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Journal articles on the topic 'Lucian of Samosata'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

ÇİMEN, Ünsal. "A Feminist Interpretation of A True Story of Lucian of Samosata." fe dergi feminist ele 14, no. 1 (June 10, 2022): 12–20. http://dx.doi.org/10.46655/federgi.1062414.

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Lucian of Samosata was a satirist and rhetorician who lived in the second century BC. He was the author of the earliest known science fiction novel, A True Story. In this story, Lucian travels to the Moon, joining the war between the moon people and the solar people. What makes this story interesting is that Lucian tells us there are no women among moon people, and men give birth to children. As stated rightly by Morena Deriu, this situation can be seen as a satirization of the exclusion of women from the public sphere. However, it should not be forgotten that giving a place to gods giving birth in myths was an attempt to legitimize that a child’s real parent is a man, not a woman. In this paper, in addition to Deriu’s claims, I will argue that when Lucian said Lunarian men could give birth to children, he was criticizing the order established by men, who saw themselves as the only and real parent of a child. The elements used by Lucian regarding the Eleusinian mysteries and his reference to Aristophanes’ comedy The Birds will be considered as supporting this claim.

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2

Schlapbach, Karin. "The logoi of Philosophers in Lucian of Samosata." Classical Antiquity 29, no. 2 (October 1, 2010): 250–77. http://dx.doi.org/10.1525/ca.2010.29.2.250.

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This paper explores Lucian's presentation of the philosopher as a creator of discourse. In particular, the paper argues that the lack of control over the discourse, once it is passed on, is at the core of Lucian's treatment of philosophers. An analysis of this eminently Platonic problem allows the interpretation both to go beyond the simplistic view that Lucian has no real philosophical interest at all but merely follows the Second Sophistic trend of subordinating philosophy to rhetoric, and to qualify the idea that the dissolution of the authorial voice represents a sense of rupture experienced on the margins of the Roman empire. More importantly, this approach opens up new possibilities to understand two portraits of philosophers in Lucian's oeuvre that stand out for their positive character, Nigrinus and Demonax. While the latter work depicts a philosopher who uses words sparingly, but ideally enables a cognitive progress in the interlocutor, the former—a portrait of a “Platonist”—stages the breakdown of philosophical teaching by focusing on the impact of the philosopher's discourse on an underprepared student. The paper argues that Lucian, while posing as a reader of Plato in shaping his characters, raises the question of whether Plato himself succeeded as a philosophical writer, or whether in Lucian's eyes Plato's success as a writer was perhaps also his failure as a philosopher. But rather than shaping his own texts in opposition to philosophy, Lucian, like Plato, explores untrodden literary ways of addressing the most fundamental of philosophical problems, namely philosophy's expression in language.

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3

Shaw, Damian. "Lucian of Samosata, Tennyson’s ‘Ulysses’, and Joyce’s ‘Ulysses’." Notes and Queries 66, no. 2 (April 19, 2019): 310–11. http://dx.doi.org/10.1093/notesj/gjz048.

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4

Góral, Piotr. "Obecność motywów z Prawdziwej historii (Alethe diegemata) Lukiana z Samosat w literaturze fantastycznej na przykładzie wybranych fragmentów." Colloquia Litteraria 32, no. 32 (March 13, 2023): 103–32. http://dx.doi.org/10.21697/cl.2022.32.1.6.

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This article is an analysis the writing of Lucian of Samosata, A True Story (Alethe diegemata). Its purpose is to indicate the presence of fantastic causes in the work today and to trace the presence of the motifs used by Lucian in later fantastic writings. The dividing line between fantasy literature and science fiction is also permanently drawn, which is helpful in examining the work, as well as in an attempt to assign it to one of the revealed trends in fantasy literature.

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5

Bozia, Eleni. "To Know Thyself Through the Other: The Literary Convergences of Lucian and Justin." Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 28, no. 1 (May 30, 2024): 100–122. http://dx.doi.org/10.1515/zac-2024-0005.

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Abstract The paper engages in a comparative analysis of two prominent figures from the 2d century CE—Lucian of Samosata and Justin the Martyr. Lucian, the epideictic orator and social commentator, reintroduces the Olympians while rethinking paganism and engaging with Justin and the Apologists. Conversely, Justin, embodying the Christian pepaideumenos, places the new religion at the literary forefront and questions the stereotype of Christian simplicity. The paper argues that, in the context of reformative, paideutic Imperial culture, Lucian and Justin challenge the literary and religious status quo and engage the readers in a reconsideration of Christianity through the lens of the Second Sophistic and vice versa.

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6

Fantappiè, Irene. "Pietro Aretino e Luciano di Samosata. Paradosso e parrhesia tra parola e immagine." Romanistisches Jahrbuch 74, no. 1 (November 14, 2023): 129–71. http://dx.doi.org/10.1515/roja-2023-0007.

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Abstract Pietro Aretino constantly flaunts his originality and uniqueness as a writer. This essay seeks to show that, on the contrary, his authorial figure arises from a rewriting and a ‘refiguring’ of Lucian, especially as far as the centrality of paradox and of parrhesia are concerned. The present study reinterprets or adduces hitherto ignored evidence (consisting of both textual and iconographic materials, such as portraits, marche editoriali, and medals) in order to reconstruct some key aspects of Aretino’s relationship to Lucian, thus questioning the traditional idea of the writer’s unfamiliarity with the processes of imitatio of antiquity. Aretino’s approach to Lucian is investigated on three different levels, i.e. the level of intertextuality, of themes and genres, and of authorship. Firstly, the analysis inspects how Aretino’s Dialogo was influenced by a specific collection of vernacular translations of Lucian (I dilettevoli dialogi, 1525). Furthermore, the essay unveils the close relationship between Dialogo and Lucian’s De parasito as a model of paradoxical eulogy, thereby showing that Aretino’s text not only reverses the structures of relevant literary genres (e.g. the Platonic dialogue) but also originates from a ‘positive’ imitation of other generic templates (such as the Lucianistic paradoxical encomium). Finally, new findings about the sources of Aretino’s motto veritas odium parit and of its iconography shed light on the way Aretino fashions himself as a parrhesiastes by reproducing and transforming – and therefore imitating – Lucian’s figura auctoris.

