Escolar Documentos
Profissional Documentos
Cultura Documentos
Ode [Canção] das canções, a qual é para Salomão [ou “de Salomão”, dativo de posse]
Jovem (donzela)
Jovenzinho [amante]
Jovem (donzela)
Eis que és belo, o irmãozinho [amante] meu,
Jovenzinho [amante]
Jovem (donzela)
Tal como uma árvore de maçã/ macieira [ou “maçã”] entre os arvoredos [ou “árvores”] do
bosque,
e o fruto dele (é) doce/ agradável na minha garganta [obs.: oração nominal, sem verbo de
ligação]
Jovenzinho [amante]
pois a tua voz é doce e a tua aparência [melhor: “o teu rosto”] é formosa [melhor: “jovem”].
Jovem (donzela)
Amado meu [Meu amante] é para mim [“meu”, dativo de posse], e eu também sou para
ele [“dele”, dativo de posse].
[1]
Νεάνις
θυγατέρες Ιερουσαλημ,
Ἀδελφιδός
9 Τῇ ἵππῳ μου ἐν ἅρμασιν Φαραω
Νεάνις
[2]
Ἀδελφιδός
Νεάνις
Ἀδελφιδός
Νεάνις
UFMG
[2018]
I Literatura grega
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ADKINS, A. W. H. Poetic craft in the early Greek elegists. Chicago, London: Chicago
University, 1985, p. 107-108 e 125-132.
FALKNER, Thomas M. The politics and the poetics of time in Solon’s “Ten Ages”. The
Classical Journal, 86, 1990, p. 1-15.
NOOTER, Sarah. Language, lamentation, and power in Sophocles’ Electra. The Classical
World, 104, Number 4, 2011, p. 399-417.
TRÉDÉ, Monique. “Kairós dans le théâtre de Sophocle et son rôle dans l’action dans
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[2017]
SCHMIEL, Robert. Achilles in Hades. Classical Philology vol. 82, No. 1., 1987, p. 35-37.
VERNANT, Jean-Pierre. Mort grecque: mort à deux faces. In: VERNANT, J.-P. L’individu,
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[2016]
Programa
ARISTOTLE. The Poetics. Tradução e comentários de Stephen Halliwell. Chapel Hill: The
University of North Carolina Press, 1987.
AUSTIN, Norman. Archery at the Dark of the Moon. Berkeley: University of California
Press, 1975 (chap. IV “From Cities to Mind”, p. 179-238).
BOLLACK, Jean. “Le jeu de Pénélope” in Europe 865 (Mai 2001): Homère, p. 218-249.
KNOX, Bernard. Édipo em Tebas (trad. Margarida Goldsztyn). São Paulo: Perspectiva,
2002.
KNOX, Bernard. “Sophocles’ Oedipus” in Word and Action – Essays on the Ancient
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Philology 114 (1993), p. 503-535.
MCEVILLEY, Thomas. “Sappho, Fragment Thirty One: The Face behind the Mask”,
Phoenix 32 (1978), p. 1-18.
SEGAL, Charles. “Time and Knowledge in the Tragedy of Oedipus” in Sophocles’ Tragic
World. Cambridge Mass.: Harvard University Press, 1995, p. 138-160.
[2015]
Literatura Grega
CAIRNS, D. Aidos: the psychology and ethics of honour and shame in ancient Greek
literature. Oxford: Clarendon Press, 1993. Em particular, “Introduction”, p. 1-47, e cap. 1:
“Aidos in Homer”, p. 48-146.
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to Homer. Cambridge: Cambridge University Press, 2004, p. 74-90.
FELSON, N.; SLATKIN, L. M. Gender and homeric epics. In: FOWLER, R. (Org.). The
Cambridge companion to Homer. Cambridge: Cambridge University Press, 2004, p. 91-
116.
GRAZIOSI, B.; HAUBOLD, J. Homer.Iliad: book 6. Cambridge Greek and Latin Classics.
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KIRK, G. S.The Iliad: a commentary. Volume II: books 5-8 (editor geral G. S. KIRK).
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REDFIELD, J. Nature and culture in the Iliad. The tragedy of Hector. Durham, London:
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p. 99-127; cap. 4: “Error”, p. 128-159.
RUTHERFORD, R. B. Tragic form and feeling in the Iliad. Journal of Hellenic Studies, 102,
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HALLETT, J. P. Sappho and her social context: sense and sensuality. Signs, 4, 1979, p.
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McEVILLEY, T. Sappho. Spring Publications: Putnam, Conn., 2008. Em particular, cap. VI:
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ROSEN, Ralph Mark. Performance and textuality in Aristophane’s Clouds. The Yale
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