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DREPTATEA LUI ZEUS ÎN PROMETEU ÎNLĂNȚUIT

Author(s): Matteo Taufer / Language(s): Romanian Issue: 1/2015

Many modern scholars have expressed different doubts about the authenticity of Aeschylus’ Prometheus Bound, especially because of the problematic theodicy of this play. This paper urges caution (the other two plays of the trilogy survive only in too scarce fragments) and shows the ambiguity of some key concepts (‘justice’, ‘stubborness’, ‘newness’) as well as of destiny’s deities in PV

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LA MÉTAMORPHOSE DU VIN DANS LES DIALOGUES PLATONICIENS

Author(s): Magdalena Indrieş / Language(s): French Issue: 1/2015

In this study, we have tried to demonstrate the importance and the change of the significance of wine in two of Plato’s dialogues : The Symposium and The Laws. In the first dialogue, wine is a drink revealing truth and a touchstone for temperance. In the second one, it becomes fire for young people and medicine for old men. There wine is good only used moderately. The change of its significance reflects the great Greek philosopher’s evolution of thinking

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The Placement of Lucian’s Novel True History in the Genre of Science Fiction

Author(s): Katelis Viglas / Language(s): English Issue: 1/2016

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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ἦ μάλα θαῦμα κύων ὅδε κεῖτ᾽ ἐνὶ κόπρῳ: THE ANAGNORISIS OF ODYSSEUS AND HIS DOG ARGOS (HOM. OD. 17, 290–327)

Author(s): Magnus Frisch / Language(s): English Issue: 3/2017

In the Odyssey, there is a description of Odysseus being recognized by his age-old and decrepit dog Argos, whom he had reared and trained himself before his departure for Troy. This so-called Argos episode (Od. 17.290–327) is still famous today. It has been continuously treated by generations of scholars from antiquity to our time and served as an inspiration to both the visual arts and literature. The present article deals with the function and intended effects of the Argos scene. After a brief synopsis of the position of this scene within the Odyssey as well as of its content and structure, the author discusses the role of dogs in the Iliad and the Odyssey. The focus of this article lies on the interpretations of the Argos scene, suggested by scholars so far, and on their review by means of a close reading to check their plausibility.

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ANIMALS AS PART OF THE COMPOSITIONAL STRATEGY IN ARATUS’ PHAENOMENA

Author(s): Paulius Garbačiauskas / Language(s): English Issue: 3/2017

This paper is focused on the compositional features of Aratus’ Phaenomena and the poet’s strategy in proportioning astronomical and meteorological material. Apparently uneven as they are, two principal parts of the poem pose certain difficulties regarding the general importance of the meteorological signs and their relation to the astronomical ones. It seems that animals, playing their role in both parts of the Phaenomena, and both types of visible signs (i.e., as virtual shapes of heavenly bodies and real, terrestrial creatures) can provide a certain integrating key and better understanding of the poet’s strategic decisions in shaping the Phaenomena as a solid and seamless peace of poetry.

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Father, Womb, Blood: Apollo’s embryological theory, the ethics of revenge, and the supposed exclusion of women in Aischylos’ Eumenides

Author(s): Johan Tralau / Language(s): English Issue: 3/2019

In Aischylos’ Eumenides, Apollo intimates a theory according to which the father is the sole genetic parent of the child. The status of this conception, and whether it is depicted as an outlandish idea, has been much and inconclusively discussed. This paper considers a neglected piece of evidence: Apollo’s use of the very unusual word αὐτάδελφον when addressing Hermes. In light of the Greeks’ awareness of this etymology as well as the other instances of this rare word in tragedy, the author argues that Aischylos’ text highlights the etymological connection to δελφύς, the womb, thus evoking the role of the mother. This suggests that Aischylos subtly lets his, and Apollo’s, language rebel against the notion of merely paternal kinship, and the concomitant ideas about revenge, retaliation and children’s obligations to their parent.

