The Pindaric poetry of Cruz e Silva and the Neoclassical revival among Lusitanian national heroes

António Dinis da Cruz e Silva, member of Arcádia Lusitana, the literary academy he helped to found, introduced the Pindaric ode to the Portuguese literature of the neoclassical period (18th century). This poet imitates the triadic form and the mythological nature of Pindar’s encomiastic poetry, in order to celebrate the deeds of reputed historical figures from the national context, such as sailors, captains, politicians, and even the king himself. As in Pindar’s poetry, the mythological excursus holds an important part in Cruz e Silva’s Pindaric poetry. Winners of athletic games are acclaimed through allusion to the ancient heroes. Likewise, the heroes of the Portuguese history see themselves turned into immortals, since their deeds are reported as comparatively greater than those of Homeric warriors. Among the 44 Cruz e Silva’s Pindaric odes, 18 rewrite the myth of the Trojan War, from its beginnings with Eris (Odes I-II) to its outcome with the imperishable fame of the most conspicuous Homeric fighters (Ode XLII). These 18 compositions (re)tell, in a neoclassical style, the main scenes and themes of the Iliad and Odyssey, alluding directly to their heroes’ deeds. Achilles’ wrath and Hector’s death are topics repeatedly brought up in Cruz e Silva’s Pindaric poetry as models of courage and patriotism for national heroes. This chapter offers a discussion of Cruz e Silva’s neoclassical representation of the Trojan War. To this effect, an interdisciplinary approach is adopted, showing how the Portuguese poet handles the mythological material from Homer and Pindar. In this way, he initiated in 18th-century Portuguese literature a new literary genre, the Pindaric ode. By dealing with Poetry and History, Cruz e Silva perpetuated the life and fame of national heroes long after their deaths.

Aristotelian predicables, universality and realism: the logic of comparison in topics as denying the view that Aristotle was a realist

Aristotle is reportedly held to have been a Moderate Realist in that he would maintain that a concept derives from an act of grasping a mind-independent universal object that exists somehow inside of the many different things which the concept is predicated of. As far as a universal is independent of mind, it would stand for the proper object of a concept that subsumes a given number of things as its own instantiations. But we claim that Aristotle rejected such a view and instead did perceive and comprehend universality as a feature of thought rather than as a feature of reality in its own right. As showed in the chapters of Topics regarding the so-called logic of comparison (with the support of Albert the Great’s commentary), each predicate can be more or less consistent with the attribute of the subject of which it may be predicated. Both essential and accidental attributes assume a definite degree of being related to the degree of belonging to substance. Unlike particular things, the universality of a concept is to be understood always in comparison with another concept according to a hierarchy of predicates in terms of universality degree arranged by comparative terms such as ‘more’, ‘less’, and ‘likewise’. What is really mind-independent are the truth conditions which make a universal true when exclusively referring to a set of things identically meant by the same predicate whose universality is given by the place occupied in the hierarchy of predicates.

Contributos para o estudo da pintura mural na arquitectura palatina lisboeta entre o tardo-barroco e o neoclassicismo, 1775-C. 1820

Tese de mestrado, Arte, Património e Teoria do Restauro, Universidade de Lisboa, Faculdade de Letras, 2011

What is poetic attention

Tese de doutoramento, Estudos de Literatura e de Cultura (Teoria da Literatura), Universidade de Lisboa, Faculdade de Letras, 2014

A obra gráfica de Domingos António de Sequeira no contexto da produção europeia do seu tempo

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2014