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7

Camerotto, Alberto. "Heracles and the Monkey." Mnemosyne 75, no. 1 (January 7, 2022): 113–44. http://dx.doi.org/10.1163/1568525x-bja10126.

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Abstract In the pamphlet On Salaried Posts in Great Houses Lucian of Samosata analyzes the problem of the impossible relationship between misthos, ‘money’, and paideia, ‘culture’ and ‘teaching’. Money is an indispensable asset for the necessities of life. But starting with Socrates and the Sophists it becomes problematic. In Lucian’s satire the attack is directed at philosophers and the marketing of culture in the Roman Empire at the time of the Second Sophistic.

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8

Flores Júnior, Olimar. "Luciano e o cinismo: o caso Alcidamas." Nuntius Antiquus 9, no. 2 (December 31, 2013): 139–80. http://dx.doi.org/10.17851/1983-3636.9.2.139-180.

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One of the axes of the so called “Lucianic Question” is the relationship of the writer from Samosata with the philosophy, and especially with the Cynicism. Even though the idea of a “Cynic Lucian” or a “Philosopher Lucian” has been abandoned, modern criticism still seems to hesitate before the image of the Cynicism that we find in the pages of this author, which fluctuate in a more or less explicit way between the approval and praise in one hand, and the attack and sarcasm in the other. This article seeks to re-examine this issue in the light of an analysis of the figure of the Cynic Alcidamas, a character that appears in the Symposium or The Lapiths. The hypothesis to be defended here is that the seemingly pitiless construction of this Cynic, the most “buffoon” of the guests in the described banquet, actually reveals the sympathy and admiration that Lucian feels about the tradition of which Diogenes of Sinope was the chief representative.

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9

Kuminova, Kateryna. "The image of Toxaris in the works of Lucian of Samosata." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 36 (July 3, 2022): 77–86. http://dx.doi.org/10.32626/2309-2254.2022-36.77-86.

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Мета статті – проаналізувати образ Токсаріса у творах Лукіана Самосатського. Методологічна база. Дослідження ґрунтується на засадах історич- ної імагології – міждисциплінарного напрямку, що досліджує образ «чужого». Вивчення уявлень про варварів в античній культурі допомагає зрозуміти суспільство, яке фор- мує ці стереотипи. Наукова новизна полягає в акцентуванні уваги на порівнянні об- разів Анахарсіса та Токсаріса у творах Лукіана Самосатського. У статті просте- жується, як впливало походження автора новел на використання образу благородних варварів. Висновки. Лукіан Самосатський звертається у своїх сатиричних новелах до образу мудрого скіфа Токсаріса. Він та Анахарсіс, більш відомий в античності типаж благородного дикуна, протиставляються розбещеним сучасникам і слугують взірцем для наслідування. Лукіан проводить між собою та цими героями паралель, натякаю- чи на своє провінційне походження. У новелі «Скіф» Токсаріс є героєм-провідником, який знайомить Анахарсіса з Солоном. Ім’я нового героя перекладається як лучник, вказую- чи на його варварське походження. Лукіан виділяв неаристократичне походження скі- фа Токсаріса, який при цьому виглядав і говорив як справжній еллін. Таким чином, ав- тор демонстрував, що завдяки своїм талантам і розуму можна досягти визнання, не зважаючи на походження. Автор не ідеалізує еллінський світ, адже у новелі «Токсаріс» описується зразкова героїчна дружба серед скіфів, яка протиставляється комерційній грецькій. Образ ідеального варвара характерний для античної літературної традиції І-ІІ ст. і є реакцією на кризові явища в тогочасному суспільстві.

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10

Rykov, Anatoly V. "Lucian, Modernism and Intertextuality. Towards a Pragmatic Theory of Culture." Voprosy Filosofii, no. 8 (2022): 115–24. http://dx.doi.org/10.21146/0042-8744-2022-8-115-124.

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The paper considers the issues of modernist and pragmatic discourses in the works of the Ancient Greek writer of the 2nd century AD. Lucian of Samosata. His famous work The Passing of Peregrinus is placed in the conceptual field of “Theory of the avant-garde” by Renato Poggioli, terminologically close to the conception of the menippea of Mikhail Bakhtin. Ancient modernism and pragmatism are analyzed in connection with the modern European intellectual history and general theory of culture. The author comes to the conclusion that it is necessary to separate the elements of modernist aesthetics and pragmatic theory in the work of Lucian. In addition, the author insists on the identification of several proper modernist discourses competing with Lucian (and the corresponding classification of connotations): primitivist (populist) and intellectualist (elitist). Lucian's philosophical instrumentalism becomes an ideal background for the collage (intertextual) aesthetics of novelty and shock, the autonomy of the aesthetic sphere. At the same time, the rejection of ontologism and metaphysics by Lucian leads to a situation of considering artistic, political and philosophical problems within the framework of a kind of unified media theory, which also anticipates contemporary conceptual approaches.

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11

Allen, Robert. "Who are these Fowlers?" English Today 19, no. 3 (July 2003): 62–64. http://dx.doi.org/10.1017/s0266078403003134.

