It's difficult to understand the origins of Greek rhetoric, given that the theoretical handbooks ... more It's difficult to understand the origins of Greek rhetoric, given that the theoretical handbooks on the matter have been lost. As a result, we must approach this topic indirectly; such as, through the influence of new art on some other literary genres. In this dissertation I analyse the rhetorical configuration of the rheseis or speeches that we find in Sophocles' tragedies, which encompass a very important period in rhetorical development (the second half of the 5th century BC). This analysis focuses particularly on early pieces, as these are, within the production of Sophoclean tragedies, the nearest to the birth of rhetoric. This work covers three main points: 1) Argumentation. Through its study we can learn how thought evolves and how persuasion is sought out early on in the development of rhetoric as a techne. Moreover, in comparing that line of reasoning to the one which develops in late Sophocles, we can observe the evolution that took place at that key time. 2) Rheseis composition. The level of rhetorical development of a speech is detected in its argumentation, but also in its formal style; therefore, the makeup of speech as well as the repetition of certain formulas in it for thought structure are factors to take into account. 3) Rhetorical thought. It is of the utmost of interest to see how the use of rhetoric brings about the growing reflection by the author regarding the characteristics of this techne and even about logos in general. This ultimately leads to a broader reflection upon communication and the limits of human knowledge. The study of these three fields in Sophoclean tragedy allows us to assess the level of development of the rhetoric at a key moment and, furthermore, to deepen our knowledge of these works, in which rhetoric is a key factor for approaching a problem and, therefore, for achieving a dramatic ending, which, as a last resort, due to the very nature of the genre, is to a great extent a reflection about the society in which the genre takes place.
In the Aristotelian corpus the term epicheírema is used in the technical sense of “argument”, exc... more In the Aristotelian corpus the term epicheírema is used in the technical sense of “argument”, except in Topics 162a15-18, where it is specifically interpreted as a dialectical syllogism. In Rhetoric, Aristotle does not use the term epicheírema, but he does mention a rhetorical syllogism named enthymeme and which, like the dialectical syllogism, derives from probable premises. The similarity between the dialectical system and the rhetorical system leads to the entry of the term epicheírema into rhetoric and also to the conflict with respect to the enthymeme. From this point onwards, the rhetoricians mould the semantic scope of the term epicheírema according to how it fits into their rhetorical system.
Aeschylus’ Persians draws a clear opposition between Persians and Greeks according to the weapon ... more Aeschylus’ Persians draws a clear opposition between Persians and Greeks according to the weapon that characterizes them, the bow and the spear respectively. These weapons imply different ways of fighting and, moreover, are associated with opposing connotations and values. Aeschylus uses the mention of weapons in the different contexts, among others, to emphasize the essential values of Greek culture while tacitly pointing to the ignominy of the defeat of the Persians and, above all, of Xerxes.
Weapons play an important, and sometimes even central, role in some Greek tragedies. This is the ... more Weapons play an important, and sometimes even central, role in some Greek tragedies. This is the case, for example, of the bow in Sophocles’ Philoctetes or the shield in Aeschylus’ Seven against Thebes. However, studies on this subject are not numerous. This paper highlights the relevance of weapons in Greek tragedy and focuses on some of the most outstanding examples, trying to underline the function that weapons acquire in the creation of dramatic meaning.
Despite being one of the oldest surviving tragedies, Aeschylus’ Agamemnon shows great originality... more Despite being one of the oldest surviving tragedies, Aeschylus’ Agamemnon shows great originality and compositional mastery. In this paper, attention is focused, on the one hand, on the narration, which is delayed at the end of the tragedy and in which the chronological order is reversed, and, on the other hand, on the messenger scene, which is anticipated by the torch scene, where the main character is Clytemnestra. The comparison of both scenes shows how Aeschylus opposes different forms of communication, drawing attention to the imperfection of any communicative act and producing a meta-theatrical reflection on the authority of the narrative voice.
