Hasil untuk "History of the Greco-Roman World"

Salome Walz

In einem wesentlichen Teil seines Werks richtete sich der Althistorikers Moses I. Finley (1912–1986) nicht nur an ein akademisches Fachpublikum, sondern auch an eine breitere, interessierte Öffentlichkeit. Der vorliegende Beitrag untersucht die Aktivitäten des «public ancient historian» Finley als integralen Bestandteil seiner wissenschaftlichen Praxis und verortet sie in seiner akademischen Laufbahn. Unter Rückgriff auf die Feldtheorie Bourdieus wird gezeigt, inwiefern Formate wie Buchbesprechungen in Wochenzeitschrift­en oder Radiosendungen dazu beitrugen, das wissenschaftliche Kapital des Althistorikers zu mehren und seine Position in der Fachwelt zu festigen.  In a significant part of his work, the ancient historian Moses I. Finley (1912–1986) addressed not only an academic audience, but also a broader, interested public. This article examines Finley’s work as a “public ancient historian” as an integral component of his scholarly practice and situates it within his academic career. Drawing on Bourdieu’s field theory, it shows how media pieces such as book reviews in weekly magazines and radio broadcasts contributed to increasing the ancient historian’s academic capital and consolidating his position in the scholarly world.

Joana Catarina Mestre da Costa

Sem resumo disponível.

Adam N Parker

References in ancient literary texts refer to the use of pierced teeth as amulets used for the prevention and reduction of teething pains in infants. In this paper, I explore some of the sensory aspects of this phenomenon by centralising pain as a sensory experience. I draw on a dataset of these objects from Roman Britain in order to contextualise the types and use of these objects within the Roman world. These two facets, linking the sensory experiences of teething pain to real, material objects, allows for a discussion of the lived and embodied experience of wearing this amulet in the ancient world, through which a greater appreciation of its sensory importance is gained. 

Walter de Medeiros

A preferência dos duces gregis pelo papel de Balião, em detrimento do de Psêudolo, que dá o seu nome à peça, resulta do carácter espectacular de duas cenas em que pontifica o alcoviteiro, a meio do chamado "acto 1". Mas o mortalis graphicus, que compara a sua inventiva à dos poetas, capazes de tirarem do nada as suas composições, é o verdadeiro herói da comédia, que anima com a riqueza das emoções vividas no palco e o brilho de uma inteligência pronta a aproveitar os favores da Fortuna para derrotar o alcoviteiro e o seu próprio senhor.

João Manuel Nunes Torrão

Aggelos Kapellos

Virgínia Soares Pereira

Josep Antoni Clúa Serena

This work aims to analyze some trickster stories, which can be told both for fun and on serious or sacred occasions, but also to draw some parallels between a selection of poems by Euphorion (Thrax, Chiliades, and Araí) and Lykophron or Aesop. The obscene allusions to Semiramis in the Thrax are analyzed, in an imprecatory poem that produces a comic effect. In the same way, some elements of ‘irony’ and ‘parody’ are explored to relate the mythical and glorious past of the Greek world to Lykophron’s Alexandra (Alex. 648–719 and 815–819). Erysichthon throws σκώμματα against Demeter (Callimachus’ Sixth Hymn, The Hymn to Demeter), and seems to be the protagonist of a mythical tale that is inappropriate for the whole work, and which recalls certain passages of Euphorion (the end of the Thrax, the episode of Semiramis, the events of Calchas, the Argive mantis, Xenarchus called Metretes, etc.) where, in addition to referring to the oscillating use of humor and parody, the figure of the trickster is added. Also Thersites, the Trojan hero with an unclear role in the Iliad—cowardly, lame, hunchback—was the subject of a story of Euphorion (cfr. fr. 134 Cusset-Acosta-Hughes = fr. 67 Lightfoot = fr. 132 Clúa = fr 110 van Groningen).

Gusso, Massimo

The Gallo-Roman imperial accession of Avitus, following the Vandal plunder, is presented by Sidonius Apollinaris (Carm. 7) as an effective opportunity for the revival of the Western empire in a utopian and mythical-historical perspective, which uses repertoires of Roman Republican History. An neglected tradition of that same history is thus revived, incidentally, with precedents ranging from the Gallic siege to civil wars and beyond. In this context, some senatorial ateliers where communications functional to the idea of a senate “free from the emperor” were experimented, could have made use of a certain “republican” modality of the use of prodigies in the most unscrupulous way, with recourse to even very complex propaganda paradigms.

