sviluppo di alcuni “topoi” letterari (la catabasi, l'avversione del saggio nei confronti del tiranno, il tribunale dei morti) all'interno di questo nuovo spazio utopico e provocatorio creato dall'autore. Infine, un'attenzione particolare è stata rivolta alla facies teatrale del “Cataplus”(tecniche drammatiche, scenografia, costumi di scena, maschere tipiche) e agli strumenti retorici utilizzati da Luciano per sollecitare l'immaginazione del pubblico e favorire la ricezione 'visiva' del dialogo.
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Lisi, Valentina <1987>. "Il paradigma del viaggio in Luciano di Samosata." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/5913.
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Il paradigma del viaggio è tra i più frequentemente utilizzati in ambito letterario dall’antichità ai giorni nostri. Si tratta infatti di un tema che per il suo carattere dinamico e ‘instabile’ crea difficoltà nella classificazione entro categorie narratologiche predefinite. Tuttavia proprio per questo carattere mutevole è risultato caro ad autori di tutti i tempi, divenendo lo schema entro cui collocare vicende realmente accadute o ambientate oltre i confini del reale. Il viaggio, come metafora universale della vita dell’uomo, appartiene a tutte le culture e a tutti i periodi storici. Nella narrazione l’uomo riesce a rompere i confini spaziali e temporali della realtà che lo circonda.
Il resoconto del viaggio diviene quindi strumento per creare la condizione ideale nella quale criticare se stessi, riesaminare le proprie convinzioni, mettere in discussione le convenzioni del proprio tempo, ed eventualmente individuare i pregiudizi sociali. Il viaggio è un modo per mettersi in gioco, per mettere in dubbio le proprie certezze e anche per trovare risposta alle proprie aporie.
Così fa anche Luciano, autore del II sec. d.C., che lo utilizza come vera e propria esperienza satirica.
Il viaggio nelle opere dell’autore, sia esso reale, fantastico, impossibile, filosofico, è sempre ricerca di un luogo altro, di una prospettiva diversa dalla normalità, attraverso cui osservare il mondo reale e gli uomini. È spesso una critica alla credulità, alla spettacolarizzazione del corpo, alla retorica priva del supporto della conoscenza, ai dogmatismi culturali, religiosi e della tradizione, alla lusinga del successo facile e immediato, in somma temi che non sembrano datati o solo appartenenti all’età imperiale degli Antonini, ma ancor oggi validi motivi di discussione.
Sfrutterò le chiavi di lettura fornitemi dalle opere di Luciano più note, per soffermarmi su quelle meno analizzate in merito alla tematica del viaggio.
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Baumbach, Manuel. "Lukian in Deutschland : eine forschungs- und rezeptionsgeschichtliche Analyse vom Humanismus bis zur Gegenwart /." München : Wilhelm Fink Verl, 2002. http://catalogue.bnf.fr/ark:/12148/cb38963904v.
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Tonon, Giacomo <1983>. "Immagini musicali in Luciano di Samosata. Il caso dell'Armonide." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6016.
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Negli scritti lucianei sono presenti innumerevoli immagini e riferimenti legati all’universo musicale greco mitico e storico. Il testo dell’Armonide può essere un valido supporto per riconoscere molti di questi motivi che vengono alla luce nella narrazione della prolalia. Saranno messe in evidenza le caratteristiche dei personaggi dell'Armonide e le implicazioni di chi aspira alla fama e al successo attraverso la conoscenza e la performance musicale: particolare rilevanza avranno i nessi tra mousikè e doxa, presenti nell’ ambizione, poi spezzata, del giovane Armonide di raggiungere l’agognato successo e popolarità tra i suoi contemporanei. Saranno poi analizzati gli esempi di musicisti mitici, storici e di finzione che Luciano richiama in moltissime sue opere. Infine sarà dato uno sguardo alle molte immagini e citazioni musicali utilizzate dal samosatense per arricchire e rendere più vivi i suoi testi sul piano sonoro. Attraverso una suddivisione per categorie, verrano riportati alcuni topoi musicali presenti in Luciano: la seduzione del canto e della musica, le connessioni tra il mondo della natura e la musica, le immagini musicali di mondi ultraterreni e i rapporti tra la sfera uditiva e quella visiva.
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Marostica, Erika <1991>. "Il Prometeo di Luciano di Samosata. Introduzione, traduzione e commento." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9604.
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Luciano di Samosata fu uno dei più eclettici e poliedrici autori che caratterizzarono il II secolo d.C., e specialmente il periodo della Seconda Sofistica. Il Prometeo è un testo complesso, nel quale si intrecciano una molteplicità di motivi: dalla trasposizione letteraria alla manipolazione del mito, dalla satira religiosa ai contenuti programmatici. Il presente lavoro di ricerca si costituisce di una parte introduttiva, nella quale ci si sofferma sulla figura di Prometeo quale eroe satirico e porte-parole del pensiero dell’autore in materia religiosa; si affronta anche la questione della fortuna del Prometeo satirico nelle letterature posteriori, con particolare attenzione agli sviluppi presenti nelle Operette Morali di Giacomo Leopardi. Seguono una personale proposta di traduzione del testo e un commento ai paragrafi 1-21 dello stesso.
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Marcinnò, Micol. "Luciano di Samosata e la civiltà ellenistica : imitazione e “ri-creazione." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC002.
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Comme le titre le suggère, la thèse s’inspire du "Lucien écrivain. Imitation et création de Jacques Bompaire". Dans l’introduction nous reparcourons l’histoire de l’Hellenismus de Droysen et nous surlignons le poids du mélange culturel gréco-oriental dans la vie et dans l’œuvre de Lucien. Le premier chapitre consiste en un corpus commenté de passages lucianesques contenant des éléments hellénistiques évidents. Dans le deuxième chapitre nous analysons plusieurs aspects de la civilisation hellénistique présents dans l’œuvre de Lucien comme la politique, l’art, le mythe, les programmes littéraires. Dans le troisième chapitre nous étudions l’influence de la poésie alexandrine dans l’œuvre de l’A., alors que le quatrième chapitre analyse l’influence que des formes littéraires relevant d’un substrat culturel de sagesse populaire ont eue sur l’A. L’approche textuelle et philologique adoptée permet d’affirmer que Lucien connaissait la civilisation hellénistique et sa littératureAs the title suggests, the thesis takes inspiration from Jacques Bompaire’s Lucien écrivain. Imitation et creation. In the introduction we retrace the history of Droysen’s Hellenismus and we detect the importance of the greco-oriental cultural fusion in Lucian’s life and works. The first chapter consists of a commented corpus of lucianic passages containing evident hellenistic elements. In the second chapter we analyse different aspects of the hellenistic civilisation which are detectable in Lucian’s works such as politics, arts, myth or literary programs. In the third chapter we compare Lucian’s literary production with Alexandrian poetry, while the forth chapter focuses on the literary influence that hellenistic philosophical and historiographical productions had on Lucian’s composition. This research makes it possible to state that the author of Samosata had a deep knowledge of hellenistic civilisation and that hellenistic literature influenced his way of writing
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Ureña, Bracero Jesús. "El diálogo de Luciano : ejecución, naturaleza y procedimientos de humor /." Amsterdam : A. M. Hakkert, 1995. http://catalogue.bnf.fr/ark:/12148/cb37112440j.
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Bois, Marine. "Lucien, nouvel Ulysse ? : fonctions et enjeux d'un personnage homérique dans l'oeuvre de Lucien de Samosate." Thesis, Dijon, 2015. http://www.theses.fr/2015DIJOL012/document.
