v. 11, n. 2 (2023) - D:Comédia e Diálogo Platônico by Codex: Revista de Estudos Clássicos
Codex: Revista de Estudos Clássicos, 2023
In this paper, I start from EN discussion on pathe’s configuration and its intrinsic r... more In this paper, I start from EN discussion on pathe’s configuration and its intrinsic relationship with human actions to discuss how the character Thrasymachus of the Republic’s Dialogue can be considered a paradigmatic example of a disposition whose reason is inoperative. Indeed, since this sophist is deeply rooted in his world’s conceptions, without admitting the hypothesis that his positions and answers about many subjects are shown incorrect for they fall into contradiction, beforehand all possibility of dialogue fails with such a man. Thus, in Republic, on the one hand, dialogic action shows the power it exercises in the souls of those who are willing to suffer its effects, but on the other hand, it points to the limits to which it is subjected. The deviation from the rational order, i.e., unreason, is an insurmountable obstacle to Socratic philosopher insofar as it signals to the end of discourse and the bestial ferocity’s prevalence. Certainly, Thrasymachus is the beast with whom it is not possible to dialogue.
Codex: Revista de Estudos Clássicos, 2023
In this article, we intend to investigate how the expression of happiness is shown in the spe... more In this article, we intend to investigate how the expression of happiness is shown in the speeches of the Plautine drama, in different scenes, as a resource that promotes the maintenance of the stock characters' positive face. We are particularly interested in analyzing Plautus' explicit use of gaudere, either in Sosia's empathic assertion in Amphitruo (vv. 957-961), or in the unsuccessful greeting between the senes of Trinummus (v. 51-54), or in communication in absentia from Dordalus to Toxilus in Persa (vv. 501-502), among other examples. Taking into account the scenic context and the perlocutions it provokes, we conclude that the functions performed by gaudere reduce the social distance between the interlocutors and allude to the social and religious commensality of the Vrbs.
Codex: Revista de Estudos Clássicos, 2023
The fabula palliata’s repertoire represents the dowry wives (uxores dotatae) generally as ... more The fabula palliata’s repertoire represents the dowry wives (uxores dotatae) generally as angry, unsympathetic, and domineering women. Such a profile tends to be related to the legal status of the marriages staged in the Roman New Comedy. The fact that the wife’s father holds the ownership of the dowry should ensure those women an amount of power over their husbands. Thus, women who are often in a position of superior status to their husbands seem to be able to express freely their emotions, such as anger. Nevertheless, the balance of power between husband and wife seems to be not as stable as a stereotypical view might lead us to believe. Aiming to discuss a more nuanced display of emotions such as anger and fear concerning the dowry wives — one that highlights moments when their sovereignty is not ensured but threatened — this text scrutinizes selected passages of Plautus’ Mercator.
Codex: Revista de Estudos Clássicos, 2023
In Rhetoric, Aristotle defines shame as “a certain regret or disturbance of mind in ... more In Rhetoric, Aristotle defines shame as “a certain regret or disturbance of mind in relation to weaknesses, present, past or future, likely to involve a loss of reputation” and shame as a “contempt or insensitivity to the same weaknesses”. Here, we try to capture some movements and languages in Menander’s Samia and to reflect on the characters' concern with their own reputation in the face of modesty, shame and shameless, and of public and private looks and expectations.
Codex: Revista de Estudos Clássicos, 2023
Aristophanes' comedy does not present a monolithic model of comic heroism; nevertheles... more Aristophanes' comedy does not present a monolithic model of comic heroism; nevertheless, it is possible to detect a considerable number of recurrent common features in its protagonists — among others, an admirable courage, responsible for the agency of social change that comedy normally procures in consonance with the audience's desires. This exemplary courage is based on a total lack of fear (aphobia) that the discourse takes care of underlying in images and metaphors of a warlike nature, in which the protagonist is assimilated to a brave warrior. In this direction, this paper proposes to investigate the role of fear in the characters of Aristophanic comedy whose protagonism has been questioned or controversial, as in the case of Agoracritus in Knights or Strepsiades in Clouds. Likewise, given that fear is a politically inspired emotion, and ancient comedy aims to educate its audience politically, we will ask about the advice about fear that comedy intends to give to its audience.
Codex: Revista de Estudos Clássicos, 2023
O último número de Codex trouxe a primeira parte do Dossiê A emoção no drama antigo, com seis art... more O último número de Codex trouxe a primeira parte do Dossiê A emoção no drama antigo, com seis artigos dedicados à investigação da representação dos páthe na tragédia grega e romana. Agora é a vez de ceder espaço à comédia e ao drama filosófico e ao tratamento dramático de emoções tão diversas como medo, ira, vergonha, felicidade.
v. 11, n. 2 (2023) - Publicação Contínua by Codex: Revista de Estudos Clássicos
Codex: Revista de Estudos Clássicos, 2023
Resenha de "MOISÉS MAIMÔNIDES. Guia dos perplexos (obra completa). HORWITZ, Y. F. (trad.). São Pa... more Resenha de "MOISÉS MAIMÔNIDES. Guia dos perplexos (obra completa). HORWITZ, Y. F. (trad.). São Paulo: Editora e Livraria Sêfer Ltda, 2018. 535 pp. ISBN 978-85-7931-070-6"
Codex: Revista de Estudos Clássicos, 2023
Women's struggles for recognition have provided new perspectives on Aristophanes' L... more Women's struggles for recognition have provided new perspectives on Aristophanes' Lysistrata held to be the primeval perspective on Antiquity. By contrast with the importance of tragic heroines, comedies have inspired fewer works. We propose to highlight here the specificities of the relationship of women and power in Aristophanic comedy as seen by Hispanic Caribbean authors.
Codex: Revista de Estudos Clássicos, 2023
The satyr play Omphale, by Ion of Chios (c. 484-422 BC), is a dramatic representation of th... more The satyr play Omphale, by Ion of Chios (c. 484-422 BC), is a dramatic representation of the myth of Heracles and the Lydian queen Omphale. The context of the fragments and their position in dramatic structure are also briefly commented. Textual evidence suggests that the transvestism of Heracles, frequently mentioned from the late Hellenistic Period onwards, was already present in this satyr drama of the Classical Period
Codex: Revista de Estudos Clássicos, 2023
The tragedy Antigone by Sophocles is usually read in Modernity through a contrast betwe... more The tragedy Antigone by Sophocles is usually read in Modernity through a contrast between values and perspectives defended by the homonymous character and those favored by her uncle and ruler of Thebes, Creon: oikos [family] / polis [city]; female / male; religion / politics; unwritten laws / written laws; etc. Some contemporary readings even propose a positive understanding of Antigone’s attitudes, as opposed to those assumed by Creon (characterized as negative). In this paper, I advance an interpretation that is based on a philological reading of the play — also informed by anthropological studies attentive to gender issues and certain sociocultural practices — in order to problematize this type of simplified dichotomous treatment. I intend to indicate that there are some elements of Antigone in Creon and vice versa, arguing in favor of a more attentive understanding of the nuances in the presentation of these characters, as well as in Sophocles’ tragic reflection: what is at stake here is not a simple solution to the dilemmas of existence, but a problematization of the human condition, divided between family and city, female and male, religious and political commitments, striving to exist.