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‘Who are these Fowlers?’ wrote a reviewer in the New York Times, quoted on page 56 of this much-needed biography of the more famous of the brothers, Henry Watson Fowler. The review was not of Modern English Usage or any of their other well-known books, but of an earlier work they wrote for Oxford University Press, a translation of the Syrian Greek writer Lucian of Samosata, published in 1905, the work that first brought them into contact with the strange world of academic publishing.

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12

Carrozza, Marco. "Teacher of Orators by Lucian: compositional techniques and contamination of genres." Minerva. Revista de Filología Clásica, no. 35 (December 21, 2022): 37–59. http://dx.doi.org/10.24197/mrfc.35.2022.37-59.

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This paper aims to analyse both the refined devices of literary contamination and the textual techniques that permeate Teacher of Orators by Lucian of Samosata, a pamphlet which attacks the lack of moderation of certain fashionable members of the Second Sophistic. Besides evaluating Lucian’s criticism in an impartial way, this paper offers an analysis of the relationship among the dialogue itself and other literary genres, such as theatre and the contemporary Sophistic declamations. Furthermore, the present study explores the parodic nature of the work and focuses on investigating the overlapping in the different levels of meaning, as typical of parodic operation.

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13

Anagnostou-Laoutides, Eva. "Drunk with Wisdom: Metaphors of Ecstasy in Plato’s Symposium and Lucian of Samosata." Religions 12, no. 10 (October 19, 2021): 898. http://dx.doi.org/10.3390/rel12100898.

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Among the metaphors that Plato employed in the context of his apophatic approach to philosophical truth and its experience, inebriation stands out in the Symposium, where famously Socrates is compared to Dionysian figures such as the Silenoi and Marsyas (215a-c), and to frenzied Corybantic dancers (215e; 216d; 218b). The contentious nature of inebriation as a proxy of ecstasy is aptly exemplified in Euripides’ Bacchae, where Pentheus, the distrusting new tyrant of Thebes, is keen to associate the Bacchic trance with common intoxication and lewd behavior; although Plato tries to anticipate such criticisms by repeatedly stating in the Symposium that Socrates is sober and of sound mind (e.g., 214a; 216d; 219d; 220a), later authors are unforgiving of his metaphorical style, which is deemed inconsistent with Plato’s stern disapproval of poetry. Among such later authors, Lucian of Samosata deserves closer attention apropos his treatment of inebriation as a most confusing and inappropriate metaphor for philosophical inspiration. Despite the jocular style of his dialogues, Lucian’s depiction of Platonic inebriation powerfully sketches a deep intellectual crisis that especially afflicts the young people of his time. Thus, Lucian sheds unexpected light on a less prominent chapter of Plato’s reception during the Roman imperial period.

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Ipiranga Júnior, Pedro. "Luciano e a experimentação biográfica: filosofia e religião." Nuntius Antiquus 9, no. 1 (June 30, 2013): 161. http://dx.doi.org/10.17851/1983-3636.9.1.161-182.

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The purpose of this work is based on the following issues: how the religious aspect is focused on biographical works and what constitutes its function; how religious discourse interferes with conception of the genre of biographical and literary prose from the perspective of Lucian of Samosata. For that we will use as a benchmark for our analysis some conceptions about the religious phenomenon in works with biographical tone of Isocrates, Plato and Xenophon, in order to check how Lucian resumes and refigure issues there proposed. In a kind of biographical account and in epistolary form, Lucian somehow promotes a mimesis (here in the sense of a critical refiguring) of reports of Bios, in which he enacts a moral action figure, syncretizes or juxtaposes philosophical adhesion and religious belief. In the biographical works of Lucian: <em>The passing of Peregrinus</em>, <em>Alexander the false prophet</em>, <em>Demonax </em>and somehow <em>Nigrinus</em>, ‘conversion to a current philosophical’ concerns a pathos in the discourse, which is staged so explicitly dramatized and therefore undergo a treatment critical. Thus, we treat this work in order to delineate the constitution of pathos of biographical discourse and status of a distinctive literary biographical prose linked to religious and philosophical questions.

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Viglas, Katelis. "The Placement of Lucian’s Novel True History in the Genre of Science Fiction." Interlitteraria 21, no. 1 (July 4, 2016): 158. http://dx.doi.org/10.12697/il.2016.21.1.13.

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Among the works of the ancient Greek satirist Lucian of Samosata, well-known for his scathing and obscene irony, there is the novel True History. In this work Lucian, being in an intense satirical mood, intended to undermine the values of the classical world. Through a continuous parade of wonderful events, beings and situations as a substitute for the realistic approach to reality, he parodies the scientific knowledge, creating a literary model for the subsequent writers. Without doubt, nowadays, Lucian’s large influence on the history of literature has been highlighted. What is missing is pointing out the specific characteristics that would lead to the placement of True History at the starting point of Science Fiction. We are going to highlight two of these features: first, the operation of “cognitive estrangement”, which aims at providing the reader with the perception of the difference between the convention and the truth, and second, the use of strange innovations (“novum”) that verify the value of Lucian’s work by connecting it to historicity.

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16

Spampinato, Gaetano. "The Representation of False Prophets in Polemical Discourses." ARYS. Antigüedad: Religiones y Sociedades, no. 21 (October 10, 2023): 429–54. http://dx.doi.org/10.20318/arys.2023.7424.