Garapen Iraunkorrerako Helburuak eta Haur eta Gazte Literatura, horiexek uztartzen ditugu gida ho... more Garapen Iraunkorrerako Helburuak eta Haur eta Gazte Literatura, horiexek uztartzen ditugu gida honetan, eta bi helburu nagusi ditugu: batetik, literaturaren erabilera sustatzea Garapen Iraunkorrerako Helburuak (GIH) lantzeko eta, bestetik, bitartekariei tresnak eskaintzea literatura-lan egokiak hautatzeko eta baliatzeko. Horiek horrela, balore sozialak eta balore literarioak jarri ditugu erdigunean. Gida honen ardatz nagusia izan da bi-biak kontuan hartzea.Vicerrectorado de Innovación, Compromiso Social y Acción Social.Dirección de Sostenibilidad y del Servicio de Asesoramiento Educativo. Programa Campus Bizia Lab
This work analyses a sample of written expression errors of students in the third year of the Inf... more This work analyses a sample of written expression errors of students in the third year of the Infant Education degree, with the aim of detecting possible underlying grammatical deficiencies and of reflecting on the relevance of grammar teaching in their training. The results reveal the confusion of students around certain grammatical categories, their misunderstanding of the morphosyntactic units and the relationships established between them. All this leads us to raise the need to promote a model of grammar teaching that focuses on these problems and encourages analysis and reflection.
Ajax and Heracles are two tragedies focused on a heroe who has committed a crime against their ow... more Ajax and Heracles are two tragedies focused on a heroe who has committed a crime against their own ones. Their weapon (the sword and the bow respectively) is used in both cases by the playwright to rehabilitate the heroe after his horrible action.
It's difficult to understand the origins of Greek rhetoric, given that the theoretical handbooks ... more It's difficult to understand the origins of Greek rhetoric, given that the theoretical handbooks on the matter have been lost. As a result, we must approach this topic indirectly; such as, through the influence of new art on some other literary genres. In this dissertation I analyse the rhetorical configuration of the rheseis or speeches that we find in Sophocles' tragedies, which encompass a very important period in rhetorical development (the second half of the 5th century BC). This analysis focuses particularly on early pieces, as these are, within the production of Sophoclean tragedies, the nearest to the birth of rhetoric. This work covers three main points: 1) Argumentation. Through its study we can learn how thought evolves and how persuasion is sought out early on in the development of rhetoric as a techne. Moreover, in comparing that line of reasoning to the one which develops in late Sophocles, we can observe the evolution that took place at that key time. 2) Rheseis composition. The level of rhetorical development of a speech is detected in its argumentation, but also in its formal style; therefore, the makeup of speech as well as the repetition of certain formulas in it for thought structure are factors to take into account. 3) Rhetorical thought. It is of the utmost of interest to see how the use of rhetoric brings about the growing reflection by the author regarding the characteristics of this techne and even about logos in general. This ultimately leads to a broader reflection upon communication and the limits of human knowledge. The study of these three fields in Sophoclean tragedy allows us to assess the level of development of the rhetoric at a key moment and, furthermore, to deepen our knowledge of these works, in which rhetoric is a key factor for approaching a problem and, therefore, for achieving a dramatic ending, which, as a last resort, due to the very nature of the genre, is to a great extent a reflection about the society in which the genre takes place.
In the Aristotelian corpus the term epicheírema is used in the technical sense of “argument”, exc... more In the Aristotelian corpus the term epicheírema is used in the technical sense of “argument”, except in Topics 162a15-18, where it is specifically interpreted as a dialectical syllogism. In Rhetoric, Aristotle does not use the term epicheírema, but he does mention a rhetorical syllogism named enthymeme and which, like the dialectical syllogism, derives from probable premises. The similarity between the dialectical system and the rhetorical system leads to the entry of the term epicheírema into rhetoric and also to the conflict with respect to the enthymeme. From this point onwards, the rhetoricians mould the semantic scope of the term epicheírema according to how it fits into their rhetorical system.
Aeschylus’ Persians draws a clear opposition between Persians and Greeks according to the weapon ... more Aeschylus’ Persians draws a clear opposition between Persians and Greeks according to the weapon that characterizes them, the bow and the spear respectively. These weapons imply different ways of fighting and, moreover, are associated with opposing connotations and values. Aeschylus uses the mention of weapons in the different contexts, among others, to emphasize the essential values of Greek culture while tacitly pointing to the ignominy of the defeat of the Persians and, above all, of Xerxes.
Weapons play an important, and sometimes even central, role in some Greek tragedies. This is the ... more Weapons play an important, and sometimes even central, role in some Greek tragedies. This is the case, for example, of the bow in Sophocles’ Philoctetes or the shield in Aeschylus’ Seven against Thebes. However, studies on this subject are not numerous. This paper highlights the relevance of weapons in Greek tragedy and focuses on some of the most outstanding examples, trying to underline the function that weapons acquire in the creation of dramatic meaning.
