Studies on the dual in Mycenaean, in the Homeric poetry and in the Attic Theatre of the 5th century — morphological, dialectal and stylistical variations

The present dissertation focuses on the dual number in Ancient Greek in a diachronical lapse stretching from the Mycenaean age to the Attic Drama and Comedy of the 5th century BC. In the first chapter morphological issues are addressed, chiefly in a comparative perspective. The Indo European evidence on the dual is hence gathered in order to sketch patterns of grammaticalisation and paradigmatisation of specific grams, growing increasingly functional within the Greek domain. In the second chapter syntactical problems are tackled. After a survey of scholarly literature on the Greek dual, we engage in a functional and typological approach, in order to disentangle some biased assessments on the dual, namely its alleged lack of regularity and intermittent agreement. Some recent frameworks in General Linguistics provide useful grounds for casting new light on the subject. Internal Reconstruction, for instance, supports the facultativity of the dual in each and every stage of its development; Typology and the Animacy Hierarcy add precious cross linguistical insight on the behaviour of the dual toward agreement. Glaring differences also arise as to the adoption — or avoidance — of the dual by different authors. Idiolectal varieties prove in fact conditioned by stylistical and register necessity. By means of a comparison among Epics, Tragedy and Comedy it is possible to enhance differences in the evaluation of the dual, which led sometimes to forms of ‘censure’ — thus triggering the onset of competing strategies to express duality. The last two chapters delve into the tantalising variety of the Homeric evidence, first of all in an account of the notorious issue of the Embassy of Iliad IX, and last in a commentary of all significant Homeric duals — mostly represented by archaisms, formulae, and ad hoc coinages.

Dioses, Dios

"We are not jealous of gods, we do not serve them, we do not fear them, but at the risk of our lives, we attest for their multiple existence, and are stirred to be of their chancy keeping when they are no more remembered of". What could mean such a sentence written by René Char? Is it still possible to think and to experiment, here and now, after centuries of monotheism, something like a plurality of gods? What is it to be a pagan? Rereading Homer, and then Plato, Nietzsche and Lyotard, we could risk the following de´Çü nition: pagan is someone able to suppose, between performance and cosmos, that the one coming up to him is, may be, some god.

Dioses, Dios

"We are not jealous of gods, we do not serve them, we do not fear them, but at the risk of our lives, we attest for their multiple existence, and are stirred to be of their chancy keeping when they are no more remembered of". What could mean such a sentence written by René Char? Is it still possible to think and to experiment, here and now, after centuries of monotheism, something like a plurality of gods? What is it to be a pagan? Rereading Homer, and then Plato, Nietzsche and Lyotard, we could risk the following de´Çü nition: pagan is someone able to suppose, between performance and cosmos, that the one coming up to him is, may be, some god.

Dioses, Dios

"We are not jealous of gods, we do not serve them, we do not fear them, but at the risk of our lives, we attest for their multiple existence, and are stirred to be of their chancy keeping when they are no more remembered of". What could mean such a sentence written by René Char? Is it still possible to think and to experiment, here and now, after centuries of monotheism, something like a plurality of gods? What is it to be a pagan? Rereading Homer, and then Plato, Nietzsche and Lyotard, we could risk the following de´Çü nition: pagan is someone able to suppose, between performance and cosmos, that the one coming up to him is, may be, some god.

Opere dell'abate Melchior Cesarotti ...

Vol. 1, 6-9, 17-18, 38-40 have imprint: Pisa, N. Capurro; v. 19, Parigi, G.C. Molini; v. 31, Florentiae, typis Molini, Landi et soc.

The adventures of Odysseus, literary studies.

The adventures of Odysseus.--Herodotus' portrait of Xerxes.--Euripides' tragedy of Hecuba.--The adventures of Aeneas.--Les faits de Pantagruel and La vie de Gargantua.--The giant symbolism in Rabelais's Gargantua.--Racine's Remarques sur l'Odyssée d'Homère.--Contemporary French plays from ancient sources: Anouilh's Antigone; Sartre's Les mouches.--Cocteau's Le machine infernale and Sophocles' Oedipus rex.

Opere di Vincenzo Monti ...

"Intorno alla vita ed alle opere del cavaliere Vincenzo Monti, cenni di Giovanni Antonio Maggi": v. 1, p. [xi]-xlvii.

Le civilisateur : histoire de l'humanité par les grands hommes /

Contiene: 1re" année. Jeanne d'Arc. Homère. Bernard de Palissy. Christophe Colomb. Cicéron. Gutenberg ; "2e" année. Héloïse. Fénelon. Socrate. Nelson. Rustem. Jacquard. Cromwell ; "3e" année. Cromwell. Guillaume Tell. Bossuet. Milton. Antar. Mad. de Sévigné

L'Odisée /

Mode of access: Internet.

Vie des grands hommes ...

At head of title: A. de Lamartine.

Des artistes homériques... [y otras obras]

Mode of access: Internet.

Choix des historiens grecs avec notices biographiques /

Contiene: Hérodote : histoire ; Vie d'Homére ; Ctésias : histoire de Perse ; Histoire de l'Inde ; Arrien : expédition d'Alexandre suivis de l'Essai sur la chronologie d'Hérodote et du canon chronologique de Larcher, avec une carte des expéditions d'Alexandre.

Œuvres de J. Racine.

"La musique des chœurs d'Esther et d'Athalie par J. B. Moreau, et celle des quatre Cantiques spirituels, œuvre de même musicien pour les trois premiers, de Michel-Richard de la Lande pour le quatrième, sont données ici telles qu'elles ont été imprimées ou gravées du temps des compositeurs ... On a fidèlement reproduit les titres portent les éditions du Conservatoire." (Chœurs de la tragedie d'Esther avec la musique composée par J.-B. Moreau ... [Paris] Chez Denys Thierry [etc.] 1689.--La Musique d'Athalie par J.-B. Moreau ... Paris, Chez l'autheur [etc.] [n. d.]--Cantiques chantez devant le roy et composez par M. Moreau ... A Paris, Chez Christophe Ballard ... 1695)

John Tzetzes and the pseudo-Aristotelian Peplos in middle-Byzantium. The testimony of the Matritenses 4562 and 4621

Tras mi reciente edición de los pseudo-aristotélicos Pepli Epitaphia, el presente trabajo se centra en los apochrypha a dichos epitafios que compuso Juan Tzetzes en el siglo xii, un conjunto de ocho dísticos elegíacos para los héroes que consideró meritorios de tal tarea, y para quienes no pudo encontrar un epitafio conservado en las fuentes manuscritas a las que tuvo acceso. Para lograr dicho propósito, también se investiga el grado de conocimiento y la transmisión de ese corpus epigramático en la literatura bizantina, además de considerar las lecciones y el sentido mismo de dos códices guardados en la Biblioteca Nacional de España (M y Md). En ellos, Constantino Láscaris copió, directamente a partir de Tzetzes, dos breves antologías de dichos componentes.