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In this article, I analyse some “transversal” polemical motifs (adopted by both “pagans” and Christians) in the representation of Alexander of Abonouteichos, offered in the homonymous work by Lucian of Samosata, and in the description of the Montanists in heresiological sources, focusing in particular on the polemists who are quoted by Eusebius of Caesarea. This analysis attempts to highlight how, despite the differences between the mentioned authors, it is possible to find some common points in the representation of the “false prophets” that is often due to the same literary references. In particular, I analyse the way of presenting the life and behaviour of these characters and their way of delivering prophetic messages.

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17

Ricapito, Joseph V., and Michael O. Zappala. "Lucian of Samosata in the Two Hesperias: An Essay in Literary and Cultural Translations." South Central Review 9, no. 2 (1992): 97. http://dx.doi.org/10.2307/3189541.

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18

Urválková, Zuzana. "Die Dialoge des Lukian von Samosata im literarischen Kontext des tschechischen Klassizismus." Zeitschrift für Slawistik 65, no. 1 (March 30, 2020): 21–59. http://dx.doi.org/10.1515/slaw-2020-0002.

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SummaryThe study is focused on the reception of the then-popular Dialogues of the Dead / Conversations by Syrian philosopher and rhetorician Lucian of Samosata (120 AD-180 AD) in Czech literature on the turn of the 18th and 19th centuries, with occasional insight into the intermediary French and German reception. Thanks to their linguistic refinement, Lucian’s dialogues quickly became a popular reading for the learning of Greek at the time, and in the 18th century, they contributed significantly to the development of journalism. This tendency was also present in the revivalist journal Hlasatel český during the period of 1806–1808 when it featured translations of several of Lucian’s dialogues alongside Jungmann’s conversation On the Czech Tongue (1808). The said conversations evoke the form of Lucianesque dialogues of the dead, which was to be the model of antiquity for the Czech classicism of the time, and they fill this form with thoughts of enlightenment and contemporary nationalism while capitalizing on the models of contemporary educational practices at Prague universities.

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Dirven, Lucinda. "The Author of De Dea Syria and his Cultural Heritage." Numen 44, no. 2 (1997): 153–79. http://dx.doi.org/10.1163/1568527972629821.

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AbstractThe present contribution deals with the identity of the author of De Dea Syria, a second century work that claims to provide an accurate description of the religion in the Syrian city Hierapolis. Despite this assertion the information of DS has often been discredited. This is due to its presumed author, Lucian of Samosata. Since Lucian is known for his sceptical attitude towards religion, it is often concluded that the DS intents to ridicule the cult of Hierapolis. This assertion diminishes the reliability of the DS, since it implies that it contains fanciful and exaggerated information. It will be argued that the content of the DS provides no firm proof for Lucian's authorship. If the work was written by Lucian, he wrote in a style normally foreign to him. Apart from the wish to attribute this work to Lucian, there are no grounds to interpret the DS in the light of his oeuvre. Instead of starting from a preconceived idea about the author, this article aims to establish his identity by means of the contents of the work itself. Starting point is the allegation of the author that he is a Syrian who personally visited Hierapolis. The information provided by the DS on the Hierapolitan cult tallies with contemporary archaeological material and literary sources. It can therefore be concluded that the account is indeed based upon a personal visit. The author's self-identification as a Syrian is confirmed by the contents and the objective of the DS. On the basis of the contents of the DS its author is best described as a Hellenized Syrian who aimed to assimilate the Hierapolitan cult with Greek culture, while retaining its unique characteristics. As such his account intends to propagate the cult of the Syrian goddess in the Hellenistic world, in all probability especially in Hellenistic Syria.

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Leś, Mariusz M. "„Skrajny kwadrant gwiazdozbioru” – astronomia w fantastyce naukowej." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, no. 3 (December 13, 2021): 45–76. http://dx.doi.org/10.36770/bp.622.

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As the author of the article claims, there exist close and lasting links between astronomy and science fiction genre. First and foremost, both of these phenomena developed in parallel since antiquity, and both have fiction at their centre as a socially established type of imagination. Scientific hypotheses use justified fabrication, and science fiction offers images of fictional cosmologies. Many writers of proto-science fiction brought astronomical concepts into social play. Among them were astronomers and philosophers who extensively used plot devices based on mythology or allegorical transformations: from Lucian of Samosata to Johannes Kepler. Space travel, beginning with Jules Verne’s prose, is an important part of the thematic resource of science fiction. Astronomy played an important role also in the beginnings of Polish science fiction, thanks to works of Michał Dymitr Krajewski and Teodor Tripplin.

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21

Bacchi, Elisa. "Non sum Oedipus, sed Morus." Erasmus Studies 39, no. 1 (March 13, 2019): 75–91. http://dx.doi.org/10.1163/18749275-03901002.

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Abstract This article aims to investigate the representative strategies of Moriae Encomium by taking into account the link between Erasmus’ Moria and Thomas More’s portrait as it emerges both from the Encomium Moriae and from the Utopia. Specifically, I will focus on the crucial role of Erasmus’ concept of omnium horarum homo as an ethical and aesthetic model applied to the definition of More’s nature. This approach, which explores the intertextual construction of Morus-Moria’s identity, shall allow me to stress the relevance of the metaphor of mundane masking in Erasmus’ Encomium and More’s Utopia. By considering Erasmus and More’s paradoxical combination of Plato, Cicero and Lucian of Samosata, I will show how the image of the world theatre becomes the symbol of Erasmus’ philosophia civilior based on the rhetorical and moral idea of decorum.

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22

Fernandez Robbio, Matías Sebastián. "Reflejos de la Segunda Sofística en los epigramas atribuidos a Luciano de Samósata." Araucaria, no. 41 (2019): 257–71. http://dx.doi.org/10.12795/araucaria.2019.i41.12.