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L’objet de notre thèse, qui s’inscrit dans une réflexion sur le processus de la réécriture des textes classiques à l’époque de la seconde sophistique, est d’étudier le rôle singulier que joue Ulysse dans l’œuvre de Lucien de Samosate. Ulysse se distingue d’abord d’Achille, personnage plus monolithique qui, chez Homère déjà, est construit en opposition avec lui. Par ailleurs, de la citation isolée aux allusions croisées, disséminées au point de créer de véritables échos entre des œuvres en apparence très différentes, il apparaît que l’utilisation qui est faite d’Ulysse est beaucoup plus élaborée et subtile que celle d’Achille. Ainsi l’examen et la comparaison des références aux deux personnages permettent d’établir la primauté d’Ulysse, associé, chez Lucien, à une réflexion fondamentale sur la force des mots et leur pouvoir de séduction, ainsi que sur l’importance de l’esprit critique en toutes circonstances. Un deuxième temps est consacré à la lecture plus minutieuse des œuvres où prévaut le processus d’exploration et que la référence au personnage d’Ulysse, voyageur inventif par excellence, permet en fait de structurer. Grâce à cet examen, il est possible de mieux comprendre à quel point Lucien s’approprie pleinement le personnage homérique pour en faire un autre de ses masques et proposer ainsi, tel un défi, un nouvel Ulysse à la postérité, tout en gardant ses distances avec le personnage. C’est aussi l’occasion de remarquer combien, progressivement, Lucien intègre les expressions ou le lexique épique au cœur même de son texte, pour aboutir à l’écriture d’une prose poétique qui lui appartient en propre. Il apparaît, en effet, au terme de cette étude que l’utilisation que Lucien fait d’Ulysse est directement liée à la question cruciale chez lui de son identité culturelle, dans un monde d’érudits exigeants, au sein duquel l’orateur syrien entend être reconnuThe aim of our thesis, which comes within the scope of considering the process of rewriting classic texts in the time period of the second sophistic, is to study the unique importance of Odysseus in the writings of Lucian of Samosata. At first, Odysseus is distinguished from Achilles, a character more monolithic who, even in Homer’s works is constructed in contrast to Odysseus. Moreover, from an isolated quote to intricate references, scattered to create echoes between works seemingly very different, the context in which Odysseus appears is more elaborate and subtler than that of Achilles. Hence, studying and comparing references to both heroes is sufficient to imply Odysseus’ primacy, associated, in Lucian’s works, to a fundamental consideration of the power of words and their appealing strength, as well as the importance of critical thinking in any circumstance. A second part is dedicated to a more detailed reading of the works in which prevail the theme of adventure and in which the references to Odysseus, the ultimate adventurer, become part of the whole structure. Thanks to this study, it is possible to understand further the degree to which Lucian takes over completely the Homeric character to transform him into one of his masks, offering a new Odysseus to the future, although he keeps his distances from the character. We can also note how Lucian integrates the epic set phrases and lexicon in the heart of his work, to end up with a poetic prose that belongs to him alone. In fact, it seems at the conclusion of this study that how Lucian uses Odysseus is interconnected with the crucial question for him, of his cultural identity in a world of demanding scholars within which the Syrian orator intends to be acknowledged
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Vettorello, Fabio <1989>. "I giorni di Crono. Per un commento ai Saturnalia di Luciano di Samosata." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4173.
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I Saturnalia di Luciano di Samosata sono un testo complesso e ricco di motivi: dall'età dell'oro al mondo alla rovescia, dal tema diatribico dello scontro tra ricchezza e povertà alla critica religiosa. Dopo un'ampia introduzione all'opera è presente il commentario dei primi 18 paragrafi.
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Karavas, Oreste. "Lucien et la tragédie." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20005.
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Lucien de Samosate, auteur grec de l'époque impériale, est connu pour ses dialogues satiriques. Il a écrit plus de quatre-vingts œuvres en prose atticiste (dialogues, pamphlets, éloges, parodies) et on lui attribue encore une courte tragédie en vers, ainsi que quelques épigrammes dont l'authenticité est discutée. Par ailleurs Lucien s'est occupé de la tragédie classique à des niveaux différents dans presque toutes ses œuvres. La présente étude porte sur l'attitude de Lucien envers la tragédie grecque du Ve siècle avant J. -C. Elle mène une comparaison entre l'œuvre lucianesque et la tragédie classique selon trois points de vue: i) la langue tragique, ii) les thèmes de la tragédie (philosophie, religion, morale, mythologie) et iii) les formes littéraires (la parodie). La première partie traite des mots que Lucien a empruntés au vocabulaire tragique. Ces mots se divisent en quatre catégories: i) les mots de la langue homérique, ii) les mots de la tragédie proprement dits, iii) les mots tragiques du vocabulaire médical et iv) les mots sentis comme tragiques par Lucien et par son époque. La deuxième partie étudie les citations et les allusions tragiques chez Lucien, ainsi que son témoignage sur les spectacles tragiques de son temps. La troisième partie est entièrement consacrée à l'analyse de la courte tragédie parodique de Lucien, la Podagra. La présente thèse s'occupe aussi de la comédie attique comme source pour la tragédie classique et de l'histoire ultérieure de la tragédie grecque, à partir du IVe siècle avant J. -C. Jusqu'à l'époque impériale, et contient la première traduction en français de nombreux fragments dramatiques. Le résultat que nous obtenons, en utilisant l'œuvre lucianesque comme témoignage et document, est une meilleure connaissance i) de Lucien écrivain, ii) de l'histoire du genre tragique à travers l'Antiquité et iii) du sentiment que l'on avait à l'époque impériale de la civilisation et la langue grecquesLucian of Samosata, greek author of the imperial times, is especially known for his satirical dialogues. He wrote more than eighty works in atticist prose (dialogues, lampoons, encomia, parodies) ; a short tragedy is also attribute to him, as well as some epigrams whose authenticity is doubted. However Lucian deals with the classical tragedy at different levels in almost all his work. The present study' mains subject is the attitude of Lucian towards the greek tragedy of the 5th century BC. .
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Tessarin, Sara <1987>. "La satira contro gli dei in Luciano di Samosata. Un commento all'Assemblea degli dei." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/8266.
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La tesi si configura come un commento al Deorum Concilium di Luciano di Samosata. La principale tematica affrontata è quella della satira contro gli dei, soprattutto quelli stranieri, evidente in questo dialogo e in molte altre opere lucianee. Particolare attenzione è stata data all'analisi degli studi sul tema della religione in Luciano (in particolare quelli di M. Caster, J. Bompaire, J. Hall, R.B. Branham). A parte si discute sul dio Momo e sulle sue prerogative satiriche. Sono approfonditi inoltre il motivo letterario dell'assemblea degli dei e i possibili riferimenti di Luciano all'organizzazione politica e sociale di Atene. Il commento è stato effettuato per i paragrafi 1-13, mentre una sezione a parte è stata dedicata all'analisi del decreto di Momo (paragrafi 14-19).
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Callegari, Viviana <1991>. "L'ippocentauro in azione. Problemi e prassi della performance nei dialoghi di Luciano di Samosata." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12334.
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Nel mio lavoro di tesi magistrale intendo analizzare i problemi e le prassi della performance nei dialoghi di Luciano di Samosata, intellettuale di II secolo d.C. appartenente al movimento culturale della Seconda Sofistica: da esperto sophistes e conferenziere di successo, declamava i propri scritti nelle città dell’impero romano, in viaggio tra Antiochia, Smirne, Atene, fino a Roma, alla Gallia e all’Egitto. All’interno della sua vasta e varia produzione letteraria, particolarmente degno di attenzione ai fini della mia analisi si rivela il “dialogo”, genere che, come egli stesso afferma nella Doppia accusa, nasce dal connubio fra dialogo filosofico e commedia. Da un attento studio dei dialoghi lucianei emerge chiaramente il loro carattere teatrale, di testi pensati e composti in prospettiva di una recitazione di fronte a un pubblico di spettatori. Scopo del mio lavoro è individuarne tutti gli elementi connessi alla performance.
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Fontaine, Marie-Odile. "Voltaire à la lumière de Lucien." Rouen, 2016. http://www.theses.fr/2016ROUEL017.