Mattia Vitelli Casella

This article aims at investigating the administration, the economic activities and the evolution of an imperial estate epigraphically attested in ancient Mursa, in Pannonia inferior, along the Drava river. Particularly, there are evidences of imperial slaves engaged in business management as well as many stamped bricks with different inscriptions. By matching these two types of epigraphs, it can be sketched that the property began its activities between the 1st and 2nd century AD, reached its maximum bricks production under Hadrian, in connection with the establishment of the colony, and went on until a sudden stop due to the Marcomannic invasion. Now, we are quite sure that the production resumed under the Severian dynasty, even if we do not know for how long it continued in the 3rd century, as is the case of neighboring provinces.

Pedro Barbieri

Ofereço uma tradução poética da obra Sobre a natureza, de Parmênides.

Isabella Tardin Cardoso

Este artigo trata de aspectos da Filologia Clássica (aqui entendida lato sensu, designando a área no Brasil também referida como Letras Clássicas, ou Estudos Clássicos) que podem ser concebidos como fatores mais amplos no vasto domínio das artes e ciências. Por meio de um estudo do tópos literário e filosófico do “teatro do mundo” (theatrum mundi), a imitação é aqui apreciada como objeto da investigação filológica e como um princípio que estrutura suas atividades. Uma breve análise de uma passagem da comédia plautina O soldado fanfarrão (Mil. 200-215) oferece uma amostra de como a imitação do objeto se evidencia em diferentes abordagens metodológicas e tarefas filológicas, tais como o estabelecimento do texto em uma edição crítica e sua interpretação. O fato de que seu objeto, seus procedimentos e resultados são necessariamente construídos pelo pesquisador, e sempre provisórios, é uma das características que a Filologia Clássica compartilha com outros campos acadêmicos – não apenas as ciências do texto, mas também as outras ciências humanas e exatas – bem como com as artes dramáticas.

Carlos Morais

Depois de escrever, em 1930, Antígona. Drama em três actos, uma recriação do mito sofocliano que não era mais do que um texto panfletário contra a ditadura militar, Sérgio voltaria ao tema, para reescrever, cerca de 1950, uma invetiva contra a ditadura salazarista. A partir deste texto inédito, o autor publicaria, em finais de 1958, Pátio das Comédias, das Palestras e das Pregações: Jornada Sexta e também tinha a intenção de publicar de forma autónoma o Diálogo de Creonte e Antígona, provavelmente em 1959.

Maria José Ferreira Lopes

Memórias de Agripina (1993) é uma obra marcada pelos lugares evocados pela mãe de Nero na sua derradeira noite. Os ambientes, naturais ou obra do homem, símbolos de ideias sedutoras. enfeitiçaram‐na, transformaram‐se em paisagens da sua mente e alma e permanecem impregnados da presença dos mortos. O ponto de vista de Agripina é definido pela sua versão da descrição taciteana do horizonte da sua morte: o inlustris céu de opala e cristal revela a sua visão poética, expressa em metáforas de gemas, reflexo do luxus do seu tempo que, segundo Plínio, via nelas o epítome da majestade da natureza.

Maria Fernanda Brasete

Os volumes em epígrafe, publicados na Coleção Humanitas Supplementum, apresentam 53 estudos de autores portugueses e estrangeiros, sobre uma temática duplicada — o teatro greco‐latino e a sua receção — de interesse reconhecido e muito atual, no domínio dos estudos clássicos, quer no panorama nacional como internacional. A decisão de dividir os numerosos estudos por dois volumes é explicada pelos coordenadores na “Apresentação”, colocada no início do Vol. I (p.15). Os critérios basearam‐se no facto de a multiplicidade de contributos se repartirem entre análises de textos do antigo teatro greco‐latino e estudos sobre a sua receção, num arco cronológico que se expande até aos nossos dias. Além do contributo específico trazido por cada um dos colaboradores, ressalta nos dois volumes uma convergência inabitual de diferentes tipos de abordagem — filológica, literária, dramática, comparatista, de receção, etc. — de peças e figuras da tragédia e comédia greco‐latinas, em que não foram descuradas questões de índole teatral. A amplitude de estudos focados no processo de reescrita ou reposição de peças antigas abrange diferentes épocas, se bem que a maior parte incida sobre a nossa contemporaneidade. Também de assinalar o mérito de o segundo volume congregar o contributo de investigadores seniores e juniores, num amplo leque de estudos de receção do teatro greco‐latino, que envolve sete países: Portugal, Espanha, América, Itália, França, Reino Unido. Assim, uma das maiores riquezas da obra reside, precisamente, na enorme pluralidade de perspetivas de análise adotadas, quer em relação aos textos clássicos, quer no diálogo incessante que se instituiu, ao longo dos séculos entre a tragédia e a comédia greco‐romanas e as literaturas do mundo ocidental, com especial predominância para as europeias e latino‐americanas. (...)