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Parmenides and M. Karagatsis (Reflection of Myth in Fiction)

Author(s): Fatima Eloeva,Yury Romanenko,Oksana Goncharko / Language(s): English Issue: 3/2020

The paper aims to show some structural parallels between the concept of motion as developed by Parmenides (5th c. BC) and the expression of the phenomena of motion in the story A Solitary Voyage to the Island Cythera by the Greek writer M. Karagatsis (1908–1960). The novelette of M. Karagatsis is interpreted as a parmenidean “motionless motion” reflexion. It is argued that M. Karagatsis’s story is structurally and essentially related to the Parmenidean poem On Nature, treating the consideration of motion as one of the impossible properties of being; and more obviously refers to certain poems by Constantine Cavafy (1863–1993), which also contain the idea of the meaninglessness of the difference between κίνησις and ἀκινησία. Thus, the concepts of κίνησις and ἀκινησία in the story by M. Karagatsis echo both the Parmenidean ideas and the Cavafy’s images of movement.

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Severin the Walker and his Dark Path: Declinations of the Act of Walking in Paul Leppin’s Severins Gang in die Finsternis

Author(s): Maria Diletta Giordano / Language(s): English Issue: 12/2021

his paper investigates the themes of walking and wandering in Paul Leppin’s novel Severins Gang in die Finsternis by analysing their occurrence and aesthetic connotation. The act of walking and the exploration of urban landscape are strongly present in the novel, which is set in Prague and is characterised by several depictions of the milieu; therefore, the text has been analysed from this angle in numerous previous studies, mainly mentioning the elements of flanerie appearing in the narration. The present study discusses the problematic aspects in defining the protagonist of the novel as flaneur, suggesting alternative interpretations that can describe the aesthetic experience of Severin’s walking more exhaustively. The analysis mainly follows Francesco Careri’s research on the aesthetics of walking, which are summarized in his work Walkscapes. Walking as Aesthetic Practice. Following the same methodological approach, the paper also analyses occurrences of the act of walking other than Severin’s walkabouts, focusing especially on the presence of processions throughout the text.

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Some loose ends in the analysis of the forms ἔθηκε(ν) and θῆκε(ν) in the Iliad: the exceptions, the compounds, the link with Mycenaean and the origin of the augment

Author(s): Filip De Decker / Language(s): English Issue: 3/2020

In the final part of the investigation into the use of the (un)augmented 3rd singular forms ἔθηκε(ν) and θῆκε(ν) in the Iliad, I focus on some loose ends, such as the enjambments, the compound forms, the formulaic nature of the epic language, the subordinate and negative sentences, and on some thornier issues such as the exceptions to the rules and the Mycenaean te ke and do ke and what this can tell us about the original meaning and origin of the augment.

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ГЕРОД МИМИАМБ VI «ПОДРУЖКИ, ИЛИ ОДИНОКИЕ»

Author(s): Timothey Myakin / Language(s): Russian Issue: 1/2021

The present publication contains the first translation of VI Herodas’s mimiambus into Russian. The Herodas was a Hellenistic poet of the third century BCE, whose eight mimiambos have been preserved on a papyrus of the first century CE. The commented translation is based on the authoritative editions of O. Crusius (1914) and J. Cunningham (1971).

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МАКСИМ ТИРСКИЙ О СОКРАТИЧЕСКОЙ ЛЮБВИ (OR. 20–21)

Author(s): Alexei Garadja / Language(s): Russian Issue: 1/2021

Maximus of Tyre (fl. late 2nd century AD) is most poorly and confusedly attested by ancient sources. The best testimony to be found is his extant collection of 41 Orationes, or Dissertationes, addressing a wide range of topics, including the issue of ‘Socratic love’ (Or. 18–21), i.e. of Plato’s theory of eros dealt with by the latter, imprimis, in his dialogues Symposium and Phaedrus. Maximus of Tyre may be dubbed a ‘Platonist’, though not in a scholastic vein (as, e.g., his contemporary and sometime neighbour in the manuscripts Albinus), but rather as an author who strived to mould his own writings in the spirit and style of Plato’s works. The author closest to Maximus may have been Favorinus of Arelate (ca. 80 – ca. 160). As a widely educated person, Maximus shows a good knowledge of Plato as well as of other ancient authors, whose many fragments (e.g., of Sappho and Anacreon) are extant solely thanks to his quotations. Maximus is scarcely known in the Russian language: a few translations of the last century are based on an obsolescent edition. As an appendix, a new Russian translation of Or. 20–21 based on seriously corrected editions of Maximus’ text is provided.