Codex: Revista de Estudos Clássicos, 2023
This article proposes to discuss the construction of the elegiac persona in Propertius, st... more This article proposes to discuss the construction of the elegiac persona in Propertius, starting from the understanding of what elegiac love would be and how the elegiac poets had a systematic elaboration to sing about this feeling. For this system to work, two characters were fundamental: the passionate lover and a beloved woman, here, Propertius and Cynthia, respectively. The creation of these characters results in what Paul Veyne presents as an “elegiac game”, this game is fundamentally anchored in the notion of persona and mainly in verisimilitude and rhetorical sincerity. Therefore, the elegiac game is guided by the ambiguous relationship between what appears to be real and what is certainly fictional, and this is configured solely as a matter of style necessary for the systematics of elegiac love to take effect. In this way, both Propertius and Cynthia can be read as personae and poetic artifice.
Codex: Revista de Estudos Clássicos, 2023
This article proposes to identify elements of Aristotle's Rhetoric in the agon between O... more This article proposes to identify elements of Aristotle's Rhetoric in the agon between Oedipus and Creon, from Sophocles’ tragic play Oedipus Rex. The aim is to highlight the way in which the characters mobilize rhetorical skills, especially ethos, to conquer the Theban community to their respective perspectives. The association between the power of the word and the maintenance of justice and good governance will be demonstrated:in face of Oedipus' accusations, who finds himself desperate in search of an answer that can explain the evils that have been affecting the city, it is up to Creon to build a defense speech that can convince the chorus of his innocence. To achieve that, he presents himself as equanimous and prudent, highly valued virtues in a context marked by imbalance. Oedipus, on the other hand, sees his reputation as an enigma decipher lose strength: if he previously stood out as a knowledge authority, he now presents himself as a power authority, appealing to excesses and absurdity to mask his own ignorance
v. 11, n. 1 (2023) - Dossiê: Tragédia by Codex: Revista de Estudos Clássicos
Codex: Revista de Estudos Clássicos, 2023
O medo é uma emoção universal que funciona como síntese das atividades mentais que levam a reaçõe... more O medo é uma emoção universal que funciona como síntese das atividades mentais que levam a reações de terror, pânico e angústia. O objetivo deste estudo é fazer uma leitura dos fragmentos da Exagoge, de Ezequiel Trágico, dramaturgo judaico que escrevia em grego, a fim de identificar como o drama helenístico trata a experiência estética do medo. Em cada um dos conjecturados cinco atos da Exagoge, o medo se faz presente com uma mesma marca de imponderabilidade. A tese do artigo é a de que a Exagoge demonstra que o medo é também uma reação a um perigo “imponderável” ou ponderável a partir não de experiências pessoais anteriores, mas de elementos externos que interagem com o estado emocional interior. Assim, o artigo pretende caracterizar a emoção do medo, em suas manifestações de caráter negativo e dissociadas do elemento estereotípico e cognitivo de experiências anteriores, a partir do exame da Exagoge, com base em cinco efeitos de amedrontamento: diante do desconhecido, o medo do imponderável; diante das divindades, o medo do sobrenatural; diante da exibição de força bruta, o medo do poderoso; diante da exibição de superioridade numérica, o medo do numeroso; e, diante do desproporcional, o medo do monstruoso.
Codex: Revista de Estudos Clássicos, 2023
Este artigo pretende verificar como se dá a presença das emoções na peça senequiana As Troianas, ... more Este artigo pretende verificar como se dá a presença das emoções na peça senequiana As Troianas, bem como compreender sua possível relação com a filosofia do mesmo autor, segundo o qual as emoções envolvem uma avaliação de aspectos do mundo (De Ira 2.1). Nesse sentido, chamaremos a atenção para duas reações afetivas específicas: a esperança (spes) e o medo (metus, timor). Ao longo de nossa leitura da peça, propomo-nos a dar destaque a passagens que evidenciam as emoções em suas diversas expressões levando em conta os seus efeitos no desenvolver da trama e na construção dos personagens senequianos. Se considerarmos a teoria senequiana das emoções enquadrada dentro das teorias antiemocionalistas (“anti-emotionalist”, Kazantzidis e Spatharas 2018) encontradas nos escritos éticos estoicos, é de se perguntar como a possível presença desses preceitos na poesia senequiana afetaria a nossa leitura e a audiência de Troades. Como resultado, constata-se que considerar a compreensão estoica e especialmente senequiana das emoções – ou seja, o modo como o elemento racional funciona como parte da concepção senequiana de emoção – é relevante para precisamente compreender a complexidade de algumas cenas de As Troianas e entender como as emoções estoicas podem funcionar na tragédia de Sêneca.
Codex: Revista de Estudos Clássicos, 2023
A ira (ὀργή, orgé), segundo Aristóteles, pressupõe um desejo de vingança explícita, devido a algu... more A ira (ὀργή, orgé), segundo Aristóteles, pressupõe um desejo de vingança explícita, devido a alguma desonra sofrida e só pode existir onde a vingança for possível. O sentimento da ira requer poder e parece inadequado ao feminino, geralmente retratado como impotente na Grécia antiga. Não é o caso de Medeia que, repleta de ira, perpetra terrível vingança contra seu marido, Jasão, que a desonrou. Das tragédias áticas sobreviventes, Medeia é a que possui maior número de ocorrências dos termos orgé e khólos (χόλος), ambos com significados semelhantes, indicando ira, cólera. Medeia pode deixar irromper esses sentimentos por ser poderosa e não meramente humana.
Codex: Revista de Estudos Clássicos, 2023
Este artigo investiga como Eurípides, em Ifigênia em Táuris, utiliza uma afecção estética que, em... more Este artigo investiga como Eurípides, em Ifigênia em Táuris, utiliza uma afecção estética que, em grego, desde os testemunhos supérstites mais antigos, foi sobretudo identificada pelo termo thauma e que abrange o que se concebe como “admiração”, “espanto” e “maravilhamento”. Partindo-se do tratamento da estrutura desse afeto em Pseudo-Longino, ele próprio ancorado em poetas e teóricos gregos do período clássico e arcaico, o foco aqui é discutir, de um lado, como já em Eurípides a estrutura dessa afecção é explorada por meio de certos termos e fenômenos (ekplēxis, apistos, muthos, reconhecimento) que foram sendo definidos como centrais em discussões epistemológicas, estéticas e poéticas em autores como Platão e Aristóteles, e, de outro lado, como essa tragédia configura a ambiguidade da afecção, em particular, em sua relação com a matéria mesma do espetáculo trágico, o muthos.