Despite being one of the oldest surviving tragedies, Aeschylus’ Agamemnon shows great originality... more Despite being one of the oldest surviving tragedies, Aeschylus’ Agamemnon shows great originality and compositional mastery. In this paper, attention is focused, on the one hand, on the narration, which is delayed at the end of the tragedy and in which the chronological order is reversed, and, on the other hand, on the messenger scene, which is anticipated by the torch scene, where the main character is Clytemnestra. The comparison of both scenes shows how Aeschylus opposes different forms of communication, drawing attention to the imperfection of any communicative act and producing a meta-theatrical reflection on the authority of the narrative voice.
Garapen Iraunkorrerako Helburuak eta Haur eta Gazte Literatura, horiexek uztartzen ditugu gida ho... more Garapen Iraunkorrerako Helburuak eta Haur eta Gazte Literatura, horiexek uztartzen ditugu gida honetan, eta bi helburu nagusi ditugu: batetik, literaturaren erabilera sustatzea Garapen Iraunkorrerako Helburuak (GIH) lantzeko eta, bestetik, bitartekariei tresnak eskaintzea literatura-lan egokiak hautatzeko eta baliatzeko. Horiek horrela, balore sozialak eta balore literarioak jarri ditugu erdigunean. Gida honen ardatz nagusia izan da bi-biak kontuan hartzea.Vicerrectorado de Innovación, Compromiso Social y Acción Social.Dirección de Sostenibilidad y del Servicio de Asesoramiento Educativo. Programa Campus Bizia Lab
This work analyses a sample of written expression errors of students in the third year of the Inf... more This work analyses a sample of written expression errors of students in the third year of the Infant Education degree, with the aim of detecting possible underlying grammatical deficiencies and of reflecting on the relevance of grammar teaching in their training. The results reveal the confusion of students around certain grammatical categories, their misunderstanding of the morphosyntactic units and the relationships established between them. All this leads us to raise the need to promote a model of grammar teaching that focuses on these problems and encourages analysis and reflection.
Ajax and Heracles are two tragedies focused on a heroe who has committed a crime against their ow... more Ajax and Heracles are two tragedies focused on a heroe who has committed a crime against their own ones. Their weapon (the sword and the bow respectively) is used in both cases by the playwright to rehabilitate the heroe after his horrible action.
Silence is an inherent part of logos. In this chapter the use of silence in Greek tragedy is expl... more Silence is an inherent part of logos. In this chapter the use of silence in Greek tragedy is explored, as well as its different functions and objectives. Lastly, two of the most relevant tragic silences are analyzed in detail, namely, Casandra’s silence in Aeschylus’ Agamemnon, probably the most famous of all the preserved silences, and Iole’s silence in Sophocles’ Traquiniae, which reworks the former.
Most communication in Greek tragedy is oral, but written communication becomes gradually more wid... more Most communication in Greek tragedy is oral, but written communication becomes gradually more widespread. Euripides is certainly the playwright who most frequently includes the written text (mainly the letter) in his plays. In doing so, he draws attention to the problematic nature of this new way of communication.
The present paper contains a critical review of the manner that grammar contents are presented in... more The present paper contains a critical review of the manner that grammar contents are presented in the EKI teaching project created by IkasElkar publishing house for the last cycle of Primary Education. Such project arose due to the necessity to create teaching materials that were in line with the curricular Decree 236/2015 for the Basic Education in the BAC (Basque Autonomous Community), framed by the strategic plan Heziberri 2020 for the improvement of the Basque educational system. One of the aims of the project is multilingualism and, in order to achieve it, a language integrated approach was adopted, with Basque as the main axis. The present paper aims to analyse how grammar didactics is introduced in this context. After analysing the material for Spanish, Basque and English, it seems that the methodological principles are appropriate, even though, as far as grammar teaching is concerned, it would be desirable to include further metalinguistic reflection and more explicit comparison between languages.
En este trabajo se analiza el uso de la intertextualidad en Para una vez que me abrazan, de Pablo... more En este trabajo se analiza el uso de la intertextualidad en Para una vez que me abrazan, de Pablo Albo, así como su función didáctica.