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23

Prus, Robert. "Charisma, Magic, and Spirituality as Socially Engaged Processes: Lucian’s (circa 120-200) “Alexander the False Prophet” and People’s Accounts of the Supernatural." Qualitative Sociology Review 13, no. 4 (October 31, 2017): 6–46. http://dx.doi.org/10.18778/1733-8077.13.4.01.

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Focusing on Alexander the False Prophet and The Lover of Lies, two texts from the Greek poet-philosopher Lucian of Samosata (circa 120-200) of the Classical Roman era, this paper considers (a) charisma, magic, and spirituality as aspects of an interconnected, collectively achieved, developmental process associated with the emergence of a religious cult. Somewhat relatedly, this paper also acknowledges (b) people’s broader, longstanding fascinations with matters that seem incredulous. Depicting a more sustained realm of prophetic activity and an account of people’s intrigues with the supernatural, Lucian’s texts offer some especially valuable transhistorical and transcultural reference points for the broader sociological study of human knowing and acting. The paper concludes with a consideration of the implications of these matters for the study of people’s involvements in religion and spirituality as humanly-engaged realms of endeavor and interchange.

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Briand, Michel. "Rhetoric, liberties, and classical culture. From free speech (parrhesia) to serio-comic (spoudogeloion) in Lucian of Samosata." Deeds and Days 66 (2016): 185–98. http://dx.doi.org/10.7220/2335-8769.66.8.

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25

Ipiranga Júnior, Pedro. "Modo de escrita da história na antiguidade: a perspectiva luciânica." Aletria: Revista de Estudos de Literatura 19, no. 3 (December 31, 2009): 103–13. http://dx.doi.org/10.17851/2317-2096.19.3.103-113.

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Resumo: Este artigo se propõe estudar as relações entre escrita da história, ficção e retórica na obra de Luciano de Samósata, Como se deve escrever a história.Palavras-chave: Luciano de Samósata; escrita historiográfica; ficção e retórica.Abstract: This paper focuse on the interpreting of the work How to write history of the writer Lucian of Samosate, analysing the relations between writing of history, ficcion and rhetoric.Keywords: Lucian of Samosate; Writing of History; Fiction and Rhetoric.

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Prus, Robert. "Religious Beliefs, Practices, and Representations as Humanly Enacted Realities: Lucian (circa 120-200) Addresses Sacrifices, Death, Divinity, and Fate." Qualitative Sociology Review 11, no. 4 (October 31, 2015): 6–37. http://dx.doi.org/10.18778/1733-8077.11.4.01.

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Lucian of Samosata (circa 120-200) may be primarily envisioned as a poet-philosopher from the classical Roman era. However, the material he develops on religion not only anticipates important aspects of contemporary pragmatist/constructionist approaches to the sociology of religion but also provides some particularly compelling insights into religion as a humanly engaged realm of reality. Following an introduction to a pragmatist approach to the study of religion, this paper presents a synoptic overview of several of Lucian’s texts on religion. In addition to the significance of Lucian’s materials for comprehending an era of Roman and Greek civilization, as well as their more general sources of intellectual and aesthetic stimulation, these texts also provide an array of valuable transhistorical reference points and alert scholars in the field of religion to some ways in which the study of religion could be more authentically approached within the social sciences. The paper concludes with a consideration of the affinities of Lucian’s depictions of religion with pragmatist, interactionist, and associated approaches as this pertains to the study of religion as a realm of human involvement.

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Nesselrath, Heinz-Günther. "Lucian - (F.) Mestre, (P.) Gómez (edd.) Lucian of Samosata. Greek Writer and Roman Citizen. Pp. 290, ills. Barcelona: Publicacions i Edicions de la Universitat de Barcelona, 2010. Paper, €23. ISBN: 978-84-475-3406-7." Classical Review 62, no. 1 (March 9, 2012): 115–18. http://dx.doi.org/10.1017/s0009840x11003155.

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Bartley, Adam. "Christopher Ligota and Letizia Panizza ,eds Lucian of Samosata Vivus et Redivivus. Warburg Institute Colloquia 10 London : Nino Aragno Editore, 2007 ISBN: 978-0-85481-138-0." Renaissance Quarterly 61, no. 1 (2008): 238–39. http://dx.doi.org/10.1353/ren.2008.0008.

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Marsh, David. "Christopher Ligota and Letizia Panizza (eds.), Lucian of Samosata Vivus et Redivivus, Warburg Institute Colloquia 10 (London: The Warburg Institute – Turin: Nino Aragno Editore, 2007), VI + 222 pp." International Journal of the Classical Tradition 16, no. 1 (March 2009): 124–28. http://dx.doi.org/10.1007/s12138-009-0098-2.

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Bryen, Ari Z. "Judging Empire: Courts And Culture in Rome's Eastern Provinces." Law and History Review 30, no. 3 (August 2012): 771–811. http://dx.doi.org/10.1017/s0738248012000259.