Codex: Revista de Estudos Clássicos, 2023
Transcorridos mais de dois mil anos desde que Aristóteles discorreu sobre as emoções no livro seg... more Transcorridos mais de dois mil anos desde que Aristóteles discorreu sobre as emoções no livro segundo a Arte Retórica, Charles Darwin voltou ao tema, desta vez não se restringindo a estudar as emoções apenas em suas manifestações humanas, mas também entre outros animais. Segundo Darwin, no seu livro A expressão das emoções no homem e nos animais (2009 [1872]), existem emoções básicas inatas que são expressas fisicamente da mesma forma entre os seres humanos. Entre essas emoções destacam-se a alegria, a tristeza, a raiva, o medo, o nojo e a surpresa. Valendo-me de alguns dos apontamentos de Darwin sobre as emoções, averiguarei em que medida a representação da raiva na tragédia Antígona de Sófocles combina com as descrições feitas pelo célebre naturalista britânico.
Codex: Revista de Estudos Clássicos, 2023
Sabe-se que, convencionalmente, os sonhos na tragédia grega e, de modo geral, na literatura grega... more Sabe-se que, convencionalmente, os sonhos na tragédia grega e, de modo geral, na literatura grega antiga, tendem a se realizar. São, por essa razão, percebidos como sinais divinos que o sonhador, no mais das vezes, tem de interpretar, podendo, para tanto, recorrer a um intérprete de sonhos que lhe desvende o sentido. Os sonhos e o ato de sonhar, a despeito de seu caráter exterior e não subjetivo para o homem grego antigo, provocam determinadas emoções em quem sonha. Nosso objetivo é, pois, observar quais e como certas emoções se associam à experiência onírica, mediante a análise de passagens das tragédias de Ésquilo, Sófocles e Eurípides.
Codex: Revista de Estudos Clássicos, 2023
O Dossiê "A emoção no drama antigo" reúne parte das contribuições apresentadas durante o VIII Col... more O Dossiê "A emoção no drama antigo" reúne parte das contribuições apresentadas durante o VIII Colóquio do Grupo de Pesquisa Estudos sobre o teatro antigo: A emoção no drama antigo [Em memória da Profa Dra Zelia de Almeida Cardoso], que teve lugar na Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, em setembro de 2022. A proposta do evento, como indica seu título, foi a de examinar como representou-se a emoção no teatro greco-latino e demais gêneros dramáticos. Foi também ocasião para homenagear a Professora Zelia de Almeida Cardoso, cofundadora do Grupo de Pesquisa e sua líder durante muitos anos, falecida em 2021, e, ao mesmo tempo, celebrar os vinte anos de sua criação.
v. 11, n. 1 (2023) - Publicação Contínua by Codex: Revista de Estudos Clássicos
Codex: Revista de Estudos Clássicos, 2023
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v. 11, n. 2 (2023) - D:Comédia e Diálogo Platônico by Codex: Revista de Estudos Clássicos
v. 11, n. 2 (2023) - Publicação Contínua by Codex: Revista de Estudos Clássicos
v. 11, n. 1 (2023) - Dossiê: Tragédia by Codex: Revista de Estudos Clássicos
v. 11, n. 1 (2023) - Publicação Contínua by Codex: Revista de Estudos Clássicos
especificidades textuais do diálogo e sobre as medidas adotadas para superá las; 2) a tradução propriamente dita. Com a breve introdução, espera-se enfatizar a necessidade de uma tradução fiel ao texto grego da obra, a qual é muito importante a quem deseja se aprofundar na filosofia política de Platão e, em especial, nas Leis.
ABSTRACT : Given that the matter of justice is 3 the guiding thread of Euripidean tragedies and that the plot (understood as 'the combination of facts', sýnthesin tôn pragmáton, Aristotle, Poet. 1450a4-5) is a diegetic image of the mythical notion of Justice, the part-by-part reading of the tragedy Suppliant Women by Euripides shows that-named or not-Justice, daughter of Zeus, manifests herself in the temporal horizon of the course of events, punishing transgressions and wickedness of mortals. If Justice is divine for being one of the fundamental aspects of the world, godliness lies in the decisions and attitudes of mortals, which make them grateful to the immortal Gods. The punishment of the Gods to mortals tends to be collective before being individual, whereas the grace of the Gods to mortals tends to be individual before being collective.
ABSTRACT: In his Poetics Aristotle dismisses Iphigenia’s characterisation as inconsistent. Why does the eponymous heroine of Iphigenia at Aulis change her mind and decide to die willingly? This central question has preoccupied not only classical scholars, but receiving artists, too. How Iphigenia’s change of heart in portrayed on stage and screen affects the audience’s response to the character. Is Iphigenia a victim or a heroine (or a mixture of both)? The Greek-Cypriot filmmaker Michael Cacoyannis believed he enjoyed a special relationship with Euripides, but his interpretation was shaped by political events in Modern Greece and Cyprus in the 1960s and 70s. In his film Iphigenia (1977) the ancient tragic heroine was recast as a young girl who sacrifices herself for Greece. In Cacoyannis’ anti-war interpretation of Iphigenia’s choice she is both heroic, and the victim of male power games and irredentist ambition. Cacoyannis’ Iphigenia is a heroine of her time, as much as she is a refraction of her ancient predecessor.
Between the books IX-XII of the Odyssey, Odysseus becomes a first-person narrator and tells the Phaeacians about his misfortunes upon his return to Ithaca. Among the obstacles he founds on the way, in four different contexts he runs the risk of being devoured and some of his companions are indeed devoured. According to Most (1989), the Cyclops Polyphemus (IX, 105-566), the Laestrygonians (X, 80-134), Scylla (XII, 73-141, XII, 220-263) and Charybdis (XII, 101-110; 234-244, XII, 429-444) create a pattern of bad hospitality. Considering the similar function that these episodes have in the internal economy of Odysseus’ narrative, this article intends to analyse the singularities of each one of them and their effects in the composition of the hero’s kleos, in which the proper use of dolos is an important element.
The main purpose of this paper is to investigate, applying narratology to early Greek hexameter poetry, moments when the primary narrator, in the pursuit of his activity as a focalizer, exposes his presence in the Iliad. In order to do this, we selected excerpts of the poem in which the narrator uses evaluative adjectives or establishes a difference between his own narration and the secondary ones by means of the filter he applies. We discuss evaluative adjectives that qualify the gods and humans and how they reveal a partial narrator who makes moral judgments about the gods, their objects and actions, and the humans. A second objective is to discuss the instance responsible for the narrative: divine, in view of the invocation of the Muse in the proem and in other moments of the poem, or human, in view of the traditional attribution of the singing to Homer.