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Motyw winy Heleny w tradycji epickiej i w dyskursie

Author(s): Karol Zieliński / Language(s): Polish Issue: 1/2021

The paper takes up the issue of Helen’s guilt for the outbreak of the Trojan war present in the Iliad and in the oral epic tradition. It puts forward a thesis that in order to blame others or to free themselves from blame epic heroes employ the typical in oral culture technique of conducting disputes. Like other characters in the Iliad, Helen, is also under constant social pressure which seeks to find her guilty and, in effect, to activate a mechanism of making a scapegoat of her. To defend herself, she risks self-accusations in order to make it impossible for other people to bring a charge against her. Helen cares about her good opinion in the Trojan society and particularly in the circle of women.

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Anty-Aleksander? Wizerunek Demetriusza Poliorketesa w "Żywocie Demetriusza" Plutarcha z Cheronei

Author(s): Tomasz Zieliński / Language(s): Polish Issue: 1/2021

The assumption that imitation of Alexander the Great played a key role in the image of Demetrius Poliorcetes has been broadly accepted by many researchers. The main source on this subject is Plutarch’s Life of Demetrius where the author directly compares these two Macedonian kings and depicts Demetrius as a failed imitator of Alexnader. However, the juxtaposition of numerous other parts in that biography with fragments of Life of Alexander demonstrates that Plutarch purpose was creating the image of Demetrius as a sort of anti-Alexander.

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SOCRATES’ “SWAN SONG” IN PLATO’S PHAEDO. SOCRATES' “SECRET DOCTRINE” ABOUT DEATH AND ETERNITY

Author(s): Kazimierz Pawłowski / Language(s): English Issue: 2/2021

In the Phaedo Plato describes Socrates’ final moments, just before his death. The statements he then makes can be treated as his philosophical creed. Socrates compares his own words to a swan song sung by the creature right before its approaching death and reminds his listeners of the swans’ prophetic gift. It can be said that in his final hour Socrates, just like Apollo’s swan, sings a song about the immortality of the human soul. Socrates refers to the Orphic “secret doctrine” (although he does not mention their name directly), revealing his thoughts on his own fate after death.

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КСЕНОФАН И ПИФАГОРЕЙЦЫ (D.L. IX, 20 = 21 A 1 DK)

Author(s): Mikhail V. Egorochkin / Language(s): Russian Issue: 2/2021

According to Diogenes Laertius’ Lives of Eminent Philosophers, Xenophanes of Colophon, poet and philosopher of the 6th–5th centuries BC, was sold into slavery by the Pythagoreans Parmeniscus and Orestades (D.L. IX, 20 = 21 A 1 DK). This testimony has long been a source of concern to Hellenists, taking into account the high reputation that Pythagoras and his school gained in the history of European culture and philosophy. The paper provides a critical review of all the proposed corrections to the fragment in question. In the first part it considers conjectures and emendations made by the editors and translators Diogenes Laertius’ text since the Renaissance. Particular attention is paid to Ambrogio Traversari (1386–1439), the first translator of the Vitae philosophorum, whose translation already reveals a reluctance to follow the literal meaning of the testimony. The second part of the paper examines the restoration of the text proposed by Hermann Diels, which is still the most influential. The third part discusses the position of some modern scholars who, while refusing to correct the text of Diogenes Laertius, continue to suspect him to be mistaken. As a result, the paper shows that all corrections of Diogenes’ testimony, according to which Xenophanes was sold into slavery by the Pythagoreans, are vulnerable to criticism, and that consequently its literal reading may be correct.

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ТЕОЛОГИЯ В ГОРИЗОНТЕ ДРАМАТУРГИИ ПЛАТОНОВСКИХ ТЕКСТОВ

Author(s): Roman Svetlov / Language(s): Russian Issue: 2/2021

The so-called «dramatic approach» to the interpretation of Plato's texts provides us with some additional tools to explore his theological concepts. The article examines possible ways to connect with each other two "theologies" that are found in Plato's dialogues: static theology from the intelligible universe, and dynamic theology from the visible universe, which is in constant genesis. From the point of view of the «dramatic» approach, we must constantly keep in mind the various assessments of the problems posed by Plato's Socrates and other characters in the dialogues in order to have a complete picture of the analyzed matter. To reconcile these two "theologies", the description of the ambivalent nature of the human soul in «Lysis» plays a basic role, which is also confirmed in other Platonic texts.

