Cynegirus was one of the Athenian generals who fell at the battle of Marathon. He died when he gr... more Cynegirus was one of the Athenian generals who fell at the battle of Marathon. He died when he grabbed hold of the stern of an enemy ship, and his right hand was cut off with an axe. Herodotus’ account of this scene is brief and straightforward, but the anecdote soon entered the list of heroic acts at Marathon. This Hellenic victory and the other principal battles of the Persian Wars quickly became a recurrent motif in the political and ideological discourse of Athens as a sign of identity of the Athenian polis and was placed at the service of the city’s imperialistic project. Nevertheless, Marathon survived beyond the classical age of Greece, and the Greek authors of imperial Roman period often refer to this battle. The sophist Polemon dedicated a declamation to Cynegirus' death, and the final chapters, on which I focus in this paper, illustrate well how a historical event – Cynegirus’ bravery – might be exaggerated by the epidictic rhetoric of the 2nd century AD, when oratory became definitively detached from political life.
En griego antiguo la particularidad de algo y de alguien se expresa mediante el campo semántico q... more En griego antiguo la particularidad de algo y de alguien se expresa mediante el campo semántico que indica una idea de 'propio' (ἴδιος). El objetivo de este trabajo es ofrecer una muestra del uso que Plutarco hace del substantivo ἰδιώτης, con el fin de analizar si el contexto matiza el sentido original del vocablo o amplía su campo de aplicación.
... G. Nagy, op ... que le infunda el vigor necesario para defender el cadáver de Patroclo cuya m... more ... G. Nagy, op ... que le infunda el vigor necesario para defender el cadáver de Patroclo cuya muerte ha afligido su corazón, pero reconoce que teme a Héctor, pues éste tiene la terrible fuerza de una llama, y no cesa de matar con el bronce, protegido por Zeus, que le da gloria37. ...
This paper deals with three pairs of Plutarch’s Parallel Lives, whose Greek
protagonists played a... more This paper deals with three pairs of Plutarch’s Parallel Lives, whose Greek protagonists played a central role in the Hellenic triumph over the Persians: Aristides, Themistocles, and Cimon. We will analyze the Lives of these three Greeks who contributed decisively to cementing the Athenian identity, regarding their lineage, education, character, virtues and death, in contrast with the Romans placed in parallel with them (Marcus Cato, Camillus and Lucullus), in order to observe if in these aspects there are differentiating traits between Greeks and Romans.
In Lucian’s Assembly of the Gods, the god Momo regrets the degra-dation suffered by the oldest Ol... more In Lucian’s Assembly of the Gods, the god Momo regrets the degra-dation suffered by the oldest Olympian deities due to the changes introduced in the traditional religion, using such arguments just as Athenagoras in his Legatiowhen he defends Christianity. This paper analyses how the match between the reasoning between Lucian and the apologist evidences the crisis of religiosityin the second century A. D., as well as their condition of pepaideuménoi, de-spite the disparity of purposes between both authors.
The controversial figure of Alexander the Great is part of our historical and literary tradition.... more The controversial figure of Alexander the Great is part of our historical and literary tradition. Through the legend and myth arisen around the conqueror almost contemporaneously to his own existence, the Macedonian monarch is modeled as a character who becomes known and unknown at the same time, and it is difficult to understand his true temperament. However, his emblematic and exemplary value as a prototype of general and king is unquestionable, and Alexander also turns into a favorable or unfavorable model of human behavior, as well as a topic of writings and declamations in the Greco-Roman rhetorical schools since Hellenistic period. This paper aims to analyze the contexts in which the son of Philip is mentioned by Lucian of Samosata (2nd century AD), in order to determine the rhetorical and sophistic use of the figure of Alexander in the Lucian’s works.
En la compleja estructura de la Odisea, siempre una mujer marca jalones decisivos en el retorno d... more En la compleja estructura de la Odisea, siempre una mujer marca jalones decisivos en el retorno de Odiseo a Ítaca, y deviene esencial para configurar un relato cuyo protagonista de forma paulatina debe reingresar en el hilo de la narración y recobrar su identidad. Por ello, los espacios determinantes en esta restitución están vinculados a nombres femeninos. Este trabajo se centra en el espacio de Odisea más antitético al mundo real, el inframundo, donde no solo las palabras de Tiresias preparan al héroe para culminar con éxito su regreso, sinó también la voz y el silencio de las mujeres muertas. La katábasis del canto once es uno de los episodios del poema que mejor señala la condición de Odiseo como héroe de límites. Ante el plural universo femenino de la Odisea, las sombras de las heroínas que Odiseo contempla en el Hades tal vez no son solo una interpolación o un guiño a un potencial público femenino. Si se observa quiénes son las féminas mencionadas, qué recuerda de ellas el poe...