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Quel lien unit Voltaire à Lucien de Samosate, Syrien de langue grecque du IIe siècle, souvent surnommé « le Voltaire de l’Antiquité » ? L’influence de l’Ancien sur le Moderne semblait évidente à des lecteurs du XVIIIe siècle, puis cette idée a été relativisée, voire totalement rejetée. Pourtant Voltaire possédait une traduction des œuvres de Lucien, et prétendit l’avoir imité dans un texte de 1751. En 1765, il le met en scène dans sa Conversation de Lucien, Érasme et Rabelais dans les Champs-Élysées. Ailleurs, il le mentionne comme autorité. D’où vient ce renversement d’opinion ? En quoi le jugement du XVIIIe siècle était-il sensé ? Pour le comprendre, il faut se rappeler que Lucien était lu sous l’Ancien Régime comme auteur mis à l’Index, certainement incrédule, peut-être épicurien, ayant osé rire de sujets aussi « vénérables » que les pratiques et fables d’historiens, de philosophes, de prêtres imposteurs et de leurs adulateurs : autant de raisons pour Voltaire de s’intéresser à lui. Cet intérêt a été fécond : comme nombre d’auteurs depuis la Renaissance, Voltaire a imité et adapté la manière de récits ou saynètes fantaisistes et philosophiques du Syrien, dont on retrouve le spoudogeloion dans maints dialogues ou contes « typiquement » voltairiens. Mais si les œuvres de l’Ancien ayant le plus inspiré Voltaire se ressemblent par la forme, elles rappellent aussi les paroles ironiques de Socrate, « silènes d’Alcibiade » qui, sous leur air bouffon, interrogeaient les discours d’autorité pour dénicher les fausses vérités ; les « silènes » de Voltaire et de Lucien, à tendance probabiliste, assagissent de même ceux qu’ils délivrent de préjugés et de certitudes mal fondéesWhat is the link between Voltaire and Lucian of Samosata, a Greek-speaking Syrian, often called "the Voltaire of antiquity"? The influence of the Ancient on the Modern seemed obvious to readers from the 18th century before this idea was tempered, even outright rejected. Yet Voltaire owned a translation of Lucian’s works, and claimed to have imitated him in a text from 1751. In 1765, Voltaire stages him in Conversation between Lucian, Erasmus and Rabelais, in the Elysian Fields. Elsewhere, he mentions him as a figure of authority. To what is owed this reversal of opinion? In what way is the 18th century assessment sound? To understand this, it is important to remember that Lucian was read under the Ancien Régime as a blacklisted author, certainly unbelieving, maybe epicurean, having dared to mock such "venerable" subjects as the practices and fables of historians, philosophers, phony priests and their worshippers: all reasons for Voltaire to be interested in him. This interest has been fertile: as numerous authors since the Renaissance had done, Voltaire imitated and adapted the style of whimsical and philosophical stories or playlets from the Syrian, whose spoudogeloion can be found in many "typical" Voltairian dialogues or tales. However, while the Ancient’s works that inspired Voltaire are most similar in form, they are also reminiscent of the ironic speeches of Socrates, the "silenes of Alcibiades" that, behind their farcical appearance, questioned the rhetoric of authority in order to expose its sophistry. Lucian and Voltaire’s "silenes", rather probabilistic, also make wiser those they free from prejudices and ill-founded certainties
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Gassino, Isabelle. "Images et mises en scène du pouvoir dans l'œuvre de Lucien Samosate." Rouen, 2000. http://www.theses.fr/2001ROUEL398.
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L'étude des images du pouvoir se propose d'établir la forme et le sens des représentations, passant ou non par le biais d'images rhétoriques, des différentes formes de pouvoir évoquées par Lucien. Il s'agit aussi de déterminer si Lucien se borne à un travail purement littéraire de réécriture ou s'il se fait observateur de son temps. Lucien s'intéresse tout d'abord à un pouvoir déchu, celui des dieux olympiens, poussant jusqu'à l'absurde la représentation anthropomorphique des immortels, il les dépeint aussi médiocres que les hommes dont ils ont les attitudes les soucis, les défauts et les limites. Cette perte de pouvoir prend un sens politique : les dieux figurent des citoyens inconséquents ou bien un empereur romain débonnaire et las du pouvoir. La comédie fait place à la polémique quand Lucien évoque le type du faux philosophe, qu'il invective au moyen de métaphores animales l'assimilant successivement à un chien, toi poisson, un âne et un singe : Lucien use aussi d'arguments philosophiques en employant l'image du théâtre et de l'acteur pour montrer que les charlatans, qui ne mettent pas leurs théories en pratique, sont aux antipodes de l'idéal philosophique. Le pouvoir des philosophes repose essentiellement sur la force de persuasion de leurs discours : un troisième chapitre étudie donc le pouvoir ambivalent de la parole qui, utilisée dans les règles de l'art, est source d'un plaisir partage, mais peut aussi devenir un instrument de domination assimilable à un sortilège, dangereux ou ludique selon celui qui en use. Enfin, le portrait idéal que Lucien fait du vrai philosophe montre que celui-ci sait avant tout faire une image raisonnée de la parole et persuader au moyen de métaphores pédagogiques. En filigrane, derrière ce modèle c'est une esquisse de Lucien lui-même que l'on aperçoit. L'image du pouvoir que l'on découvre est celle de Lucien tirant les ficelles d'un réseau métaphorique très cohérent, tour à tour créateur d'images et objet de celles-ci.
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Weissenberger, Michael. "Literaturtheorie bei Lukian : Untersuchungen zum Dialog "Lexiphanes /." Stuttgart : B. G. Teubner, 1996. http://catalogue.bnf.fr/ark:/12148/cb37096507f.
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Texte remanié de: Habil.-Schr.--Philosophische Fakultät--Düsseldorf--Heinrich-Heine-Universität, 1994.Contient d'abondantes citations en grec. Comprend un commentaire du "Lexiphanes" (p. 151-283). Bibliogr. p. 287-295. Index.
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De, Rosa Annalisa. "Luciano di Samosata, De saltatione: la traduzione latina di Atanasio Calceopulo. Introduzione, testo e commento." Doctoral thesis, Universita degli studi di Salerno, 2014. http://hdl.handle.net/10556/1459.
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2011 - 2012Il presente lavoro propone un’edizione del ms. Par. gr. 3013, contenente l’epistola dedicatoria di Atanasio Calceopulo per Antonello Petrucci, primo segretario di Ferrante I d’Aragona; la prima traduzione latina del De saltatione di Luciano e il suo testo greco. Il testo critico è preceduto da un’introduzione in cui si dà conto, in primis, del profilo biografico e culturale del traduttore, Atanasio Calceopulo e, in seguito, del profilo biografico e culturale del destinatario, Antonello Petrucci. Si è poi affrontato il problema della datazione del manoscritto in questione, sottolineando i legami tra l’epistola di dedica del Parigino, di cui si fornisce una traduzione in appendice, e l’epistola dedicatoria del ms. Ox. Bodl. Canon. gr. 108, contenente la versione latina dell’omelia basiliana In principium Proverbiorum, tradotta dal Calceopulo e destinata sempre al Petrucci. Prima di registrare, in forma schematica, le peculiarità versorie del nostro traduttore, analizzate tramite un costante confronto tra il testo latino della traduzione e il testo greco di Luciano così come pubblicato nelle moderne edizioni critiche di riferimento (Nilén 1906; Harmon 1936; Macleod 1972; Bompaire 1993), è stato necessario fornire alcune informazioni generali sulla tradizione testuale di Luciano e sulla fortuna delle sue opere, ricostruendo, inoltre, le plausibili vicende che avrebbero condotto il ms. da Napoli a Parigi. L’introduzione si conclude con una breve contestualizzazione del ms. nell’ambito della politica culturale alla corte aragonese dove, probabilmente, dovette essere praticato un tipo di danza rappresentativa affine alla pantomima di cui tratta Luciano nel suo De saltatione. Il testo critico viene poi seguito da un commento dal quale emergono: i rapporti tra la traduzione latina e la tradizione manoscritta lucianea; gli eventuali legami tra il testo latino di Calceopulo e il testo greco postposto alla traduzione; la prassi versoria e le peculiarità lessicali del traduttore. [a cura dell'autore]
XI n.s.