The tradition of the manuscripts bequeathed us fifty-three fragments of declaiming by Calpurnius Flaccus, as conventionally the critic has called the author of this set of declamations known as Excerpta. As to the dating of these fragments in the history of Latin literature, some information extracted from the texts themselves, as well as the style of writing and the recurrence of certain themes were used to contextualize them in the first centuries of the Roman Empire. Regarding the themes, Sussman (1994) is categorical in affirming that the portrait painted from Flaccus’ declamations, as well as the laws that govern the cases and the situations proposed for the making of the speeches, are far removed from daily life and practices forensics at the time they were written. Given this information, this article aims to show the fictional universe created by Calpurnius Flaccus through the fifty-three fragment of declamations to which we have access.
For the philosopher of science Karl Popper, The Republic is perhaps the most careful monograph that has ever been written about justice. In it, Plato works several understandings about the concept, especially in the first book, where we are presented to the false ideas of justice. Plato avoids or neglects to mention the notion that was current in his time, that is, that of equality before the law (ἰσονομία). According to Popper, this neglect is explicable by the fact that the ideal state represents what would become the totalitarian state. However, through close scrutiny of the book Open Society and its enemies, we may realize that Popper's main interest may not lie in the notion of equality, but rather in Plato's presumed criticism of what he calls "altruistic individualism ". The present article therefore aims to analyze the relevance of Popper's interpretation of the concept of justice in Plato from the first book of The Republic.
Very early on, Freud centered his argument for the universality of the Oedipus complex on a reading of Oedipus Tyrannus. But why did he insist on reading it specifically as a theatrical experience on the part of a modern audience? This article argues that Freud’s theory from the start had fused the Sophoclean play with Shakespeare’s Hamlet, deploying Oedipus Tyrannus metatheatrically as Hamlet deployed “The Murder of Gonzago” to trigger a reaction in Claudius. Freud puts us in the audience of Oedipus in order for us to sense our own oedipal guilt, confirming his theory.
During the third century B.C., when the literary drama was introduced in Rome, some poets composed the first fabulae praetextae, tragedies whose plots were based on Roman history, current events or Latin legends. Considering the production of praetextae gathered from the Roman Republic era through the Imperial period, Octavia, an anonymous drama which depicts the conviction of Nero's wife, is the only play of that genre to survive in its entirety. During the Renaissance, the Baroque and the Neoclassical period, a number of modern playwrights revisited Roman historical narratives and legends, reviving the fabula praetexta. In the 19th and 20th centuries, the Roman themes were also portrayed in novels and movies, while ancient praetextae received sequel versions. The analysis of numerous performances in São Paulo during the 21st century related to events in Ancient Roma reveals the presence of the classical culture on stage today, defying time and circumstances.
The tragedy Alcestis by Euripides and the Hesiodic myth of Prometheus have two common issues: Heracles as one of the characters and the theme of mortality as human condition. Exploring these two issues and their relationship in this tragedy can show us why Heracles is present in this tragedy, how his presence coheres deeply to the meaning of this tragedy and eventually exploring them can show us the very tragic meaning of this drama.
This paper presents an overview of the reception of Euripides incomplete tragedies in Vth and IVth centuries BC, and its contribution to our knowledge of the plots. Selected topics about performances, reperformances and influences of Andromeda, Cresphontes, Aeolus, Erectheus, Hypsipyle, Telephus and Theseus on tragic and comic poets, vase-painting and ancient commentators are briefly discussed.
Starting from the observation of the reception of Homer’s Iliad and Aeschylus’ Agamemnon in the Euripides’ Iphigenia at Aulis, this paper aims to show that this Euripidean tragedy articulates itself between a Homeric tradition –which is silent about the sacrifice of Agamemnon’s daughter– and a heritage of the Aeschylean tragedy, in which there is not only the narrative of Iphigenia’s sacrifice but also of its dreadful consequences.
This article intends to analyze in what terms the reception of the euripidean work took place in the Byzantine Empire. The Christian tragedy known as Christus Patiens will be scrutinized and questions will be made in order to clarify how a Christian piece of drama can be produced from verses of non Christian content. Through the cento, Gregory of Nazianzus (the allegedly author) proceeded to amalgamate aspects of two cultures per se dissimilar. Thus I intend to show and systematize how the euripidean verses were chosen and used in a Christian manner and I will argue that through the development of the character Mary the amalgamation of non Christian and Christian elements got its perfect accomplishment.
This article examines the staging of Euripides tragedies at the Antunes Filho Theater, namely: Trojan Fragments (1999), Medea (2001) and Medea 2 (2002). This analysis will be based on a) my observation of the videos, photos, and programs of the pieces, kindly provided by the Center for Theatrical Research (CPT); b) the interviews given by Emerson Danesi, former actor and director of some CPT pieces, c) my direct apprehension of fragmentary information from meetings I had with Antunes Filho, d) the reports of Sebastião Milaré in memoriam, e) the theatrical critique conveyed in newspapers and magazines of national circulation at the time of staging. The performances will be analyzed from the following points: a) genesis, b) context of production and c) scenic solutions adopted.
Apolo solicitou às Partes que Admeto, quando fosse morrer, oferecesse quem se dispusesse de bom grado a morrer por ele para viver depois por igual tempo. Assim se entregou Alceste, a mulher de Admeto, porque nenhum dos pais anuiu em morrer por seu filho. Não muito depois desse infortúnio, Héracles chegou e soube de um servo a respeito de Alceste, foi ao túmulo, fez Morte se afastar e cobre a mulher com vestes e reclamava a Admeto que a recebesse e guardasse, pois dizia tê-la recebido por prêmio de luta. Como ele não quisesse aceitar, descobriu e mostrou a que ele pranteava.
Argumento do gramático Aristófanes de Alceste:
Alceste, filha de Pélias, tendo consentido em morrer por seu próprio marido, foi salva por Héracles em visita à Tessália, quando coagiu os Deuses subterrâneos e arrebatou-lhes a mulher. O tratamento do mito não consta em nenhum outro. O drama foi o décimo sétimo. Representou-se no arcontado de Glaucino, no segundo ano da octogésima quinta Olimpíada.
Sófocles foi o primeiro e Eurípides o segundo com As Cretenses, Alcméon em Psófida, Têlefo e Alceste. O drama tem reviravolta cômica. A cena do drama situa-se em Feras, uma cidade da Tessália. O coro se compõe de anciãos nativos, que se apresentam compassivos com o infortúnio de Alceste. Apolo diz o prólogo.