In the complex structure of the Odyssey, women set decisive milestones along Odysseus’ path to It... more In the complex structure of the Odyssey, women set decisive milestones along Odysseus’ path to Ithaca and become essential to configure a narrative the protagonist of which must gradually reenter to regain his identity. For this reason, the determinant spaces in this restitution are linked to female names. This paper focuses on the Odyssey’s scenario that is most antithetical to the real world, the underworld, where the words of Tiresias prepare the hero to successfully complete his return, as well as the voice and silence of the dead women. The katabasis (book 11) is the episode of the poem that best indicates the condition of Odysseus as a hero out of limits. In the plural female universe of the Odyssey, the shades of heroines that Odysseus contemplates in Hades are perhaps not just an interpolation or a nod to a potential female audience. If we look at who the women mentioned are, what the poet reminds about them and how they are characterized, perhaps the selection of heroines –particularly those who are perverse and those who are only named– is not accidental: by contrast, their inclusion may distinguish Penelope from the rest.
Cynegirus was one of the Athenian generals who fell at the battle of Marathon. He died when he gr... more Cynegirus was one of the Athenian generals who fell at the battle of Marathon. He died when he grabbed hold of the stern of an enemy ship, and his right hand was cut off with an axe. Herodotus’ account of this scene is brief and straightforward, but the anecdote soon entered the list of heroic acts at Marathon. This Hellenic victory and the other principal battles of the Persian Wars quickly became a recurrent motif in the political and ideological discourse of Athens as a sign of identity of the Athenian polis and was placed at the service of the city’s imperialistic project. Nevertheless, Marathon survived beyond the classical age of Greece, and the Greek authors of imperial Roman period often refer to this battle. The sophist Polemon dedicated a declamation to Cynegirus' death, and the final chapters, on which I focus in this paper, illustrate well how a historical event – Cynegirus’ bravery – might be exaggerated by the epidictic rhetoric of the 2nd century AD, when oratory became definitively detached from political life.
En griego antiguo la particularidad de algo y de alguien se expresa mediante el campo semántico q... more En griego antiguo la particularidad de algo y de alguien se expresa mediante el campo semántico que indica una idea de 'propio' (ἴδιος). El objetivo de este trabajo es ofrecer una muestra del uso que Plutarco hace del substantivo ἰδιώτης, con el fin de analizar si el contexto matiza el sentido original del vocablo o amplía su campo de aplicación.
... G. Nagy, op ... que le infunda el vigor necesario para defender el cadáver de Patroclo cuya m... more ... G. Nagy, op ... que le infunda el vigor necesario para defender el cadáver de Patroclo cuya muerte ha afligido su corazón, pero reconoce que teme a Héctor, pues éste tiene la terrible fuerza de una llama, y no cesa de matar con el bronce, protegido por Zeus, que le da gloria37. ...
This paper deals with three pairs of Plutarch’s Parallel Lives, whose Greek
protagonists played a... more This paper deals with three pairs of Plutarch’s Parallel Lives, whose Greek protagonists played a central role in the Hellenic triumph over the Persians: Aristides, Themistocles, and Cimon. We will analyze the Lives of these three Greeks who contributed decisively to cementing the Athenian identity, regarding their lineage, education, character, virtues and death, in contrast with the Romans placed in parallel with them (Marcus Cato, Camillus and Lucullus), in order to observe if in these aspects there are differentiating traits between Greeks and Romans.
In Lucian’s Assembly of the Gods, the god Momo regrets the degra-dation suffered by the oldest Ol... more In Lucian’s Assembly of the Gods, the god Momo regrets the degra-dation suffered by the oldest Olympian deities due to the changes introduced in the traditional religion, using such arguments just as Athenagoras in his Legatiowhen he defends Christianity. This paper analyses how the match between the reasoning between Lucian and the apologist evidences the crisis of religiosityin the second century A. D., as well as their condition of pepaideuménoi, de-spite the disparity of purposes between both authors.
The controversial figure of Alexander the Great is part of our historical and literary tradition.... more The controversial figure of Alexander the Great is part of our historical and literary tradition. Through the legend and myth arisen around the conqueror almost contemporaneously to his own existence, the Macedonian monarch is modeled as a character who becomes known and unknown at the same time, and it is difficult to understand his true temperament. However, his emblematic and exemplary value as a prototype of general and king is unquestionable, and Alexander also turns into a favorable or unfavorable model of human behavior, as well as a topic of writings and declamations in the Greco-Roman rhetorical schools since Hellenistic period. This paper aims to analyze the contexts in which the son of Philip is mentioned by Lucian of Samosata (2nd century AD), in order to determine the rhetorical and sophistic use of the figure of Alexander in the Lucian’s works.
