Plutarc a la seva època: Paideia i Societat, Jufresa, M., Mestre, F., Gómez, P., Gilabert, P. (eds.) , 2005
PLUTARCH'S GRILLO AND THE SATIRE OF HUMANISM IN MACHIAVELLI AND GELLI
Plutarch's Bruta ratio... more PLUTARCH'S GRILLO AND THE SATIRE OF HUMANISM IN MACHIAVELLI AND GELLI
Plutarch's Bruta ratione uti, known as Grillo, places in the land of Circe a dialogue between Odysseus and a pig, Grillo, who refuses to be returned to his human condition, arguing that the animal one is preferable. The approach was used, among others, by Machiavelli and Gelli to participate in the fashionable debate on anthropocentrism with two fantasies: L'asino d'oro – which, despite the title, parodies Dante's Comedy – and Circe – that accumulates intellectual discourses in the mouths of a wide range of animals. Both debate the traditional position of men between animals and gods, and the very existence of divinity, from different perspectives and intentions.
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Papers by Maite Clavo
Plutarch's Bruta ratione uti, known as Grillo, places in the land of Circe a dialogue between Odysseus and a pig, Grillo, who refuses to be returned to his human condition, arguing that the animal one is preferable. The approach was used, among others, by Machiavelli and Gelli to participate in the fashionable debate on anthropocentrism with two fantasies: L'asino d'oro – which, despite the title, parodies Dante's Comedy – and Circe – that accumulates intellectual discourses in the mouths of a wide range of animals. Both debate the traditional position of men between animals and gods, and the very existence of divinity, from different perspectives and intentions.
The object of study is a papyrus fragment of Euripides’ Erechtheus (c. 423-21 BC) relating to the organization of sacred space on the Athenian Acropolis and, in part, at Eleusis (fr. 65, 63- 101 A; Pap. Sorb., inv. 2328). Both aetiologies, with a symmetrical structure, articulate through narration at the same time a vertical axis between the underground and the ether, a ritual system, and a priest class. This composition, alongside such innovations as the catasterism of the Erechthiades, is considered to be Euripides’ creation. It is further established that Euripides’ incorporation of the above-mentioned heaven-earth axis into the Acropolis’ sacred landscape coincides in time with the proposals of religious interchange between Athens and Sparta in the peace treaties of 424-21 (Thuc., 5, 18-23). It is argued, finally, that to this supposed Panhellenic disposition of Athens correspond both the aesthetic use of the “new music” – which appropriates the astral imagery of Laconian lyric – and the co-protagonism of Eleusis in this work.
brachylogic questioning as a persuasive strategy, which is effective where
the conventional discourse fails. Such tropos is used to lead the logos with
eristic intention, under the form of epídeixis, elenchos, or judicial agon, in
Suppliants, Agamemnon, and Eumenides. On the other hand, the argumentation of Republic II on the origin of justice and the state develops the theses
of the foundational myth of the polis in Eumenides, a debt emphasized by
several citations of Aeschylus–significantly the only tragic author that is mentioned in this book.
Apulian iconography - Theatre- Oedipus at Colonus- Sophocles.
Key words: Iconography – Κλῃδούχος – Braurón – Iphigenia in Tauris
Plutarch's Bruta ratione uti, known as Grillo, places in the land of Circe a dialogue between Odysseus and a pig, Grillo, who refuses to be returned to his human condition, arguing that the animal one is preferable. The approach was used, among others, by Machiavelli and Gelli to participate in the fashionable debate on anthropocentrism with two fantasies: L'asino d'oro – which, despite the title, parodies Dante's Comedy – and Circe – that accumulates intellectual discourses in the mouths of a wide range of animals. Both debate the traditional position of men between animals and gods, and the very existence of divinity, from different perspectives and intentions.
The object of study is a papyrus fragment of Euripides’ Erechtheus (c. 423-21 BC) relating to the organization of sacred space on the Athenian Acropolis and, in part, at Eleusis (fr. 65, 63- 101 A; Pap. Sorb., inv. 2328). Both aetiologies, with a symmetrical structure, articulate through narration at the same time a vertical axis between the underground and the ether, a ritual system, and a priest class. This composition, alongside such innovations as the catasterism of the Erechthiades, is considered to be Euripides’ creation. It is further established that Euripides’ incorporation of the above-mentioned heaven-earth axis into the Acropolis’ sacred landscape coincides in time with the proposals of religious interchange between Athens and Sparta in the peace treaties of 424-21 (Thuc., 5, 18-23). It is argued, finally, that to this supposed Panhellenic disposition of Athens correspond both the aesthetic use of the “new music” – which appropriates the astral imagery of Laconian lyric – and the co-protagonism of Eleusis in this work.
brachylogic questioning as a persuasive strategy, which is effective where
the conventional discourse fails. Such tropos is used to lead the logos with
eristic intention, under the form of epídeixis, elenchos, or judicial agon, in
Suppliants, Agamemnon, and Eumenides. On the other hand, the argumentation of Republic II on the origin of justice and the state develops the theses
of the foundational myth of the polis in Eumenides, a debt emphasized by
several citations of Aeschylus–significantly the only tragic author that is mentioned in this book.
Apulian iconography - Theatre- Oedipus at Colonus- Sophocles.
Key words: Iconography – Κλῃδούχος – Braurón – Iphigenia in Tauris