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Lebon-Samborski, Émilie. "La réception du théâtre d’Aristophane dans la littérature grecque de l’époque impériale." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL126.
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La comédie d’Aristophane est abondamment reçue et réécrite par la littérature grecque de l’époque impériale. À partir de l’histoire de la transmission des pièces, rarement rejouées entre leur création et les deux premiers siècles de notre ère, mais diffusées et réinterprétées par différents canaux, iconographiques ou textuels, la thèse étudie la place et le rôle de ce théâtre dans le paysage culturel du Haut-Empire, et plus spécifiquement chez les prosateurs grecs. Le statut de ce théâtre paraît de prime abord problématique : il est souvent entouré de silence, voire d’un blâme théorique, surtout quand on l’oppose à Ménandre ; mais les écrivains, dans des genres et des formes très variés, se le sont pleinement approprié. De nombreux enjeux caractérisent la réécriture des comédies : enjeux historiques et linguistiques, grâce à l’ancrage des textes dans un contexte et une langue attiques et à la réserve de realia que représentent les comédies et qui contribuent à instaurer et affermir l’hellénisme des pépaideumenoi de l’Empire ; enjeux moraux et comiques, notamment par la satire et la parodie ; plus largement, des enjeux poétiques et rhétoriques : ce théâtre est devenu un vecteur reconnu d’images et un garant de créativité et d’autorité. Deux études de cas portent sur des auteurs emblématiques de la période, Plutarque de Chéronée et Lucien de Samosate : les usages qu’ils font de la référence aristophanienne sont protéiformes et marqués par une grande ambiguïté, que cette thèse tente d’éluciderThe reception of Aristophanes’s comedy in the Greek literature of the Roman Empire is extensive. Based on the history of transmission of the comedies, which from their creation to the the first two centuries AD were rarely performed on stage but spread and re-interpreted by different means, whether iconographic or textual, this dissertation studies the place and role of this theatre in the cultural landscape of the Roman Empire, specifically in the work of Greek prose writers. The status of this theatre seems at first sight quite problematic: it is rarely mentioned and if mentioned it is spoken of with theoretical disapproval, yet the writers, in various literary genres and forms, fully appropriated it. The rewriting of the comedies is at stake on many levels: on the historic and linguistic levels, in the light of how these texts are anchored in the Attic context and language, and the stock of realia they contain, which contributes to demonstrating the "pepaideumenoi"‘s hellenism in the Empire; on the moral and comic levels, too, as well with satires and parodies; and to a larger extent on the poetic and rhetorical levels, this theatre becomes a conveyor of images and guaranteeing creativity and authority. Two case studies were presented here about emblematic writers of the imperial period, Plutarch of Chaeronea and Lucian of Samosata: they make protean and ambiguous use of the reference to Aristophanes, that this dissertation attempts to clarify
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Arantes, Junior Edson. "Os usos políticos da narrativa mítica em Luciano de Samósata: aspectos do regime de memória romano (séc. II D. C)." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/3906.
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Lucian of Samosat was an important interpreter of the Roman Empire, his writings were about a varied of topics. People who study about this writer focused on two possibilities for understanding his political stance: on one hand, there are authors who consider he is disconnected from his time and sociopolitical context; on the other hand, there are those who see him as a political activist opposed to Rome. In this Thesis, we consider that Lucian has an ambiguous position, since he identifies himself as Syrian, underscores his entire Hellenic education and criticizes aspects of Roman political culture. However, we believe that he was aware of the benefits that the empire brought all dominated peoples. Thus, we can say that he was a writer who collaborated with the maintenance of the imperial system. To prove this hypothesis, we analyze his famous satirical dialogues, which were often disregarded by his interpreters. Known for combining the dour philosophical dialogue with sarcastic comedy, we understand that the writer intended to produce laughter, which would turn to the mobilization of thought. We restrict our investigation to the dialogues that use mythology as subject. The myths were thought as components of a cultural memory and thus are presented within the limits of the Roman memory system. This selection was formally organized on topics related to political power and its everyday manifestations. Thus, we are concerned with the Lucianic representation of assemblies, tyrants and the relations of the deities among them and especially with Zeus. We understand that Lucian did a thorough exegesis of his reality, highlighting and criticizing abusive postures. In his dialogues, we can see other possible dimensions of interpretation of political power in the Roman Empire.
Luciano de Samósata foi um importante intérprete do Império Romano, sua prosa versou sobre uma infinidade de temas. Os estudiosos desse escritor se concentraram em duas possibilidades de compreensão para sua postura política: de um lado, há os autores que consideram o sírio desvinculado de seu tempo e de seu contexto sociopolítico; do outro, existem os que o veem como um militante político contrário a Roma. Nesta Tese, consideramos que Luciano apresenta um posicionamento ambíguo, uma vez que ele se identifica como sírio, ressalta toda a sua formação helênica e critica aspectos da cultura política romana. Entretanto, acreditamos que ele estava consciente dos benefícios que o Império trazia a todos os povos dominados. Dessa forma, podemos dizer que ele era um escritor que colaborava com a manutenção do sistema imperial. Para comprovar essa hipótese, deslocamos a indagação para os famosos diálogos satíricos que costumam ser desconsiderados pelos intérpretes de Luciano. Conhecido por unir o sisudo diálogo filosófico à sarcástica comédia, entendemos que o escritor tinha a intenção de produzir o riso, que se voltaria para a mobilização do pensamento. Restringimos nossa investigação aos diálogos que utilizam a mitologia como eixo temático. Os mitos foram pensados como elementos que compõem uma memória cultural e, dessa forma, são apresentados nos limites do regime de memória romano. Essa seleção formal foi organizada em tópicos referentes ao poder político e a suas manifestações cotidianas. Assim, preocupamo-nos com a representação luciânica das assembleias, dos tiranos e das relações das divindades entre si e, principalmente, com Zeus. Entendemos que Luciano fez uma profunda exegese de sua realidade, evidenciando e criticando posturas abusivas. Em seus diálogos, podemos ver outras dimensões possíveis da interpretação do poder político no império romano.
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TOSELLO, Martina. "Luciano di Samosata. La discesa agli inferi o il tiranno (Κατάπλους ἢ τύραννος). Introduzione, traduzione e commento." Doctoral thesis, Università degli studi di Ferrara, 2018. http://hdl.handle.net/11392/2487969.