O drama é satírico, porque se volta para a alegria e prazer, à margem do trágico. Repelem-se como inadequados à poesia trágica os dramas Orestes e Alceste porque começam por infortúnio e terminam com felicidade e alegria, o que é mais assunto da comédia.
Drama representado em 438 a. C.
As personagens do drama:
Apolo
Morte
Coro
Serva
Alceste
Admeto
Eumelo
Héracles
Feres
Servo
Abstract: The plot of Heracles tragedy by Euripides is composed of three parts: in the first one, Heracles' family is under threat of death by the tyrant Lykos and anxiously awaits the return of the hero from his latest mission; in the second part, Heracles returns and kills the tyrant; and in the third one, Heracles – possessed by Lyssa – kills his own family, and when he regains consciousness of his terrible deed, he plans to commit suicide, but he is persuaded by his friend Theseus to accept his misfortune and endure the pain of living under the weight of his fault. Traditional criticism has seen lack of unity in this composition by juxtaposition. In this paper, we intend to show it is possible to see the unity of this tragedy in the perfect interweaving of the question of justice and dialogue with Numen. And, naturally, try to answer what notion of justice is shown in the development of the plot, and how this notion intertwines with Numen's interlocution.
Abstract: In this article, we investigate the relations of love and power led by the women depicted by the Latin poet Publius Ovidius Naso in the Augustan Vrbs. To that end, we take as our source Ars Amatoria, a series of elegies written by the author between the years of I BC and I AD. In this context, our objective is to comprehend the poet's support of and tensions against the emperor's will. We reason that Ovid did not confront, publicly and explicitly, the ruler's power and his program of Moral Reform, but, at the same time, he proposed advice that promoted conflicting behaviors to the reformulation of social customs.
Abstract: This article proposes the analysis of the dreams that occur in Chariton's Chaereas and Callirhoe (I AD). The dream is present in Greek literature since the Homeric poems, which attests to its relevance in culture and in the imaginary. The nine dreams reported in the novel will be examined from a narratological perspective, also taking into account the cultural context and the Oneirocritic, of Artemidoro (II AD).
Abstract: The Chaldean Oracles are a series of verses in hexametres which flourished in second and third centuries A.D. and are the first evidence of theurgy, doctrine which featured in the development of all the Neoplatonism since Porphyry. The verses were gathered from quotations by Neoplatonists like Proclus, Damascius, Psellus, and Plethon, for whom the doctrine of the Chaldean Oracles was familiar and composed, together with Hermeticism and Gnosticism, the " underworld of late Platonism ". The Oracles are known for searching for the salvation of human soul through divine inspiration and traditional rituals; the theurgists made use of a symbolic language and magical words in order to invoke divinities from whom they received the oracular messages in trance, a conception that challenges the Hellenistic rationalism of that time. The Oracles are considered the last vestige of ancient paganism. The Neoplatonist Iamblichus is an important source for understanding the doctrine since he wrote a work in defense of theurgy which was preserved.
Abstract: Aristophanes presents, in Knights, the political dispute between two opponents to rule the People's House and reveals cunning meanders to come and stay in power. In this article, it is analyzed the relationship between the historical reference and aesthetic elaboration from i) the characters and Athens' everyday political; ii) poetic creation and/or portrait of daily life?; iii) the comic action: reality reflected in the mirror of comedy; and pondering Aristophanes' construction in the correlation of structure and content to potentiate the theatrical play. Thus, it is possible to see the foundational relationship between comedy and subjects that move the city such as politics and theater, demonstrating that the spectator is a fundamental part in the political and theatrical acts. Even though it happened many centuries ago, that comedy evidences the theme pertinence and characters conformation, revealing the political environment deterioration, easily identified by the contemporary reader/spectator.
Abstract: This paper aims to present a translation of the Proem to the sixth book of Institutio Oratoria by Quintilian, analyzing the rhetorical strategies used by the author to move the audience through his narrative. In the Proem to this book, which concludes the first half of the work, Quintilian exposes the dramas of his personal life and cries out for the premature death of his wife and two sons, in a tragic and involving narrative, strongly marked by the pathetic tone. Based upon the study of the original Latin text, the Aristotelian influences and the previous studies of the researchers that had already focused on this matter, we will try to put under suspicion the prerogative that the proem would be only a public outburst written by Quintilian about his own tragedies, as the empirical author. In order to do so, we will attempt to point out some textual evidence that allows us to confirm that the Proem of this book also stands as a rhetorical exercise for the application of the lessons prescribed throughout his rhetorical manual, particularly regarding the manipulation of emotions.
Abstract: The main scholars that analyzed Sophocles’ play, Oedipus the King (S. OT), in which Oedipus figures as the supreme ruler of Thebes, suggest that the determining feature of this character would be a kind of fundamental ambivalence or duplicity. In this sense, Oedipus would be actually not only one, but two. Assuming this characterization as typical of the tragic discourse (as Jean-Pierre Vernant suggests), we intend to demonstrate that an aggravation of something of that order undermines the unicity of this mythos, as well as its characters and their speeches, since even its protagonist is split in two different figures (who are in a certain way antagonistic). The objective of the present paper is to pay attention to the complexity of its plotting – in its different stratagems to proportionate space-time displacements, tense situations, expressions of dubious content and of undecidable value – with which the crescendo in the tragic significance of the drama is developed, up to its dissolution in the scene where a more profound truth is revealed in a blinding and violent splendor. The conflict between the duplicity of human reality and the univocity of divine speech reaches a paroxysm that was recognized as such even in Antiquity and that is responsible for making this piece, in the opinion of many people, Sophocles’ masterpiece, perhaps the masterpiece of all classical Greek tragedies.
Abstract: The present article investigates the notion of prólepsis (πρόληψις) in the philosophy of Epicurus from the terms employed by Diogenes Laertius in paragraph 33 of the 10th book of Life and doctrines of the illustrious philosophers. The term prólepsis is a neologism of Epicurus, as Cicero put it, and that, to explain it convincingly, Diogenes Laertius resorted to other terms consolidated in the philosophical tradition: katálepsis, dóxa orthé, énnoia and katholikè nóesis. According to Epicurus, prólepsis is a mnemonic retention (µνήµη) formed empirically from what affects the senses (αἰσθήσεις) and consists of several experiences experienced in the course of time, that is, a plurality of experiences that left marks (τύποι) in the psykhé to be actuated by the understanding (διάνοια) whenever necessary. Much to its philosophy, prólepsis, as the second " criterion of truth " (κριτήρια τῆς ἀληθείας), guarantees the passage of the sensibility to the understanding, thus legitimizing the capacity to produce " confirmed " (µαρτύριον) knowledge.