Euripides’ Heracles includes an agon scene between Lycus and Amphitryon in which great prominence... more Euripides’ Heracles includes an agon scene between Lycus and Amphitryon in which great prominence is attached to the value of the bow as opposed to that of the spear. According to some scholars, this debate about the weapons is not appropriate and it even seems to create a break in the dramatic illusion. This paper, however, analyzes the role of bows and spears in the tragedy and it shows how weapons are used to make visible the transformation of the hero in the play.
Sophocles’ Philoctetes is the best known tragedy based on the Philoctetes myth, and the only one ... more Sophocles’ Philoctetes is the best known tragedy based on the Philoctetes myth, and the only one which has survived to the present day. But other playwrights, notably Aeschylus and Euripides, also wrote tragedies about the same events. This paper shows how the myth was taken from the epic poems and developed on scene in the different versions.
In Euripides' Heracles the characters (Heracles' family in the first part and Heracles himself in... more In Euripides' Heracles the characters (Heracles' family in the first part and Heracles himself in the second) have to decide, in the face of a difficult situation, whether they accept death or endure life. The family of Heracles accepts to die to fulfil the notion of εὐγένεια. Heracles, by contrast, finally decides to live. The argumentation underlying this decision implies a re-elaboration of heroic values from much more humanistic perspectives.
The deadline for submitting originals to the journal Veleia (issue 42, 2025) is 31 May 2024: http... more The deadline for submitting originals to the journal Veleia (issue 42, 2025) is 31 May 2024: https://ojs.ehu.eus/index.php/Veleia/index
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In this dissertation I analyse the rhetorical configuration of the rheseis or speeches that we find in Sophocles' tragedies, which encompass a very important period in rhetorical development (the second half of the 5th century BC). This analysis focuses particularly on early pieces, as these are, within the production of Sophoclean tragedies, the nearest to the birth of rhetoric. This work covers three main points:
1) Argumentation. Through its study we can learn how thought evolves and how persuasion is sought out early on in the development of rhetoric as a techne. Moreover, in comparing that line of reasoning to the one which develops in late Sophocles, we can observe the evolution that took place at that key time.
2) Rheseis composition. The level of rhetorical development of a speech is detected in its argumentation, but also in its formal style; therefore, the makeup of speech as well as the repetition of certain formulas in it for thought structure are factors to take into account.
3) Rhetorical thought. It is of the utmost of interest to see how the use of rhetoric brings about the growing reflection by the author regarding the characteristics of this techne and even about logos in general. This ultimately leads to a broader reflection upon communication and the limits of human knowledge.
The study of these three fields in Sophoclean tragedy allows us to assess the level of development of the rhetoric at a key moment and, furthermore, to deepen our knowledge of these works, in which rhetoric is a key factor for approaching a problem and, therefore, for achieving a dramatic ending, which, as a last resort, due to the very nature of the genre, is to a great extent a reflection about the society in which the genre takes place.
In this dissertation I analyse the rhetorical configuration of the rheseis or speeches that we find in Sophocles' tragedies, which encompass a very important period in rhetorical development (the second half of the 5th century BC). This analysis focuses particularly on early pieces, as these are, within the production of Sophoclean tragedies, the nearest to the birth of rhetoric. This work covers three main points:
1) Argumentation. Through its study we can learn how thought evolves and how persuasion is sought out early on in the development of rhetoric as a techne. Moreover, in comparing that line of reasoning to the one which develops in late Sophocles, we can observe the evolution that took place at that key time.
2) Rheseis composition. The level of rhetorical development of a speech is detected in its argumentation, but also in its formal style; therefore, the makeup of speech as well as the repetition of certain formulas in it for thought structure are factors to take into account.
3) Rhetorical thought. It is of the utmost of interest to see how the use of rhetoric brings about the growing reflection by the author regarding the characteristics of this techne and even about logos in general. This ultimately leads to a broader reflection upon communication and the limits of human knowledge.
The study of these three fields in Sophoclean tragedy allows us to assess the level of development of the rhetoric at a key moment and, furthermore, to deepen our knowledge of these works, in which rhetoric is a key factor for approaching a problem and, therefore, for achieving a dramatic ending, which, as a last resort, due to the very nature of the genre, is to a great extent a reflection about the society in which the genre takes place.
El plazo para enviar originales a la revista Veleia (número 42, 2025) está abierto hasta el 31 de mayo de 2024: https://ojs.ehu.eus/index.php/Veleia/index