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Il lavoro di ricerca riguarda la traduzione e il commento del dialogo Κατάπλους ἢ τύραννος di Luciano di Samosata. A partire da alcune verifiche sulla costituzione del testo (l'edizione seguita è quella di MacLeod, Oxford 1972), si è condotta un'analisi interterstuale sui principali ipotesti(Omero, Platone, il giambo, la commedia antica e nuova, il kynikos tropos) per mettere a punto i più rilevanti aspetti linguistici, stilistici e tematici, nonché gli strumenti retorici adottati per arricchire il testo di una veste teatrale. Nelle diverse voci di commento si pone attenzione all'influenza della commedia attica che si conferma il modello privilegiato dell'autore nelle strategie satiriche, nella rievocazione di specifiche situazioni, nella citazione di versi e nella ripresa di moltissimi termini espressivi e metaforici, pur polverizzati nell'elegante prosa lucianea. Si evidenzia, inoltre, il rapporto della satira lucianea con la contemporaneità, mantenendo una linea di interpretazione intermedia tra le due principali letture che si sono fatte dell'opera di Luciano nel secolo precedente: quella di J.Bompaire (Lucien écrivain, 1958), che vede riproposti nei dialoghi una serie di topoi retorici che non riflettono in alcun modo la situazione politica-sociale del II sec. d.C., e quella di C.Peretti (Luciano: un intellettuale greco contro Roma, 1946) e B.Baldwin (Lucian as Social Satirist, 1961), che leggono nei numerosi attacchi a ricchi e tiranni che percorrono il corpus una esplicita denuncia delle disuguaglianze sociali e dell'abuso di potere da parte delle classi dirigenti in epoca imperiale. Si approfondisce in particolare la scelta da parte del Samosatense di Megapente come bersaglio della sua satira, una figura di tiranno che presenta molte analogie con il sofista Erode Attico, distintosi per la sua attività di uomo politico e di mecenate ad Atene. Più in generale alcune voci sono dedicate ai riferimenti testuali che rimandano a situazioni, costumi, pratiche dell'epoca lucianea, un'analisi che ha contribuito a individuare dettagli utili alla datazione dell'opera. I dati raccolti in sede di commento, inoltre, sono oggetto di approfondimento nelle sezioni introduttive. La composizione del dialogo probabilmente si può circoscrivere agli anni 165-166 d.C., periodo in cui il Samosatense si trovava ad Atene. Nella satira contro il despota Megapente, controfigura del retore Erode Attico, Luciano di proposito ripete gli stanchi formulari del koinos topos contro il tiranno con l'obiettivo di denunciare la ridicola aderenza a moduli retorici e la vanagloriosa supponenza di certe figure di sofisti che governavano le città greche dell'Impero romano. Non vengono risparmiati dall'irridente caricatura dell'autore nemmeno le voci ciniche dell'opera porte-parole della sua satira, ovvero il filosofo Cinisco, caratterizzato paratragicamente, e il ciabattino Micillo, trasfigurato con spunti derivati dal giambo e dalla commedia antica e nuova. Nel delineare l'ambientazione infernale del dialogo, il Samosatense si serve di modelli letterari riconoscibili che avevano influenzato con la loro autorevolezza le credenze dei contemporanei, dando vita a un universo apparentemente utopico, in cui in virtù di una paradossale isotimia i poveri trovano finalmente compensazione per le disuguaglianze costitutive del mondo dei vivi. Infine, lo stile e la lingua del Cataplus sono prevalentemente improntati sui generi del geloion (giambo, commedia antica, kynikos tropos); in particolare, una chiara aderenza a moduli teatrali ispirati dalla lettura dei testi comici si rileva nell'impiego di particelle, apostrofi e deittici tipici della lingua colloquiale dell'archaia, nonché nell'uso di particolari verbi di movimento per indicare l'entrata e l'uscita dei personaggi e i rispettivi rapporti spaziali, tutti elementi che contribuiscono a consolidare la potenziale performance del dialogo.The research work focuses on the translation and commentary of Κατάπλους ἢ τύραννος, a dialogue by Lucian of Samosata. After dwelling upon text constitution (we followed MacLeod's edition, Oxford 1972), special attention has been paid to the main hypotexts (Homer, Plato, iambic poetics, ancient and new comedy, kynikos tropos) in order to highlight the most significant linguistic, stylistic and thematic aspects. Literary commentary largely points out the influence of attic comedy – themes, vocabulary, dramatic situations – as Lucian's privileged satirical model, evoked through specific scenarios, quotations and metaphoric words subtly embedded in Lucian’s prose. Moreover, the relation between lucianic satire and the time he lived in has been stressed, opting for an intermediate position between the two main interpretations of Lucian's work expressed in the previous century: one the one hand J.Bompaire (Lucien écrivain, 1958), who read in dialogues several topoi with no reference to the social-political situation of II century AD, on the other C. Peretti (Luciano: un intellettuale greco contro Roma, 1946) and B. Baldwin (Lucian as Social Satirist, 1961), who saw in the author's several attacks towards riches and tyrants an explicit denunciation of social inequalities and upper classes' abuse of power in the imperial age. Further attention has been focused on the choice of Megapenthes as the main target of Lucian's satire in the Downward Journey or the Tyrant: as a matter of fact, he is a tyrant whose life and nature share lots of analogies with Herodes Atticus', who stood out for his political activity and evergetism in Athens in the same period as Lucian. Generally speaking, there are other textual references to situations, customs and practices of Lucian's age which contribute to establishing the dialogue's dating. Furthermore, the evidence collected in the commentary is elaborated in the introductory sections. The dialogue must have been composed in 165-166 AD, by which time Lucian was in Athens. In his satirical attacks against Megapenthes, Herodes Atticus' alter ego, Lucian repeats usual old formulas of koinos topos against the tyrant to denounce the ridiculous adhesion to rhetorical motives of school exercises and the vainglorious arrogance of the sophists ruling over the Greek cities of the Roman Empire. The author’s mockery also targets the two cynics, porte-parole of his satire, i.e. the philosopher Cyniscus, a paratragic figure, and Micillus the shoemaker, characterized through iambic and both ancient and new comedy details. When describing the infernal setting of the dialogue, Lucian makes use of recognizable, authoritative literary models (which influenced the beliefs of the contemporary) and creates a utopic world (peace for everyone, mild climate, no diseases) where the poor can finally get a compensation for the constitutive inequalities of the upper world by virtue of a paradoxical isotimia. In conclusion, the style and language of the Cataplus are basically inspired by literary genres belonging to geloion (iambic poetics, ancient comedy and kynikos tropos); namely, a clear adhesion to theatrical strategies, due to the reading of comic pièce, can be perceived all across the author's use of particles, apostrophes and deictics which are typical of archaia's conversational language, as well as in the use of verbs of movement to indicate the characters' entries and exits and their spatial relationships. All those elements contribute to building up the potential performance of Lucian's dialogue.
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Jouin, Patrick Hodot René. "Lucien et les langues Essai d'étude sociolinguistique de notations se rapportant à des faits de langue dans les oeuvres de Lucien de Samosate /." Nancy : Université Nancy 2, 2005. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc221/2005NAN21033_1.pdf.
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Bury, Emmanuel, and d'Ablancourt Nicolas Perrot. "Le "Lucien" de Perrot d'Ablancourt : Textes critiques, édités avec une introduction et des notes." Paris 4, 1989. http://www.theses.fr/1989PA040098.
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En traduisant Lucien en 1654, Perrot d'Ablancourt infléchit nettement l'histoire de la fortune du sophiste dans la littérature française. Tournant le dos à une tradition polémique issue de la Renaissance, le traducteur offre un Lucien qui est avant tout un écrivain, maître de la prose d'art. Cette thèse propose l'édition de dix-sept traités critiques de Lucien concernant la création littéraire, et les commente à la lumière de la doctrine classique naissante (celle de "l'école de 1650"). A ce titre, Lucien apparaît comme l'un des garants antiques du passage de la rhétorique à un fait littéraire autonome en proseWith the translation of Lucian (1654), Perrot d'Ablancourt inflects clearly the history of the lucianic tradition in the French literature. Leaving the sixteenth century polemical use, the translator gives a Lucian who is principally writer, master of artistic prose. This thesis proposes the edition of seventeen Lucian's critical essays (concerning the literary creation) and their comparison with the growing doctrine of the French classicism (the so-named "école de 1650"). In this respect, Lucian appears as one of the ancient examples of the passage from rhetoric to a literary autonomous fact in prose
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Jouin, Patrick. "Lucien et les langues : essai d'étude sociolinguistique de notations se rapportant à des faits de langue dans les oeuvres de Lucien de Samosate." Nancy 2, 2005. http://docnum.univ-lorraine.fr/public/NANCY2/doc221/2005NAN21033_1.pdf.