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In the middle of the second century CE, the satirist Lucian of Samosata (c. CE 125–180) composed a text known as theBis Accusatus(“Twice Accused”) in which he describes a day of judgment. It begins with Zeus complaining to Hermes about the onerous nature of running the universe:In the first place, I have to supervise the work of the other gods who have responsibilities under my regime, to make sure they don't slack in their duties. Then I have a million tasks to perform myself, scarcely manageable because of their complexity. It's not as though I simply have the major administrative tasks to perform, I mean managing and organizing the weather—rain, hail, wind, and lightning—before I can simply sit down and take a break from my assigned worries. I've got to do all this and keep a watch in all directions and supervise everything as though I were that herdsman at Nemea: people stealing, people perjuring themselves, people sacrificing. Has someone made a libation? Where's the sacrificial smell and smoke coming from? Who has called for me in sickness or at sea? But the most onerous task of all is being in so many places at the same time: Olympia for a hecatomb, Babylon for a battle, with the Getae to hail, with the Ethiopians to feast…Take an example. We're so damned busy, we've got an enormous backlog of old lawsuits not dealt with. They've been stacked there so long, they've fallen apart with mildew and they're covered in spider's webs. I'm thinking in particular about the ones taken out against certain individuals associated with the intellectual arts and crafts. Some of them are absolutely ancient. The litigants themselves are bawling on every side, grinding their teeth, calling for justice and accusing me of tardiness. What they don't realize is that it's not through contempt that these decisions have passed their sell by date. It's because of the state of bliss that they think we live in. That's the name they give to our complete lack of spare time.

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Sucharski, Robert A. "A Few Observations on the Distinctive Features of the Greek Culture." Colloquia Humanistica, no. 1 (July 22, 2015): 125–34. http://dx.doi.org/10.11649/ch.2012.009.

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A Few Observations on the Distinctive Features of the Greek CultureThe article is devoted to one of the most interesting features of the Greek culture in antiquity, namely for an almost total insensitivity of the Hellenes to sounds and colours of any other language. It is no coincidence that the once-non-pejorative word βάρβαρος over time acquired its current meaning of ‘barbaric/barbarian’, shared by probably all modern languages which take inspiration from classical antiquity. The Greeks, however, were not racist in the contemporary meaning of the word: regardless of origin, (s)he who takes the Hellenic culture, and above all language, for his/her own, becomes Greek. We may find an excellent illustration of this in the life and fortunes of Lucian of Samosata. The spreading of Greek culture to the entire Mediterranean and further east – as a consequence of the conquests of Alexander the Great – brought with it the appearance of a new type of books written in Greek and for Greeks. These works presented the rich, and often ancient, heritage of the cultures and peoples subjugated by Hellenic expansion. And although their authors were ‘barbarians’, it was essential that the books themselves be written in Greek. This was so not only because the Hellenes would not understand them otherwise, but probably also due to the fact that it was only the Hellenes who could be considered bearers of the ideal, of kalòs kẚgathós, the notion – fundamental to Greek competitive culture – combining moral goodness, righteousness of the spirit and beauty and vigour of the body (often backed by material wealth). However, despite its exclusivity, Greek culture was capable of both attracting others and adapting to them: as is best proven by the history of European culture.Kilka luźnych uwag co do specyfiki greckiej kulturyArtykuł jest poświęcony jednej z najbardziej charakterystycznych cech starożytnej kultury greckiej – brakowi umiejętności Hellenów do zauważenia piękna i kolorytu języków innych niż grecki. Nie jest przypadkiem, że βάρβαρος 'barbarzyńca/barbarzyński' – słowo pierwotnie pozbawione negatywnych konotacji – z biegiem czasu nabrało takiego znaczenia, które jest obecne zapewne we wszystkich nowożytnych językach, czerpiących z antyku klasycznego. Nie wynika to jednak z rasizmu – Grecy akceptują i uznają za swoich innych, o ile przejmą oni grecką kulturę i oczywiście język; klasycznym przykładem jest Lukian z Samosat. Rozszerzenie się kultury greckiej na cały obszar basenu Morza Śródziemnego i dalej na wschód – konsekwencja podbojów Aleksandra Wielkiego – przynosi pojawienie się książek pisanych po grecku i przeznaczonych dla Greków. Pokazują one dorobek kultur i ludów podporządkowanych przez Greków. Choć pisane przez 'barbarzyńców' książki te muszą być po grecku – Helleni nie zrozumieją inaczej. Zapewne wynika to z faktu, że tylko Helleni mogą być uznani za nośnik ideału – pojęcia kalokagathii, fundamentalnego dla greckiej kultury współzawodnictwa, połączenia moralnego dobra, szlachetności ducha, cielesnego piękna i tężyzny (nierzadko wspartego majątkiem). Kultura grecka – mimo swej ekskluzywności – potrafiła jednak przyciągać innych i do innych się przystosowywać: dzieje kultury europejskiej są tego najlepszym dowodem.

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Dieguez, Sebastian. "Lucien de Samosate." Cerveau & Psycho N° 135, no. 8 (January 8, 2021): 94–97. http://dx.doi.org/10.3917/cerpsy.135.0094.

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Pretzler, Maria. "AN INTRODUCTION TO LUCIAN - (M.) Baumbach, (P.) Von Möllendorff Ein literarischer Prometheus. Lukian aus Samosata und die Zweite Sophistik. Pp. 269. Heidelberg: Universitätsverlag Winter, 2017. Paper, €26. ISBN: 978-3-8253-6460-1." Classical Review 69, no. 2 (March 21, 2019): 428–30. http://dx.doi.org/10.1017/s0009840x19000179.

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Ipiranga Júnior, Pedro. "Menipo no Hades de Luciano de Samosata." Revista Literária do Corpo Discente da Universidade Federal de Minas Gerais 36, no. 27 (November 30, 2002): 105. http://dx.doi.org/10.17851/0103-5878.36.27.105-113.

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Brusuelas, James. "Lucian - (M.) Çevik (ed.) International Symposium on Lucianus of Samosata, 17–19 October 2008. (Adıyaman Üniversitesi yayınları 2.) Pp. xiv + 332, colour ills, colour maps. Adiyaman: Adiyaman University, 2008. Paper. ISBN: 978-605-60221-1-1." Classical Review 60, no. 2 (September 28, 2010): 395–97. http://dx.doi.org/10.1017/s0009840x10000302.