N. R. Burr

E. Gonsalves

P. V. Nuffelen

Greco-Roman religion is usually defined as polytheistic. At the same time, the ancients recognised some form of unity in the seemingly endless number of deities. Scholarship still debates about the right labels to be used for ancient ideas about unity in the divine world, with henotheism and monotheism being most current. If debates about terms may seem just a scholar’s pastime, this contribution argues that the choice for a label often implies a particular position as to how the relationship between Greco-Roman religion and Christianity is conceived.Scholars insisting on henotheism tend to emphasise the difference between both and a break in the religious history with the transition from the one to the other, whereas scholars using monotheism tend to assume some form of continuity. This contribution traces some of these debates, using C. Castoriadis and J. North as examples. It then focuses on the way ancient authors conceived of the relationship between a belief in the unity of the divine and traditional cult practice, showing how the belief in the unity of the divine did not necessarily impact on traditional cult practice. At the same time, late antique pagans could use their monotheism to build bridges with Christians, who would, however, insist on the unity of cult practice and belief: in other words, one could not claim that the divine is one and worship at the same time different deities. This appeal to coherence found its root in imperial philosophy, which was now turned by Christians against the pagans who claimed to be the heirs of that tradition.

P. Bang

Cody Scott Ames

This article will detail the kingship of Herod the Great in Judea and his enrollment of Greco-Roman architecture and culture during his reign in the first century BCE.  Herod, it seems, made a deliberate break from his Jewish kingdom for the electrifying ways of the Greco-Roman world.  Herodian Judea faced many changes over its history, but none more drastic in terms of architecture and culture than during his reign amidst the Roman domination in Judea, a period that begins with Pompey the Great in 63 BCE and ends with the Muslim invasion in the 650’s CE (Herod died in 4 BCE).  Herod the Great is widely regarded as both a Roman sympathizer (OGIS 414) and a promoter of Greco-Roman culture (Roller 1998; Smallwood 1981).  He is believed to have underwritten the construction of monumental buildings including harbors, temples, and arches as well as theaters and amphitheaters (Josephus AJ 15.421).  These architectural endeavors, which bear strong Greco-Roman cultural significances, suggest Herod may have been influenced by Greek designs which were filtered through Roman culture (Smallwood 1981; Geiger 2005).  The aims of this article are twofold: 1) to offer an explanation for Herod’s adoption of Greco-Roman architecture and Greco-Roman games; and 2) to better understand the socio-political crafting of Herod’s kingship. To this end, I will look into possible relationships between Herod, the Roman aristocracy and Jewish norms as documented by ancient accounts.  I will also examine the physical remains of Herod’s building program in Caesarea Maritima.  Our journey will begin with Herod’s three trips to Rome in the years 40, 17-16 and 13-12 BCE in an effort to attain the crown and bring stability back to Judea as detailed by accounts of Josephus (Josephus Ant. 15.342-3).  It also will discuss select architectural remains from Herod’s building program at Caesarea Maritima (Raban, Holum 1996) and the ancient accounts of the Jewish general, Josephus.  Along with select architectural remains at Caesarea Maritima, Greco-Roman architectures in other cities in the Roman East (Alexandria, Priene and Vergina to name a few) will be examined in order to link Herod’s program with other Greco-Roman cities.  By connecting material remains and architectures with written accounts of Judea, archaeology can tease out what effects Herod’s building program and inclusion of Greco-Roman games had on Herod’s kingship along with the socio-political ramifications they had with Rome.   I will start this process with the architecture then move to the written accounts to better understand what historians regard as Herod’s “passionate obsessions” (McRay 1991).  The third and final section will consist of brief histories of Greco-Roman games in an effort to draw out the distinction between Greco-Roman indulgence and Judean rejection (Schwartz 2010).  The games to be studied will include the athletic festival competitions at Olympia and the origins and eventual contribution of the gladiatorial games in Rome.  Based on these uses of “pagan culture”, I argue that Herod reconstituted his Jewish province in accordance with the latest Greco-Roman trends.