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Le travail étudie comment un écrivain touché par d'autres cultures que l'hellénisme écrit en grec et quelles réflexions cela produit dans son oeuvre. La thèse soutenue est que Lucien manifeste une conscience linguistique. Sont étudiés ses noms, sa vie, son intérêt pour les langues et son sentiment linguistique comme origines de sa conscience linguistique. Toutes les virtualités de l'hellénisme linguistique, de la correction au barbarizein sont envisagées. La question centrale est ensuite replacée dans la perspective de l'atticisme. L'étude, entre autres, de l'utilisation de l'optatif conduit à penser que Lucien ne peut plus être considéré comme atticiste "modéré". Il relève davantage d'une atticité caractérisée par le mélange codique. Enfin, chez Lucien, la notion de paideia apparaît comme condition de la langue grecque. Un hellenismos linguistique sous-tend ses écrits. Il se manifeste dans le lexique par une productivité lexicale, et sur le plan thématique par la récurrence d'une conception politique de la langue. La mise en oeuvre par Lucien d'un ionien de troisième époque synthétise productivité lexicale et thématiqueThis dissertation deals with a writer who though related to other cultures than Hellenism writes in Greek and produces considerations about it in his works. The main statement of this Thesis is that Lucian demonstrates a Linguistic Consciousness. His names, life, interest in Languages, and his Linguistic Feeling are studied as the Origins of his Linguistic Consciousness. All the Linguistic Hellenism opportunities are considered, from correctly Greek Speaking and Writing, to barbarizein. This main statement is then examined within the frame of the Atticism question. Studying, among others, the optative use states that Lucian cannot be estimated any more as a softliner Atticist. He deals more with an Atticité of which main brand is Code-Mixing. Finally, according to Lucian the Paideia notion appears as a condition of Greek Language. Linguistic Hellenismos supports and feeds his writings. That is to be observed in vocabulary through Lexical Productivity, and at the thematic level through repeated Language Policy conceptions. The use and re-creation by Lucian of a "Third Time" Ionian synthesizes Lexical and Thematic Productivity
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Graap, Nicola. "Fenelon dialogues des morts composés pour l'éducation : studien zu Fenelons Totengesprächen im Traditionszusammenhang /." Münster ; Hamburg ; London : LIT, 2001. http://catalogue.bnf.fr/ark:/12148/cb388393830.
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Junior, Pedro Ipiranga. "Imagens do outro como um si mesmo: drama e narrativa nos relatos biográficos de Luciano de Samosata e na Vita Antonii de Atanásio." Universidade Federal de Minas Gerais, 2006. http://hdl.handle.net/1843/ALDR-6WEP8S.
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Traçando um quadro das imagens do si mesmo e do outro em alguns relatos biográficos da Antigüidade, definimos nesta tese a constituição narrativa de um espaço judicativo do si mesmo, em remissão a uma situação de julgamento e segundo uma enunciação dramatizada. Verificamos que este tipo de narrativa, em sua determinação como drama biográfico, constrói sua cenografia discursiva no plano da ação (e da afecção moral), em que a conduta e as atitudes dos biografados, bem como do narrador, são encenadas e dirigidas a uma espécie de público que, como um sujeito dramático, assume o papel de fazer um julgamento de valor, estético ou mral. Nos relatos biográficos de Luciano Samosata, por um lado, é a figura do ego-narrador que se encarrega da orquestração dos elementos e níveis narrativos numa tessitura discursiva do si mesmo, cujos juízos aí suscitados têm como critérios distintivos a liberdade de agir e de falar, a capacidade crítica de discernimento e a autonomia em relação à esfera divina. Por outro lado, na Vita Antonii, a formação da imagem em si está atravessada e, de certo modo, determinada pela instância não-humana, divina ou demoníaca, a figura do narrador encarna, pela própria escrita, a ação do asceta biografado, cuja vida e cujas ações são narradas para um teatro afetivo, em vista de destinatários engajados, de forma semelhante, na emulação do bíos e do treinamento ascético do monge.
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Romeri, Luciana. "Philosophes entre mots et mets : Plutarque, Lucien et Athénée autour de la table." Paris, EHESS, 1999. http://www.theses.fr/1999EHES0055.
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La these se propose d'etudier le rapport entre nourriture (trophe} et parole (logos) a l'interieur de la litterature du banquet chez des auteurs de langue grecque de l'age imperial, a savoir plutarque, lucien et athenee. L'etude de cette question chez ces auteurs appelle necessairement aussi une confrontation avec platon et, plus marginalement, avec xenophon. La these se presente divisee en quatre parties : la premiere est consacree a la question du symposion chez platon (et xenophon) a partir de son renversement comique, a savoir le lexiphane de lucien ; la deuxieme etudie le developpement serieux de la position platonicienne chez plutarque ; la troisieme son developpement comique dans le banquet de lucien ; enfin la quatrieme etudie l'alternative a la position platonicienne dans les deipnosophistes d'athenee. En effet, le banquet de platon omet les elements les plus typiques du banquet, notamment la nourriture, au profit du seul element discursif. En meme temps il s'impose comme veritable modele litteraire pour la posterite : tant pour plutarque qui le suit en accentuant l'importance du logos au detriment de la trophe, que pour lucien qui le suit en accentuant l'interet pour la trophe au detriment du logos. Dans ces deux auteurs le modele du 'banquet philosophique' n'est jamais mis en discussion. En revanche, parce qu'il nie l'incompatibilite entre parler et manger. Athenee est le seul qui s'ecarte de la voie ouverte par platon. Dans les deipnosophistes, loin de s'opposer, logos et trophe s'impliquent constamment l'un l'autre, par la forme, le contenu et les personnages representes.
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Eck, Virginie. "L'Ekphrasis au travers des textes de Cébès de Thèbes, Lucien de Samosate et Philostrate de Lemnos traductions et interprétations aux XVè, XVIè et XVIIè siècles /." [S.l.] : [s.n.], 2003. http://www.enssib.fr/bibliotheque/documents/dessid/rrbeck.pdf.
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Rapport de recherche bibliographique Diplôme d'études supérieures spécialisées : Ingénierie documentaire : Villeurbanne, ENSSIB : 2003. Rapport de recherche bibliographique Diplôme d'études supérieures spécialisées : Ingénierie documentaire : Lyon 1 : 2003.
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Nadeau, Robin. "Les manières de table en Grèce ancienne : bienséance et mauvaises manières chez Plutarque, Lucien et Athénée." Paris 1, 2008. http://www.theses.fr/2008PA010519.
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Le banquet est une activité représentative des valeurs de l'élite greco-romaine du lIe siècle ap. J. -C. Il était déjà Ie cadre de la transmission des normes et des valeurs de l'élite à des époques plus anciennes, mais, a partir du lVe siècle av. J. -C. , les manuels de bienséance participent également à la formation des futures élites intellectuelles et politiques de la Grèce ancienne. A leur époque, Plutarque, Lucien et Athénée, par I' entremise du banquet littéraire, participent à la transmission des valeurs et des bonnes manières, et réfléchissent aux manières de table contemporaines, l'aide d'autorités littéraires des époques anciennes. Ils pensent constater ainsi une dégradation des mœurs, préjugés contraires au processus évolutif des bonnes manières constaté par Norbert Elias. Au lIe siècle ap. J. -C. , les banquets grec et romain s'unissent pour former une seule et même institution, un banquet greco-romain participant à la définition identitaire des élites de l'Empire.
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Wade, Raphaël Martin Diégane. "La Religion comme thème littéraire : la question du jeu dans les mystères d’Adonis, de la Mère, de Glycon (Plutarque-Lucien-Philostrate)." Thesis, Université de Lorraine, 2015. http://www.theses.fr/2015LORR0304.