Abstract: Busiris is one of Euripides incomplete satyr plays and its date is uncertain. This paper contains an overview of myths on Busiris and Heracles, his iconography, a Portuguese translation of testimonia and known fragments, and a conjectural reconstruction of the satyr play, based on scanty available data.
Resumo: O tema da " identidade " na Nemeia 10 de Píndaro parece não ter sido tratado com suficiente atenção pelos estudiosos, que apontam, sobretudo, os tópicos da amizade, lealdade e comunicação entre deuses e homens como os tópicos essenciais desta Ode. Este trabalho sublinha a importância do tema da " identidade " na Nemeia 10 de Píndaro. Nesta Ode, Píndaro enfatiza que a tradição e os traços inatos que constituem a identidade de uma pessoa ou cidade são resultado não só de herança, mas também das escolhas pessoais feitas em relação aos outros homens e aos deuses. Ela destaca também a intervenção dos deuses na definição da identidade de uma pessoa ou cidade e na concessão de glória e imortalidade.
Abstract: Starting from the description of the Engastrimythes contained in a passage from the fourth book of " La vie de Gargantua et de Pantagruel " by F. Rabelais (1552) and referring back to recent studies in the Greek context, the article proposes a brief investigation about " ventriloquism " in the Late Latin and Medieval period, showing semantic developments and specializations of the term and then focusing the attention to the critical watershed provided by a chapter of the Caroli Magni Capitulare de imaginibus until reaching the threshold of the Renaissance.
Abstract: Recent scholarship on the pseudo-Virgilian Moretum has discussed more than its authorship. Nowadays, it focuses instead on the poem's intertextual relationships with other classical texts. This paper aims to offer a general view of these recent studies, addressing some possible interpretations for the interrelationships between the Moretum and authors such as Vergil and Ovid. It enumerates a few common features of the Appendix Vergiliana poem and Vergil's works and compares other characteristics to a theoxeny scene in Ovid. At the end we present the Latin text, discuss some of its corrupt passages and give a translation of the poem into Portuguese. In this translation, we use the so-called " hexameter in Portuguese " model, which tries to emulate the rhythm of the Latin hexameters through the contrast between stressed and unstressed syllables in Portuguese.
Abstract: This work has as its main aim to present the exposition of the διαστάσεις that Aristotle does in De Incessu Animalium (IA). At this treatise, they are described through the exercise of the soul's functions of each group of a living being, establishing a dependent relation between the dimensions and the powers of the soul held by a given living being. Therefore, it is about understanding, in a general view, how the function of soul of a living being subordinates its structure, or, in other words, how the effective actualization of a living being brings about the manifestation of these dimensions. Moreover, there is an exact correspondence between the dimensions and these functions in the human body, setting it, thus, as a model from which the other bodies may be described. In this manner, the limits of the dimensions are manifested through the functions of the soul whose distinctions are found, above all others, in man.
Abstract: The Georgics (37-30 BC) constitute a poem about rural life and various agricultural activities: the cultivation of cereals, arboriculture (especially the cultivation of the vine), herd rearing and beekeeping. Each of the four books that compose the work describes a specific activity, through didactic discourse eminently. Throughout the work, however, there are several digressive passages, in which the poet narrates about other themes, usually of a religious, mythological and philosophical nature. One of these passages, known as Laudes Italiae, verses 136 to 176 of the 2nd book, constitutes a true hymn of praise to the Italian lands. We try to verify the relevance of some themes treated in the mentioned verses, considering, mainly, Georgics' context of production, and trying to understand its meaning within this didactic poem
Abstract: The purpose of this paper is to show how Plato did not have, at a glance, the poet as his main opponent: as Havelock wishes to prove, Plato's problem is not only a quarrel about orality in poetry against the lettered intellectual. Thus, it is important to notice that in Apology of Socrates, Plato proposes to illustrate the difference between Socrates' philosophein and the activity of the nominated sophistai, as seen that in The Clouds by Aristophanes the Socratic character is presented as a sophistes. However, we cannot forget that in the Fifth Century the words philosopher and sophist had a similar meaning. The aim of this study is, though, to discuss that in Herodotus, when Croesus and Solon meet, it is possible to differentiate the philosophical from certain sophistical activity and Plato probably used this distinction in certain passages in his work to highlight Solon as a singular wise man apart from the others. Hence, there would be a possible diversity of erga in the investigation in order to gain a knowledge. It would be, thus, less of a distinction between the poet of oral culture and the intellectual philosopher what Plato would aim to do immediately, but above all, through the theoretical knowledge, to justify rationally the most beautiful human actions.
Abstract: In Aeneid’s book IV, Virgil makes use of elegiac topics while narrating Dido and Aeneas’ ill-fated love, inserting these topics into the epic genre. Some key characteristics of elegiac lover, such as the furor by which he is taken when injured by Cupid’s dart; lover’s idleness; the mala fama that emerges from the love affair; and, lastly, the misera condition in which the lover is thrown to, always followed by a lament; all these has shown to be present in Aeneid’s book IV. So, in addition to evincing how epic genre, without losing its formal rigour, subsume other genres, in this case the elegiac one, this article observes how this procedure takes part in both Vergil’s intra-narrative and extra-narrative purpose when composing Aeneid. In the first case, if we bear in mind that books I to VI are concerned with the construction of Aeneas’ heroic ἦθος, the hero’s denial in staying together with the queen confirms, once again, his destiny, which is Rome’s foundation, that is conventionally of an epic hero – and not of an elegiac lover. As for the second one, it is first important to be aware of Vergil’s aim when composing Aeneid, which is to insert Rome’s history into a myth, which is the elegiac poem itself. Therefore, Dido’s abandonment and her following imprecation in verses 590-640 are used by the poet to justify, even if ironically, Carthaginians’ rivalry and violence against Romans throughout the Punic Wars, putting them as the result of a woman’s love frustration.
Abstract: Epideictic rhetoric was an important literary movement in Roman imperial times and it was an essential part of the superior education in Late Antiquity. Despite being educated in this system, Saint Gregory of Nyssa reveals himself quite detached from this literary practice in his written works, culminating in the first chapter of his treaty On Virginity with the complete denial of any use to rhetorical praise (encomium). This paper examines the opinions Saint Gregory express in his Works and how they point to the development of a Christian rhetoric.
Abstract: This article will seek to identify the political characteristics of the Athenian hero Theseus in Bacchylides' dithyrambs 17 and 18 and in Euripides' The Suppliant Women. I will argue that elements of Athenian democracy can be traceable in these poems by two main aspects of the hero: his bellicosity and his benevolence towards the weak. These two attributes shall be the fundamental principles to shape a democratic Theseus, such as will be seen mainly through the above cited Euripides' play. I will show that Bacchylides' dithyrambs 17 and 18, by their turn, can be located in the beginning of a particular poetic tradition related to Theseus that settle its basis along with the Athenian democracy.