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36

Benson, Edward, and C. A. Mayer. "Lucien de Samosate et la Renaissance Francaise." Sixteenth Century Journal 17, no. 3 (1986): 397. http://dx.doi.org/10.2307/2540352.

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Gómez, Luis Unceta. "Diálogos de las muertas: Los Bosques de Nyx de Javier Tomeo." Aletria: Revista de Estudos de Literatura 24, no. 1 (April 30, 2014): 27–40. http://dx.doi.org/10.17851/2317-2096.24.1.27-40.

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El objetivo del presente trabajo es el análisis de algunas de las claves interpretativas de Los bosques de Nyx, obra teatral del narrador aragonés Javier Tomeo Estallo, para lo que el planteamiento de la pieza se pone en relación con la fantasía bangsiana, subgénero de la ciencia ficción, y en última instancia con los Diálogos de los muertos de Luciano de Samosata.

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Gómez Cardó, Pilar. "Editar, traducir, leer a Luciano de Samosata: jalones de una pervivencia." El Hilo de la Fabula, no. 24 (October 30, 2022): e0025. http://dx.doi.org/10.14409/hf.20.24.e0025.

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El objetivo de este trabajo es reseñar y comentar algunas características específicas de los procesos que históricamente ha marcado el estudio, la conservación y la transmisión de los textos clásicos de la Antigüedad grecorromana. El escritor de la Segunda Sofística, Luciano de Samosata, es tomado como ejemplo para ilustrar algunas de las tareas vinculadas a esos procesos como son la edición de textos y la traducción.

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Acocella, Mariantonietta. "Una scheda folenghiana: da Luciano di Samosata ad Acquario Lodola." Colloquium 9788879168946 (October 2019): 53–62. http://dx.doi.org/10.7359/894-2019-acoc.

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40

Bozia, Eleni. "Lucian of Samosata’s Imaginative Divine and Human Landscapes." Preternature: Critical and Historical Studies on the Preternatural 13, no. 1 (March 1, 2024): 176–97. http://dx.doi.org/10.5325/preternature.13.1.0176.

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ABSTRACT This article presents Lucian’s theocentric works through the lens of fictional narratology and sociopragmatics and argues that he builds imaginary worlds that feature delinquent gods, regretful and spiteful corpses that contemplate life, and lands inhabited by lamp-shaped beings to explore humanity’s exploration of life and religious beliefs. More specifically, The Parliament of the Gods, Zeus Catechized, Zeus Rants, On Sacrifices, Dialogues of the Gods, Menippus, Icaromenippus, and the True Story are closely studied to argue that Lucian conceptualizes the quest into life’s unknowns by engineering imaginary worlds, estranging the normal, and questioning ground truths about life. Ultimately, he actualizes literary fiction to explain theology and philosophical inquiries and their implications for everyday people.

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Arantes Júnior, Edson. "Héracles/Ôgmio: nas encruzilhadas do regime de memória romano." Nuntius Antiquus 9, no. 2 (December 31, 2013): 125–37. http://dx.doi.org/10.17851/1983-3636.9.2.125-137.

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Cet article analyse l’opuscule de Lucien de Samosate intitulé Héraclès, du point de vue des recherches sur le régime de mémoire romain. Le texte révèle la croisée des cultures dans laquelle l’écrivain syrien s’inscrivait et documente des frictions et des procéssus de résistence identitaires dans l’Empire. De ce point de vue, il est suggéré que Lucien dialogue avec la culture politique de son époque et exprime la position d’un groupe sur l’usage politique de l’image d’Héraclès par l’Empéreur.

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Coria, Marcela, and Santiago Hernández Aparicio. "Acerca de la traducción del diálogo Prometeo de Luciano de Samosata." El Hilo de la Fabula, no. 24 (October 30, 2022): e0021. http://dx.doi.org/10.14409/hf.20.24.e0021.

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Este artículo da cuenta de los aspectos más relevantes del proceso de traducción del griego al español del diálogo Prometeo de Luciano de Samosata (ca. 120-180 d. C.), entre los que se incluyen los debates llevados a cabo en el seno del grupo, el intercambio de opiniones y puntos de vista, criterios de traducción y los principios y decisiones teóricas y metodológicas que confluyeron para dar su forma final a este libro, publicado en versión bilingüe y con introducción, notas, proyecciones, glosario, índice de nombres propios y ejercicios, por la editorial de la Facultad de Humanidades y Artes de la Universidad Nacional de Rosario.

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Allouche, Sylvie. "Les extraterrestres de la science-fiction." Multitudes 94, no. 1 (March 6, 2024): 213–15. http://dx.doi.org/10.3917/mult.094.0213.

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De Lucien de Samosate à Liu Cixin en passant par H. G. Wells, Ursula K. Le Guin, Octavia Butler, Sylvie Lainé et tant d’autres auteurs et autrices, la littérature, le cinéma et les séries de science-fiction ont inventé une myriade hallucinante d’extraterrestres, amis ou ennemis, humanoïdes ou non. Tous interrogent l’Humanité, son éthique et son devenir.

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Camerotto, Alberto. "Geografia satirica dell’altro mondo: topoi, paradossi e obiettivi per un viaggio all’Ade." Ordia Prima, no. 1 (October 26, 2023): e0002. http://dx.doi.org/10.14409/op.2023.1.e0002.