En la compleja estructura de la Odisea, siempre una mujer marca jalones decisivos en el retorno d... more En la compleja estructura de la Odisea, siempre una mujer marca jalones decisivos en el retorno de Odiseo a Ítaca, y deviene esencial para configurar un relato cuyo protagonista de forma paulatina debe reingresar en el hilo de la narración y recobrar su identidad. Por ello, los espacios determinantes en esta restitución están vinculados a nombres femeninos. Este trabajo se centra en el espacio de Odisea más antitético al mundo real, el inframundo, donde no solo las palabras de Tiresias preparan al héroe para culminar con éxito su regreso, sinó también la voz y el silencio de las mujeres muertas. La katábasis del canto once es uno de los episodios del poema que mejor señala la condición de Odiseo como héroe de límites. Ante el plural universo femenino de la Odisea, las sombras de las heroínas que Odiseo contempla en el Hades tal vez no son solo una interpolación o un guiño a un potencial público femenino. Si se observa quiénes son las féminas mencionadas, qué recuerda de ellas el poe...
In the complex structure of the Odyssey, women set decisive milestones along Odysseus’ path to It... more In the complex structure of the Odyssey, women set decisive milestones along Odysseus’ path to Ithaca and become essential to configure a narrative the protagonist of which must gradually reenter to regain his identity. For this reason, the determinant spaces in this restitution are linked to female names. This paper focuses on the Odyssey’s scenario that is most antithetical to the real world, the underworld, where the words of Tiresias prepare the hero to successfully complete his return, as well as the voice and silence of the dead women. The katabasis (book 11) is the episode of the poem that best indicates the condition of Odysseus as a hero out of limits. In the plural female universe of the Odyssey, the shades of heroines that Odysseus contemplates in Hades are perhaps not just an interpolation or a nod to a potential female audience. If we look at who the women mentioned are, what the poet reminds about them and how they are characterized, perhaps the selection of heroines –particularly those who are perverse and those who are only named– is not accidental: by contrast, their inclusion may distinguish Penelope from the rest.
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protagonists played a central role in the Hellenic triumph over the Persians: Aristides, Themistocles, and Cimon. We will analyze the Lives of these three Greeks who contributed decisively to cementing the Athenian identity, regarding their lineage, education, character, virtues and death, in contrast with the Romans placed in parallel with them (Marcus Cato, Camillus and Lucullus), in order to observe if in these aspects there are differentiating traits between Greeks and Romans.
a prototype of general and king is unquestionable, and Alexander also turns into a favorable or unfavorable model of human behavior, as well as a topic of writings and declamations in the Greco-Roman rhetorical schools since Hellenistic period. This paper aims to analyze the contexts in which the son of Philip is mentioned by Lucian of Samosata (2nd century AD), in order to determine the rhetorical and sophistic use
of the figure of Alexander in the Lucian’s works.
This paper focuses on the Odyssey’s scenario that is most antithetical to the real world, the underworld, where the words of Tiresias prepare the hero to successfully complete his return, as well as the voice and silence of the dead women. The katabasis (book 11) is the episode of the poem that best indicates the condition of Odysseus as a hero out of limits. In the plural female universe of the Odyssey, the shades of heroines that Odysseus contemplates in Hades are perhaps not just an interpolation or a nod to a potential female audience. If we look at who the women mentioned are, what the poet reminds about them and how they are characterized, perhaps the selection of heroines –particularly those who are perverse and those who are only named– is not accidental: by contrast, their inclusion may distinguish Penelope from the rest.
protagonists played a central role in the Hellenic triumph over the Persians: Aristides, Themistocles, and Cimon. We will analyze the Lives of these three Greeks who contributed decisively to cementing the Athenian identity, regarding their lineage, education, character, virtues and death, in contrast with the Romans placed in parallel with them (Marcus Cato, Camillus and Lucullus), in order to observe if in these aspects there are differentiating traits between Greeks and Romans.
a prototype of general and king is unquestionable, and Alexander also turns into a favorable or unfavorable model of human behavior, as well as a topic of writings and declamations in the Greco-Roman rhetorical schools since Hellenistic period. This paper aims to analyze the contexts in which the son of Philip is mentioned by Lucian of Samosata (2nd century AD), in order to determine the rhetorical and sophistic use
of the figure of Alexander in the Lucian’s works.
This paper focuses on the Odyssey’s scenario that is most antithetical to the real world, the underworld, where the words of Tiresias prepare the hero to successfully complete his return, as well as the voice and silence of the dead women. The katabasis (book 11) is the episode of the poem that best indicates the condition of Odysseus as a hero out of limits. In the plural female universe of the Odyssey, the shades of heroines that Odysseus contemplates in Hades are perhaps not just an interpolation or a nod to a potential female audience. If we look at who the women mentioned are, what the poet reminds about them and how they are characterized, perhaps the selection of heroines –particularly those who are perverse and those who are only named– is not accidental: by contrast, their inclusion may distinguish Penelope from the rest.