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Cette étude a porté principalement sur deux traités de Plutarque, le De Iside et les Questions romaines, sur La Déesse syrienne de Lucien et son pamphlet Alexandre ou le faux prophète, enfin sur La Vie d’Apollonios de Tyane de Philostrate. Elle questionne le sens philosophique, euristique et rhétorique de l’utilisation des mystères antiques dans ces textes littéraires d’époque impériale. Sont concernés les mystères d’Adonis, de la Déesse-Mère et de Glycon. La première partie, qui se focalise sur les Adonies, tente de démontrer que Philostrate, dans la Vie d’Apollonius, 7.32, non seulement renoue avec les sarcasmes d’Aristophane – et de ses héritiers – sur le culte, mais encore, utilise l’interprétation platonicienne sur les jardins d’Adonis, pour expliquer le sens qu’il donne au règne de Domitien. La lecture platonicienne de ce rituel semble du reste être l’une des raisons du silence de Plutarque sur Adonis dans le De Iside. De fait, la théologie philosophique déployée dans le texte nous paraît incompatible avec les pratiques grecques ou sémitiques en l’honneur de l’Amant d’Aphrodite-Astarté. La deuxième partie ensuite examine l’utilisation de la notion de ‘déesse mère’. D’une part, nous avons tenté de démontrer que la notion permet de prendre en considération d’abord la maternité d’Isis, ensuite la représentation d’Apollonios en Anti-Attis, enfin la déformation caricaturale du portrait d’Alexandre, le faux prophète. D’autre part, la fonction euristique de la notion, qui apparaît dans ces exemples, semble développée aussi dans le contexte mystérique de La Déesse syrienne. Lucien en effet interroge le culte du pays natal par la langue et la culture de son pays d’adoption. Pendant qu’il affirme sa grécité, il (re)devient pleinement ce qu’il n’a jamais cessé d’être : un Assyrien. L’enquête sur le culte de Glycon enfin, dans la troisième partie, propose une autre lecture de l’Alexandre ou le faux prophète. Les mythes et les mystères traditionnels y sont peut-être utilisés dans un but rhétorique. La rhétorique de Lucien semble proposer au lecteur une sorte de mythologie de Glycon-Alexandre. Cette mythologie que nous avons essayé de déterminer, suivant la tradition des mystères (presque toujours associés à une mythologie), contribue à rendre la caricature d’Alexandre plus efficaceThis study focuses mainly on two treaties of Plutarch, the De Iside and the Roman Questions, on the Lucian’ Syrian Goddess and his lampoon Alexander or the false prophet, at last on Philostratus’ Life of Apollonios of Tyana. It questions the philosophical, euristic and rhetoric meaning of the ancient mysteries’ use in these literary texts of imperial period. Are concerned the mysteries of Adonis, the Goddess Mother and Glyco. The first part, which is focused on the Adonia, tries to show that Philostratus, in The Life of Apollonius 7. 32, not only revives Aristophanus’s sarcastic remarks (and its heirs) on the worship, but also uses the Platonic interpretation on the gardens of Adonis, in order to explain the meaning he gives to Domitian’s reign. The Platonic reading of this ritual seems moreover to be one of the reasons of Plutarch’s silence on Adonis in the De Iside. In fact, the philosophical theology developed in the text appears inconsistent to us with the Greek or Semitic practices in honour of the Lover of Aphrodite-Astarte. The second part furthermore examines the use of ‘the goddess mother’. On the one hand, we tried to show that the concept allows to consider the maternity of Isis, then the representation of Apollonius into Anti-Attis, at last the caricatural deformation of Alexander’s portrait, the false prophet. On the other hand, the euristic function of the concept, which appears in these examples, seems developed also in the mysteric context of The syrian goddess. Lucian indeed examines the religion of the native land by the language and the culture of his adopted country. While he proclaims his Greekness, he became fully what he never ceased to be : an Assyrian. The investigation into the worship of Glyco, in the third part at last, offers another interpretation of Alexander or the false prophet. Perhaps, the traditional myths and mysteries are used there in a rhetorical purpose. Lucian’s rhetoric seems to present to the reader a sort of Glyco-Alexander’s mythology. This mythology we tried to define, according to the tradition of the mysteries (almost always related to a mythology), helps to make the caricature of Alexander more effective
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Correard, Nicolas. ""Rire et douter" : lucianisme, septicisme(s) et pré-histoire du roman européen (XVème -XVIIIème siècle)." Paris 7, 2008. http://www.theses.fr/2008PA070065.
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Peut-être le plus grand auteur ménippéen de l'Antiquité, sans doute le plus influent de la Renaissance aux Lumières, Lucien de Samosate satirisait les philosophes discordants. Sur son exemple, Alberti, Érasme, Rabelais, Quevedo, Cyrano, Swift, Voltaire, Sterne et bien d'autres (Galateo, Vives, Doni, Des Périers, Cunaeus, Saavedra Fajardo, Cavendish, Fontenelle, Prior, Peacock) satirisent les disputes savantes de leur temps, prenant pour cibles les métaphysiciens chimériques, les maîtres humanistes, les théologiens querelleurs, les pédants qui dogmatisent, les historiographes minutieux, les savants expérimentaux ou les philosophes systématiques. Notre thèse parcourt ce vaste corpus suivant un plan chrono-thématique : la première partie s'attache aux formes de la satire à la Renaissance, quand l'incrédulité lucianesque, le doute sceptique, l'anti-intellectualisme cynique et la réprobation chrétienne de la lidido sciendi se conjuguent dans la critique railleuse de la vanité et de l'incertitude affectant les discours savants. La seconde montre la marginalisation progressive de ce type d'écriture serio-comique, désormais perçu comme « littéraire », au cours des XVIIe et XVIIIe siècles. Destinée à être absorbée par le roman, cette tradition de la fiction pré-moderne permet de critiquer l'excès de savoir et d'intellectualité, de méditer en moraliste sur les limites de la connaissance, parfois de reconnaître humblement son ignorance pour la donner en exemple. Pour être comprise, l'invention fantaisiste ne doit pas être détachée de son enjeu épistémologique : quand la fiction traite les savoirs de fables et les doctes de fabulateurs, le rire est souvent l'autre face du doutePossibly the fînest of all Menippean satirists in antiquity and certainly the most influential from the Renaissance on to the Enlightenment, Lucian of Samosata used to satirize dissenting philosophers. Following his example, Alberti, Erasmus, Quevedo, Cyrano, Swift, Voltaire, Sterne and niany more (Galateo, Vives, Doni, Des Periers, Cunaeus, Saavedra Fajardo, Cavendish, Fontenelle, Prior, Peacock) intended to satirize the scholarly disputes of their time, targeting fanciful metaphysicians, masters of the humanist encyclopaedia, quarrelsome theologians, dogmatizing pedants, minute historiographes, experimental scientists or systematic philosophers. The first part of our study deals with the forms ma functions of satire during the Renaissance period: lucianic incredulity, sceptical doubt, cynical anti-intellectualism and the Christian reproof of libido sciendi ail concur in the jesting criticism of the vanity and uncertainty of science. The second part shows the progressive marginalization of this type of serio-comical writing, now perceived as "literary", during the early-modern period (XVIIth - XVIIIth century). Ultimately absorbed by the novel, this tradition of serio-comical fiction was originally very distinct from it: its main aim was to criticize the excesses of intellectuality and to meditate on the limits of knowledge. Sometimes, authors used it to express an openly sceptical point of view, confessing their ignorance to set an example. Their fanciful creations should not be detached from their epistemological point: when fiction treats knowledge as fables and scholars as fiction writers, laughing and doubting are often the two sides of the same coin
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Vintenon, Alice. "Phantasia plus quam fantastica : penser en fiction à la Renaissance." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100121.