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L’Aldilà è un luogo speciale, difficile da raggiungere da vivi. Ed è un luogo senza ritorno. È il viaggio della catabasi degli eroi: Eracle, Teseo, Odisseo. In Luciano di Samosata diventa, sulle tracce del mito e dell’epica omerica, un paradigma narrativo e una via della satira. Il nuovo eroe è in particolare Menippo nella Negromanzia. Il regno dei morti, con la sua speciale geografia, è il luogo dell’alterità, ossia il luogo ideale della satira per guardare alla realtà della vita umana in un modo differente.

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Martínez, María Victoria. "La travesía infernal en Cataplus de Luciano: una poética de invención en el cruce por la Estigia (Cat. 18-22)." Anales de Filología Clásica 2, no. 34 (March 25, 2022): 109–24. http://dx.doi.org/10.34096/afc.i34.11254.

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El descenso o el tirano (Cat.) es un diálogo de Luciano de Samosata formado por los tópicos retóricos del Hades y de la tiranía. Los estudios sobre esta pieza se centraron en el tema del abuso de poder. Sin embargo, Mestre (2013) ha señalado la relevancia del mito como elemento en tensión con la sátira. Este trabajo propone un análisis de las estrategias de reelaboración de las versiones míticas. El propósito es mostrar que las relaciones entre mito y sátira habilitan niveles de sentido, donde no solo puede leerse la ridiculización de los excesos de poder, sino también la elaboración paródica.

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Lecco, Margherita. "Un Apprenti Sorcier medievale." Reinardus / Yearbook of the International Reynard Society 34 (December 31, 2022): 129–39. http://dx.doi.org/10.1075/rein.00062.lec.

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Résumé L’histoire de l’Apprenti Sorcier est aujourd’hui bien connue par la ballade de Goethe Der Zauberlehrling et le poème symphonique de Paul Dukas du même titre. Mais elle plonge ses racines dans des matériaux qui remontent à l’antiquité pré-chrétienne et au monde indien, dont, avant la Renaissance, on ne lit dans la littérature européenne que deux versions, celle de Lucien de Samosata (IIe siècle) et celle des Piacevoli Notti du noveliste italien Straparola (début du XVIe siècle). L’article envisage d’en reconnaître (autant que possible) une version dans le Renart magicien, épisode de la branche 23 du Roman de Renart.

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Romeri, Luciana. "Fiction et histoire chez Lucien." Tangence, no. 116 (August 31, 2018): 23–37. http://dx.doi.org/10.7202/1051077ar.

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Lucien de Samosate (iie siècle) consacre deux ouvrages à l’histoire et aux historiens, l’un, Comment écrire l’histoire, rédigé sous la forme sérieuse d’un manuel, l’autre sous la forme parodique d’un long voyage extraordinaire, les Histoires vraies. Dans cet article, je m’intéresse à la critique qui, par delà la parodie et le fantastique, traverse les Histoires vraies, visant à la fois les poètes, les historiens et les philosophes du passé, en raison des nombreuses choses « prodigieuses et fabuleuses » qu’ils ont écrites. En parcourant les quatre paragraphes qui composent le prologue de cet ouvrage et qui explicitent la pensée et la position de Lucien, il s’agira de montrer que, par le biais de cette histoire fabuleuse, l’auteur entend mener une réflexion sur les différentes formes de récits, historiques et poétiques, et de redéfinir, en particulier, le statut que doit avoir le discours qui porte sur le passé.

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Robbio, Matías Sebastían Fernandez. "Los períodos hipotéticos como recurso argumentativo en epigramas atribuidos a Luciano de Samosata." Nuntius Antiquus 9, no. 2 (December 31, 2013): 41–56. http://dx.doi.org/10.17851/1983-3636.9.2.41-56.

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Espalhados em seis livros da Antologia Grega acham-se sessenta e quatro epigramas atribuídos a Luciano de Samósata. Analisa- se aqui uma seleção de catorze deles, que apresentam períodos hipotéticos: X.30, X.31, X.35, X.41, X.45, XI.129, XI.274, XI.396, XI.404, XI.420, XI.430, XI.431, XI.434, XVI.163. Focar-nos-emos no estudo dessa estrutura sintática a partir de três perspectivas: a morfologia e a sintaxe da língua grega, a prosódia e o uso retórico dos períodos hipotéticos, ao qual o autor recorre como estratégia argumentativa.

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Camerotto, Alberto. "La parresía de Aquiles. Libertad de expresión entre Homero y Luciano de Samosata." Ordia Prima, no. 2 (May 24, 2024): e0023. http://dx.doi.org/10.14409/op.2014.2.e0023.

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La parresía, la libertad de pensamiento y de expresión, es uno de los fundamentos, en primer lugar, de la idea de democracia. Nació de los primeros experimentos de democracia en la Atenas del siglo V a.C., lo sabemos bien. Para nosotros no hay libertad, no hay igualdad, si no existen estas libertades de pensar y decir todo delante de todos. La libertad de expresión, el discurso crítico, la multiplicidad de pensamientos y voces son principios esenciales. Nadie puede decir que posee la verdad, nadie puede imponer su pensamiento único, su dogma. Es el primer antídoto contra la autocracia. Aquí entonces la palabra crítica sirve para cuestionar las convenciones, las inercias y las incrustaciones de toda sociedad. Puede desenmascarar cualquier propaganda, cualquier mistificación, cualquier ilusión. Aquiles, entre la Ilíada, la Odisea y los diálogos de Luciano, es quizás nuestro primer arquetipo, contra los errores y el poder de Agamenón, pero también contra las ilusiones y convenciones de la ética heroica.

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McFarlane, I. D., and C. Lauvergnat-Gagnieres. "Lucien de Samosate et le lucianisme en france au XVIe siecle." Modern Language Review 87, no. 4 (October 1992): 974. http://dx.doi.org/10.2307/3731483.

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