Abstract: This paper aims at offering a brief picture of the state of the teaching of Latin in Brazil, commenting on current perspectives on the field and offering an etymological approach to Latin teaching, with the goal of expanding the students' vocabulary in Portuguese. While it does not agree with the fallacy that it is necessary to learn Latin to know Portuguese well, it does propose a shortcut to vocabulary acquisition, since it does not seem to come naturally to all students of Latin that the roots of this language have derivations in Portuguese, being helpful to incorporate some activities that demonstrate such evidence in the classroom, for the benefit of students.
Abstract: The study of the period known as the Second Sophistic, thus coined by Philostratus the Elder, has been swiftly rising in academia. As sophistic rhetoric is rehabilitated in the study of philosophy and literature – a significant movement in academia since at least the 1960s – the comprehension of early-Roman Empire literary practices and its auctoritates is being modified, leaving behind long-lasting stigmas. This study aims at compiling the most relevant aspects of sophistic practice during the period, gathering the most important scholarly contributions to it, in order to introduce the reader into one of the most proficient epochs of Roman history through the approach contemporarily adopted to it.
Abstract: Socrates defends the philosophical life under the threat of death penalty in four Dialogues by Plato: Gorgias, Apology, Crito and Phaedo. The latter resumes and summarizes the previous ones as to this defence. In the Phaedo, through a series of repeated and criss-crossed indications of the rhetorical and philosophical appropriation of the mythical repertoire of images, death becomes metaphor of knowledge, the body becomes metonymy of the sensible, God Hades metaphor of the intelligible and the Gods antonomasia of ideas or intelligible forms. If the sense of this appropriation were taken into account in the reading of the dialogue, its understanding would, in my point of view, undergo a turnaround and become much more philosophical.
Palavras-chave: Cacá Diegues; recepção da cultura clássica; bandido social; traficante de drogas
Abstract: The Orpheus myth was reworded several times by the Brazilian cinema. The intention is to compare the katábasis produced by Carlos Diegues to Marcel Camus, with Orphée Noir (1958), in two moments, A cidade grande (1966) and Orfeu (1999). The social bandit and drug dealer are central characters to produce different compositions of hell made by Diegues.
Abstract: In many elegiac poems by Ovid, the lyrical self seems to be aware of its literary existence, from the intertexts present in the Roman tradition. In other cases, the elegiac persona seems to (re)live experiences close to his/her mythical-literary reality. Thus, this study, on the one hand, intends to describe how the pronominal construct [ille + noun] assists in the development of the elegiac thematic axis of the recordatio; On the other hand, in the light of postulates concerning to the allusive art and intertextuality, it attempts to demonstrate how such textual (external) revivals contribute to the (internal) signification of Ovid's poems.
Abstract: The Orpheus myth was reworded several times by the Brazilian cinema. The intention is to compare the katábasis produced by Carlos Diegues to Marcel Camus, with Orphée Noir (1958), in two moments, A cidade grande (1966) and Orfeu (1999). The social bandit and drug dealer are central characters to produce different compositions of hell made by Diegues.
Abstract: In this article, we discuss some aspects of rhetoric and philosophy in the work Epistles of Horace. According to the education received by Romans and the way of conceive the literary artifact in the first century BC, we sought to demonstrate that in this book Horace used the deliberative speech to compose the scenography of his poems and also that the persona constructed by Horace can be seen as that of a poet-philosopher.
Abstract: Considering the concept of homosexuality in the ancient Rome, we attempt to analise how Cicero expose the Mark Antony's " homosexuality " in his second Philippic. This speech is characterized by political and, mainly, personal accusations from Cicero to Mark Antony, and the Mark Antony's passivity in his intercourses can be considered a topos of this invective speech.
Abstract: The article examines the fragmentary P. Dura 33, parchment text found during the excavations of 1921-1922 in the Syrian city of Dura Europos, investigating its form, content and nature and inserting it into the context of the acts of marriage and divorce of Dura. The analyses carried out on the document, which could therefore be considered as a sort of " reserved " inventory of objects, would highlight its peculiarities and differences within the context investigated.
Abstract: The article examines the fragmentary P. Dura 33, parchment text found during the excavations of 1921-1922 in the Syrian city of Dura Europos, investigating its form, content and nature and inserting it into the context of the acts of marriage and divorce of Dura. The analyses carried out on the document, which could therefore be considered as a sort of " reserved " inventory of objects, would highlight its peculiarities and differences within the context investigated.
Abstract: Around 390-80 BC, the Athenian Isocrates composed one of his first speeches as an educator, the Helen. According to most scholars, this speech seems to be a replica to the famous Eulogy of Helen by Gorgias, which, according to Isocrates (§14), would have made not an encomium, but an apology on behalf of the Spartan queen. In the Isocratic encomium, we noticed some dissonance between the proemium and the rest of the work. In fact, we do not have in the proemium the expected laudatory tone, but it is configured, on the contrary, as an invective to sophists groups contemporary of Isocrates, and culminates in the end with an allusive criticism of the Leontine sophist. Thus, what the IV century BC sophists have in common with the mythical Helen? In other words, would there be a common thread that would ensure a discursive unity in that epideictic exercise of Isocrates? This study aims to discuss these issues and review how they are being discussed by some commentators of Isocrates, since the Rhetoric of Aristotle to the reception of the matter among some scholars of Classical Rhetoric in the XX century.
Abstract: This paper presents some introductory questions to seven invisibility papyri. The analysis is based on some of the divinities / entities that appear in the spells. The appendix contains two translations of the material.
Abstract: This paper thinks the Satyr Drama as the theatrical reverse of the Tragedy. As a theatrical form inserted in the " Tragic Festivity " , the function of the Satyr Drama cannot be analyzed separately from the Tragedy and it is proposed that the contrast with this major genre is a correct mode of analysis, given the scarcity of available sources. Drawing from the analysis of the humorous implications of language, ópsis and gesture, this paper proposes that the Satyr Drama operates fundamentally on the emotions provoked by the tragedies that, in classical times, preceded it in the performance. This way, it is affirmed that, by distancing the emotional power of tragic emotions, the satirographer can offer a space of laughable relief in which some tragic topics are represented from a humorous perspective.
Abstract: This paper presents an original translation into Portuguese of that which could be considered the first book of dreams: book IV of hippocratic treatise De victu. Following the translation, some considerations on the book composition and chapters, emphasizing some key concepts that guide the translation hereby presented. Dream interpretation on this treatise can be understood as a method of body knowledge. Body disorders are mapped, coded and decoded into images that respond to a micro-macrocosmic relation, defined by the treatise author as an apomímesis toû hólou. Dream imagery in this treatise configurates a specific semantic field of the iatrikè tékhne, differenciating itself from others tékhnai that also make use of dreams.
