La expresión de la causa en Homero con referentes humanos

Myrtia Revista De Filologia Clasica, 2008

Resumen: De los 68 símiles que aparecen en los Carmina, 12 están inspirados en la Ilíada. En este artículo se analizan en el apartado 1 cada uno de ellos en su contexto, viendo cómo Horacio los recoge, adapta e incluso los convierte en modelos para otros géneros; cuando es pertinente se hace discusión de la transmisión del texto. En el apartado 2 se recapitulan los temas y partículas introductorias, nada significativas con relación al modelo homérico y en el 3 se estudia la adecuación de los símiles a la teoría retórica antigua. Summary: Of the 68 similes that appear in the Carmina, 12 are inspired on the Iliad. This paper analyzes each of them in its context, examining the way Horace receives and adapts them, and how he achieves to convert them in models for other genres. In the points it becomes pertinent, transmission of the text is discused. On the other hand, subjects are summarized and too the introductory particles, not significative in relation with the homeric model and finally it is examined the adequacy of the similes to Ancient Rhetorical Theory.

Argos, 2020

El sustantivo πραπίς / πραπίδες presenta diversos usos en los poemas homéricos, de acuerdo con diferentes campos semánticos que van desde lo anatómico a lo cognoscitivo. Desde la Antigüedad se intentó clarificar el sentido básico del término, equiparándolo con los distintos campos semánticos que comprende elsustantivo φρήν / φρένες. El término no aparece nunca en singular (πραπίς) en los poemas homéricos (y es raro también en la literatura posterior) sino siempre en plural (πραπίδες). Este trabajo pretende clarificar, en general, la significación del término y, en particular, el sentido que adquiere cuando es empleado en singular, apelando tanto al recurso de reconstrucción de una hipotética raíz indoeuropea como a conceptos de la teoría cognitiva-prototípica como los de conceptualización, metonimización, metaforización y modelización.

Circe, 2022

This paper explores aspects of what I shall call pity or compassion in Homer (especially Iliad 24) and Aristotle (especially the Rhetoric), but nothing very much hangs on the precise terminology. The phenomena covered by terms such as "compassion" , "sympathy" , "empathy" , and "pity" (and their analogues, where they exist, in other languages) constitute a family in which resemblances are often really rather close in practice (even if particular members of the group pass in and out of fashion and take on a range of different connotations at different periods and in different contexts). In concentrating on the theory and practice of literature, I am not offering a synthetic account of ancient Greek pity; instead I focus, in the main, on just two authors, Homer and Aristotle, and proceed primarily by means of a confrontation between the representation of pity in the final book of the Iliad and the theorization of that emotion in Aristotle's Rhetoric and Poetics. I begin with Homer, but immediately bring the Homeric narrative into relation with Aristotle's account of pity in the Rhetoric. This will lead to some thoughts on the nature of pity and compassion in Homer in general, before we return to the contrast between Homer and Aristotle (with emphasis on the Poetics), a contrast that is in some ways underscored by certain differences between Aristotle and Plato on the emotional effects of epic and tragic poetry. A particular focus will be Aristotle's linkage of pity with the kind of thing that one would fear were it likely to happen to oneself, by contrast with the connection in Homer and Plato between pity for others and the experience of grief, both one's own and that of others.

A Ítaca desde el Guaviare. Viaje al posconflicto colombiano desde los poemas de Homero, 2019

Revista De Filologia De La Universidad De La Laguna, 1998

The glosses that appear in the Epimerismi Homerici offer different methods to express semantic relationships (words def initions, distinction of synonyms, and polysemy). This paper is centered, precisely, upon the study of those mechanisms.

Of the 68 similes that appear in the Carmina, 12 are inspired on the Iliad. This paper analyzes each of them in its context, examining the way Horace receives and adapts them, and how he achieves to convert them in models for other genres. In the points it becomes pertinent, transmission of the text is discused. On the other hand, subjects are summarized and too the introductory particles, not significative in relation with the homeric model and finally it is examined the adequacy of the similes to Ancient Rhetorical Theory.

2016

This paper challenges the model elaborated by Patrick Geary for understanding conflict in medieval society, focusing our study on the Kingdom of Leon. Through the analysis of the conflicts between the Benedictine monastery of Sahagun and local laity during the 11th and 12th centuries, we will evaluate two ideas underlying that model: first, the conception of conflict as a mechanism for the regulation of social relationships; second, the ahistorical nature of disputes, uncoupled from the processes of social change in which they take place.

15. Cuentan que Homero, obligado por la necesidad, estuvo mendigando por la Hélade. Y piensan que es imposible que un hombre en tal situación no propale embustes para deleite de quienes recibía dádivas (…). 24. después de que Homero decidió contar la guerra de los griegos contra los troyanos, no comenzó de forma rectilínea desde el principio, sino allí donde le deparó el azar, y este mismo comportamiento lo observan los mentirosos: tuercen y retuercen los argumentos y no quieren exponer nada ordenadamente, porque de esta manera no son descubiertos tan fácilmente (…).