Full textAbstract:
This study intends to highlight and explain the development, in the Renaissance, of a category of fictions characterized by their comical improbability and their - more or less serious - claim to convey a philosophical content. Based on a corpus of six Italian and French “philosophical fantasies” (Alberti’s Momus, Ariosto’s Orlando Furioso, Folengo’s Baldo, Rabelais’s works, Ronsard’s “seasonal hymns”, and Philippe d’Alcripe’s Nouvelle Fabrique), our study aims at defining this category, and showing how a fictional pattern, initially borrowed by Italian humanists from Lucian of Samosata, has been adapted to new philosophical stakes and controversies. Our last six chapters are devoted to case studies. The five previous ones explore, from a theoretical perspective, the status of incredible fictions in the horatian, platonic and aristotelian poetics: far from being systematically regarded as lies, or considered as artistic failures, they benefit from the high value granted to fictional invention and to the intellectual impact of astonishment. However, their relationship to the allegorical tradition is complex: while they constantly refer to it, they resist to the allegorizers’s investigation. This ambiguity is specific to the products of creative fantasy which, in Renaissance philosophy, is a strongly ambivalent faculty of the soulThis study intends to highlight and explain the development, in the Renaissance, of a category of fictions characterized by their comical improbability and their - more or less serious - claim to convey a philosophical content. Based on a corpus of six Italian and French “philosophical fantasies” (Alberti’s Momus, Ariosto’s Orlando Furioso, Folengo’s Baldo, Rabelais’s works, Ronsard’s “seasonal hymns”, and Philippe d’Alcripe’s Nouvelle Fabrique), our study aims at defining this category, and showing how a fictional pattern, initially borrowed by Italian humanists from Lucian of Samosata, has been adapted to new philosophical stakes and controversies. Our last six chapters are devoted to case studies. The five previous ones explore, from a theoretical perspective, the status of incredible fictions in the horatian, platonic and aristotelian poetics: far from being systematically regarded as lies, or considered as artistic failures, they benefit from the high value granted to fictional invention and to the intellectual impact of astonishment. However, their relationship to the allegorical tradition is complex: while they constantly refer to it, they resist to the allegorizers’s investigation. This ambiguity is specific to the products of creative fantasy which, in Renaissance philosophy, is a strongly ambivalent faculty of the soul
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Abel, MC. "Centaurs, sophists and satire : hybridity in the works of Lucian of Samosata." Thesis, 2019. https://eprints.utas.edu.au/31391/1/Abel_whole_thesis.pdf.
Full textAbstract:
The following dissertation assesses the works of Lucian of Samosata, a satirist writing during the Second Century AD. It is proposed that in his satires, Lucian uses the theme of hybridity in order to critique contemporary philosophical ideals and practices, framing the philosopher-sophists of the period as hybrids through their unsuccessful melding of the virtues of philosophy with the power of rhetoric. The theme of hybridity is explored in multiple ways, and this dissertation recognises Lucian’s own hybridity, both in terms of his ethnicity and of his use of the serio-comic genre.
Lucian, in a number of his works, underscores what a true hybrid and a false hybrid is, and the motif of the centaur serves to illustrate his point well, being simultaneously an admired figure through the mythical tradition surrounding Cheiron, while also being a source of violence and uncivilised behaviour, as evident in tales of the Centauromachy. It is proposed that Lucian, rather than dismissing his hybridity, acknowledges (Bis. Acc. 33) and utilises it to create a more informed critique of the philosopher-sophists, establishing a series of works that serve to address both elite and non-elite concerns simultaneously. This is explored through an Aesopic framework, as it reveals how many of the tensions of high and low culture are present throughout the fable, and within tradition surrounding Aesop himself.
Using this framework, the theme of hybridity is explored through various examples of the human-animal hybrid; exploring physical hybridity through the centaur, while also discussing hybrid wisdom through modes of speech, and the capacity for hybridity to stretch across multiple spheres. In doing so, it is shown that Lucian frames the philosopher-sophists as hybrids who, through their concerted effort to appear as a source of wisdom, have in fact failed to reach such heights, merely becoming a source of corrupted, false wisdom.
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Kožárová, Radka. "Čarodějnictví a inkvizice v literárním a historickém kontextu "El Crotalon"." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-324970.
Full textAbstract:
The master's thesis Witchcraft and Inquisition in literal and historical context of "El Crótalon" offers a look at displays od the Witchcraft in the literature of first half of the 16th century with special attention on classical Greek and Roman literal models. Furthermore, the thesis analyzes the influence of Erasmus'work and impact of the Reformation movement on intelectual panorama as well as on the popular opinion; it concentrates on the evolution of Witchcraft and its growing influence over the social life. It also studies how the changing caracter of the Witchcraft reflected in the literal activity of its times. Second part of the thesis is dedicated to religious aspects of the Witchcraft, its connection with heretical movements and persecutions by the Inquisition.
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Resende, Maria Luísa de Oliveira. "Studia graeca em Portugal no século XVI : leitores e tradutores de Luciano de Samósata." Doctoral thesis, 2019. http://hdl.handle.net/10451/48927.
Full textAbstract:
Tendo como principal objectivo contribuir para a investigação do estudo da língua grega em Portugal no século XVI, esta dissertação foca-se na disseminação da obra de Luciano de Samósata, mais especificamente nos leitores, comentadores e tradutores portugueses do corpus lucianeum.
A primeira parte centra-se na análise de inventários e edições quinhentistas actualmente preservados em bibliotecas portuguesas que fornecem informações sobre a circulação de textos de Luciano em Portugal. O estudo dos marginalia não só revela o interesse suscitado pela sua obra – frequentemente associado ao estudo da língua – mas também indica que instrumenta eram usados para facilitar o acesso ao texto grego, tais como dicionários, enciclopédias ou traduções latinas. Os sinais de censura inquisitorial presentes em muitas destas espécies revelam as vicissitudes inerentes à leitura e interpretação da obra do sofista.
A análise da versão latina do De Dea Syria de Jorge Coelho, que constitui o núcleo da segunda parte, proporciona uma compreensão mais profunda acerca do uso pedagógico de Luciano. A existência de um manuscrito anterior à versão final permite uma comparação dos diferentes estádios do texto latino, demonstrando o desenvolvimento das competências de Coelho enquanto tradutor, ao mesmo tempo que proporciona um maior entendimento do processo de revisão e do uso de traduções intermediárias na reformulação da versão final.
Por fim, a influência de Luciano de Samósata na Literatura Portuguesa Quinhentista, mais especificamente na obra de João Rodrigues de Sá de Meneses, Gil Vicente e Jorge Ferreira de Vasconcelos, confirma que a leitura do corpus lucianeum não se limitou a círculos académicos. Ainda que a partir de traduções latinas ou de outras formas de transmissão indirecta, nomeadamente imitações latinas ou vernáculas e representações iconográficas, estes textos mostram a utilização de temas e motivos provenientes da obra de Luciano para comentar questões contemporâneas. Ao fornecer uma descrição geral da leitura e interpretação de Luciano, este trabalho confirma que os leitores portugueses não eram muito diferentes dos de outros países europeus e tinham, na verdade, uma abordagem semelhante relativamente aos seus textos.Being its main purpose to contribute towards the investigation of the study of the Greek language in 16th century Portugal, this dissertation focuses on the dissemination of the works of Lucian of Samosata, more specifically among Portuguese readers, commentators and translators of the corpus lucianeum. Firstly, we analyse early modern inventories and 16th century editions currently preserved in Portuguese libraries that provide information relating to the circulation of Lucian’s works in Portugal. The study of the marginalia not only informs us of the interest aroused by his texts – often associated with the study of the language – but also the instrumenta used to facilitate access to the Greek text, such as dictionaries, encyclopaedias or Latin translations. Signs of Inquisitorial censorship present in many of these books reveal the vicissitudes inherent to the reading and interpretation of Lucian’s classical oevre. The analysis of Jorge Coelho’s Latin version of De Dea Syria, which constitutes the core of the second part, provides a deeper understanding of the pedagogical use of Lucian’s works. The existence of a manuscript prior to the final version permits a comparison of the different stages of the Latin text, demonstrating the development of Coelho’s competences as a translator, while at the same time providing an insight into his revision process and the use of intermediary translations to inform the final version. Finally, the influence of Lucian in Early Modern Portuguese Literature, more specifically on João Rodrigues de Sá de Meneses, Gil Vicente and Jorge Ferreira de Vasconcelos, confirms that the reading of the corpus lucianeum was not limited to academic circles. Moreover, that even if dependent on Latin translations or other forms of indirect renditions such as Latin or vernacular imitations and iconographical representations, Lucianic themes and motifs were used to comment on contemporary issues. By providing a general account of the reading and interpretation of Lucian, this dissertation confirms that Portuguese readers were no different from those in other European countries at the time, and had a similar approach to understanding his texts.