Abstract: Historical perspective has been recently revalued by the field of Linguistics. However, the appropriation of past elements in order to make a sort of 'History of this discipline' has not always been carried out taking into account any methodological and theoretical aspects involving the reading of an ancient text. In this paper, we aim at giving our contribution to designing some methodological and theoretical aspects which must come out whenever dealing with metalinguistic treatises from ancient times, as well as reflecting on possible contributions that the Classical Studies can effectively provide to the Historiography of Linguistics.
Abstract: With the present study, we aimed at analyzing how Pliny, the Younger, represented himself in his Letters, with the aid of the concept of éthos. Throughout the analysis, the letters were divided into four categories: a) direct speech about himself; b) self-compliment through third parties' speech; c) description of events as an excuse to use his own behavior as a role model and d) desire of surviving posterity. We also discuss Pliny's epistolographic writing as possibly written to intentionally amplify his own literary impact as an author.
Abstract: Diodorus Siculus, a historian that lived in the first century before the Common Era, wrote a work entitled Library of History constituted of forty volumes from which remained intact only the books I through V (fragments of the books VI through X), and from the books XI through XX (fragments of the books XXI through XL). The author wrote in this monumental work of universal history since the primordial times (including Egyptian history, barbaric peoples history, Greek and Roman history) through his own (last date mentioned by Diodorus concerns the Tauromenion colonization that took place during the reign of Octavian [XVI, VII, 1]). However, Diodorus has never been considered, not even on his own time, nor in the eras after that, an original historian: His writings were considered an inexorable copy of others authors. The focus of this controversy in modern times (starting in the XIX century) was the Quelleforschung (sources research) that intended to search on the diodorian texts for lost authors (that he explicitly quotes in his Library) from the Hellenistic era as if they were solely copied. This research aimed to reclaim the originality of the Library of History seeking to confer to its author the authorship of his writings. Far from being a mere copyist, Diodorus is a historian-educator that seeks to instruct his readers giving a utility character in the learning of a correct and just life.
Abstract: This paper discusses examples of the stylistic debate uses and power of discursive representations in some of historians, retors and in the most significant treatises of the Iberian and Italian seventeenth century, as Cabrera de Córdoba (1619), Manuel Severim de Faria (1624), Frei Vicente do Salvador (1630), Famiano Strada (1632) and Agostino Mascardi (1636). Therefore, the seventeenth-century Controversy acute style in History restores the old Controversy of styles.
Abstract: This paper aims to analyze the odes I, 25 and III, 9, of Horace, considering their intrinsic relationship with the ancient rhetoric and orality. In this observation it will be required [a] the translation of both poems and [b] a small exposure of the presence of orality on roman poetry, attempting to the connection between the second ode and the carmen amoebaeum.
Abstract: To explain the apparent contradiction between barbarism and civilization that involved the description of the sertanejo written in Os Sertões, Euclides da Cunha uses various elements of Classical Antiquity, for example, the narrative of the battle of Teutoburg. My research is to examine how and with what motivations writing Euclidean uses the classic descriptions of the ancient Germanic people and their conflicts with the Romans.
Abstract: This paper deals with the following topics of the sceptical philosophy of the Pyrrhonic kind: ethics, language and epistemology, as thought by the Alexandrian medic of the second century A.C. Sextus Empiricus, which was the main exponent of the Pyrrhonism. We use the interpretations of Myles F. Burnyeat, Michael Frede and Jonathan Barnes to elucidate the problem of the practical viability of the sceptical life, which has been the main reply to the scepticism since the sceptical attack to the Stoic philosophy. Considering then the strained debate happened between the main philosophies of the Hellenistic period, we propose an investigation about how the problem of the knowledge and his acquisition articulates himself with the problems of the practical philosophy and of the sceptical's discursive attitude, this all is necessary to comprehend the Sextus' reply to the argument of the sceptical self-refutation.
Abstract: The final passage of the Panathenaicus (§ § 200-73) consists in a dialogue scene between Isocrates and one of his former pupils, a situation that supposedly preceded the speech's publication. The passage, being the only example of dialogue found in the corpus of the Attic orators, has attracted some attention from the commentators. This article examines the passage according to its form, trying to show the consequences of the introduction of a dialogue in a text that presents itself as the deliverance of an orator. To achieve this goal, I shall compare the speech with the work of the one who surely is the most representative composer of prose dialogue – Plato. More specifically, the comparison will be made with the Phaedrus, a text important not only because of its contraposition of writing text against spoken dialogue, but also because it contains the only nominal reference to Isocrates in the entire Platonic corpus.
Abstract: Throughout his pre-exilic poetry Ovid shows a keen interest in Fama/fama in all its meanings and functions: personal reputation, literary fame, literary and mythological tradition, rumour, hearsay. Ovid is obsessed with his own reputation as a poet, while he also employs Fama/fama as a source of inspiration and as a source of information on a wide variety of themes and topics. His great interest in Fama/fama culminates in his famous description of her abode in the 12th book of the Metamorphoses. The object of this paper is to discuss the use and the role of Fama/fama in Ovid's exilic poetry, written at a time when the circumstances of the poet's life changed dramatically. The poet finds himself in barbaric and uncivilized surroundings, away from the beautiful and comfortable life of the capital. The discussion of selected poems from the Tristia and the Epistulae ex Ponto will hopefully illustrate Ovid's relationship with Fama/fama.
Resumo: Este trabalho apresentado na Universidade Federal do Rio de Janeiro em 3 de junho de 2015 busca explorar as diferentes abordagens sobre as questões mais fundamentais dos estudos de recepção dos clássicos. O que é a recepção dos clássicos? E, mais especificamente, o que há de tão 'clássico' na recepção dos clássicos? O trabalho discute tendências correntes na teoria e metodologia através de uma análise de duas recepções cinematográficas da história antiga de Electra: uma que proclama sua dívida ao texto clássico, enquanto que a outra mascara suas conexões clássicas.
Abstract: This paper delivered at the University of Rio on 3 rd June 2015 seeks to explore different approaches to the most fundamental questions in classical reception studies. What is classical reception? And more particularly what is so 'classical' about classical reception? It discusses current trends in theory and methodology via an analysis of two cinematic receptions of the ancient story of Electra; one that proclaims its debt to a classical text while the other masks its classical connections.
Abstract: The rediscovery of rhetoric in an academic setting led to expansion of the hermeneutic sense aggregated to the term, revealing its potential as a theory of discourse comprehension. The aim of this article is to show a rhetorical reading as a possible approach to the historical document, by the interpretation of the Persian War´s proem, written by Procopius of Caesarea, in the sixth century AD.