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Why Write Stories about the Past? The ideological “uses” of the past in contemporary Greek literature for children: The case of Christos Boulotis

Author(s): Anastasia Oikonomidou / Language(s): English Issue: 02/2021

The article focuses on three representative literary works for children between 9 and 12 by Christos Boulotis, a renowned contemporary Greek writer of children’s literature. His works which are exemplary of a broader tendency of contemporary Greek historical literature for children revolve around the concepts of the personal and public past and of personal and collective memory. We show that the specific works by Boulotis tend not only to make the concepts of the personal and public/historical past an issue but also to stress the importance of these concepts for the lives of contemporary people. At the same time, we show that because literature for children is inevitably ideological, the concepts of the personal and public historical past are used by Boulotis as a resource for the promotion of specific contemporary ideologies which are at the forefront of the public debate in contemporary Greek society, such as the universality of the experience of being a refugee, anti-racism, and pacifism.

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Subtilitatea formelor discursive în eseul Grădina de piatră de Nikos Kazantzakis

Author(s): Amalia Drăgulănescu / Language(s): Romanian Issue: 1/2021

This article presents the proteicity of some forms of discourse which combines aesthetics and representations, referring to mentalities and even ideology, in a genuine kind of metatext. Being a pretext for his atipic literature with philosophical insertions, Nikos Kazantzakis’ voyages in China and Japan create the appropriate atmosphere for a temperate fiction and a hyperbolic reality. From this perspective a realistic allegory about the eternal China and the fragile Japan, two sources of chaos and wisdom in the same time, arises. Prefiguring some patterns of a sui generis postmodernism, this writing includes several topical ideas like the universality of a unique religion, the intercultural changes and even the idea of a mankind which recovers the signs of the humanity.

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The Concentration and Sublimation of Time as Memory in Louise Glück’s Poetry

Author(s): Ligia Tomoiagă / Language(s): English Issue: 1/2022

The preoccupation with the mythical time of humanity, and of each individual’s life constitutes one of the most powerful poetic tools in Louise Glück’s poems. From evoking the foundational times of the Garden of Eden, or the ‘immutable’ hard nut represented by Greek mythology, the poet concentrates whatever may suggest an evolution in time in those initial ‘moments.’ Her reading of the history of the human soul seems to suggest that everything stopped with the first page, or the first words. This study argues that Glück’s use of memory or anamnesis (αʼνάμνησις) as the only path to understanding humanity is present in many of her poems; such vision is more than just mythological literary reference, it supports the idea that childhood memories, relationships, poetic quests, and spiritual journeys are nothing but an expression of such vision. The poems chosen for this paper are not in a chronological order in terms of their time of publication. Nevertheless, we have tried to put them in a chronological order in terms of how they illustrate the idea of time as a sequence of memories accompanying the poet throughout her literary career. We will also argue that this way of treating memory and time, together with the references to mythology, to a decayed Garden, to the pre-carious condition of man, and to the role of the poet can support the idea that Louise Glück has a Romantic–Classical profile.

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Euripides’in Orestes’inde Ekklesia ve Orestes’in Davası

Author(s): Esengül Akinci Öztürk / Language(s): Turkish Issue: 19/2022

The assembly of the people of Argos has a key significance in Euripides’s Orestes. The trial of Orestes is at the center of Orestes’ plot and shapes the tragedy at full length. Yet the reason why Orestes is condemned to death by the assembly is rather controversial. For Papadimitropoulos, the reason of Orestes’ condemnation by the assembly is just the religious concern of the citizens to preserve the peace and the welfare of their city. But this is not true, nor is it plausible. This is because, the people of Argos judged Orestes on the basis of the amoral values prevailing in the assembly and in line with the expectation of the current political conjuncture. In this paper, I will discuss the views of certain scholars concerning the issue and argue that Orestes was sentenced to death because of Tyndareos’ misleading the benefit oriented mob by influencing the corrupt ecclesia.

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