scholarly journals Pragmatic use of ancient greek pronouns in two communicative frameworks

Pragmatics ◽  
2016 ◽  
Vol 26 (3) ◽  
pp. 447-471 ◽  
Author(s):  
Chiara Meluzzi
Keyword(s):  
Female Characters ◽  
Personal Pronouns ◽  
Ancient Greek ◽  
Person Plural ◽  
Modern Greek ◽  
Male Characters ◽  
Membership Categorization ◽  
Related Distribution ◽  
Pragmatic Function ◽  
Context Dependent

This paper deals with the use of personal pronouns (PPs) in Ancient Greek in two Aristophanes’ comedies (i.e. Lysistrata and Ecclesiazusae). The main purpose of this study is to show that Ancient Greek PPs often have a pragmatic function, in particular linked to the speaker’s communicative goals. The analysis highlights the presence of a gender-related distribution and a context-dependent use of personal pronouns. In particular, male characters prefer 1st person singular pronouns, whereas female characters use more 1st person plural pronouns with an inclusive value. Moreover, in two communicative frameworks it is possible to notice how PPs are used for their value of membership categorization. In this respect PPs can be considered possible markers of autonomía or afiliación (see Bravo 1999). Some peculiar instances of referential ambiguities concern in particular the use of 1st and 2nd person plural pronouns in both comedies.The analysis shows that use of Ancient Greek PPs varies according to gender and context. Moreover, it is clear that in both comedies this variation should be explained mainly as a pragmatic strategy of membership categorization, thus showing instances of non-prototypical uses of PPs similar to other languages (e.g. Spanish, English, Modern Greek).

scholarly journals Bodies Out of Time: Sculpting Queer Poetics and Queering Classical Sculpture in the Poetry of C. P. Cavafy

2021 ◽  
Author(s):  
J. L. Watson
Keyword(s):  
Raw Material ◽  
Ancient Greek ◽  
Greek Poetry ◽  
Modern Greek ◽  
The Past ◽  
Greek World

AbstractTwo major themes dominate the poetry of the Alexandrian poet, C. P. Cavafy: homosexual desire and Greekness, broadly defined. This paper explores the interconnectivity of these motifs, showing how Cavafy’s poetic queerness is expressed through his relationship with the ancient Greek world, especially Hellenistic Alexandria. I focus on Cavafy’s incorporation of ancient sculpture into his poetry and the ways that sculpture, for Cavafy, is a vehicle for expressing forbidden desires in an acceptable way. In this, I draw on the works of Liana Giannakopoulou on statuary in modern Greek poetry and Dimitris Papanikolaou on Cavafy’s homosexuality and its presentation in the poetry. Sculpture features in around a third of Cavafy’s poems and pervades it in various ways: the inclusion of physical statues as focuses of ecphrastic description, the use of sculptural language and metaphor, and the likening of Cavafy’s beloveds to Greek marbles of the past, to name but three. This article argues that Cavafy utilizes the statuary of the ancient Greek world as raw material, from which he sculpts his modern Greek queerness, variously desiring the statuesque bodies of contemporary Alexandrian youths and constructing eroticized depictions of ancient Greek marbles. The very ontology of queerness is, for Cavafy, ‘created’ using explicitly sculptural metaphors (e.g. the repeated uses of the verb κάνω [‘to make’] in descriptions of ‘those made like me’) and he employs Hellenistic statues as a productive link between his desires and so-called ‘Greek desire’, placing himself within a continuum of queer, Greek men.

Imperatives, V-movement and logical mood

1995 ◽  
Vol 31 (2) ◽  
pp. 301-332 ◽  
Author(s):  
María Luisa Rivero ◽  
Arhonto Terzi
Keyword(s):  
Ancient Greek ◽  
Modern Greek ◽  
Self Interest ◽  
Distinctive Morphology

Imperative Vs with distinctive morphology either have a distinctive syntax (Modern Greek, Spanish), or distribute like others Vs (Serbo-Croatian, Ancient Greek). The contrast follows from properties of the root C. The first type has a strong Imperative V-feature in C, and under Chomsky's Greed Principle, Imperative Vs raise overtly to check this feature. The second type is the Wackernagel language, whose C hosts no features, but V-features are in I. If no phrase fronts, Vs move to C to support second position items. V-to-C affects all Vs, is last resort, follows Lasnik's Enlightened Self-Interest, and escapes Greed.

Spoken Greek

1944 ◽  
Vol 13 (38-39) ◽  
pp. 73-80
Author(s):  
W. R Loader
Keyword(s):  
Formal Language ◽  
Modern World ◽  
Grammatical Structure ◽  
Ancient Greek ◽  
Modern Greek ◽  
Law Courts ◽  
Business Correspondence

It has been suggested that there is less difference between ancient Greek and modern Greek than between present-day English and Chaucer's language. The suggestion is somewhat questionable. Broadly speaking, apart from dialects and local variations, there are presently three languages in Greece, the Kathareuousa, the Demotiki, and the popular newspaper language, which is a blend of the two.The Kathareuousa is the official and formal language, used in Government publications and statements, business correspondence, non-fictional books and treatises, law courts, University lectures, and in formal conversation. And although its grammatical structure is analytic as opposed to the synthesis of ancient Greek (a change which constitutes the main difference between classical and modern Greek, as it does between other modern and ancient languages), in the Kathareuousa the most strenuous attempt has been made to maintain the accidence and vocabulary of the ancient language.Words are declined and verbs conjugated (without some of their more difficult and less used moods and tenses) as in Attic Greek, pronouns and prepositions and the cases governed by them are the same, and while, naturally, many terms which describe things known only to the modern world are not to be found in Liddell and Scott, they are generally legitimate and intelligible compounds of words which are to be found in Liddell and Scott. Ἀɛροπλἁνoν for aeroplane, ἀɛρòσTαtoν for balloon, are instances which come easily to mind.

scholarly journals Ibsen’s The Pillars of Society: Female Protest against Patriarchy

NUTA Journal ◽  
2020 ◽  
Vol 7 (1-2) ◽  
pp. 10-17
Author(s):  
Arjun Dev Bhatta
Keyword(s):  
Feminist Theory ◽  
Social Relationship ◽  
Status Quo ◽  
Human Beings ◽  
Female Characters ◽  
Female Protagonists ◽  
Male Characters ◽  
Patriarchal Power ◽  
The Voice

This study explores social relationship between male and female in Henrik Ibsen’s play “The Pillars of Society”. The first part of the study analyzes a sexist society in which male characters subjugate females through their hegemonic power. The female characters appear meek, submissive and voiceless. The second part of this study examines the revolutionary role of the female characters who raise their voice against all-pervasive patriarchal power. They protest against male formulated institutions which have kept women voiceless and marginalized. Being dissatisfied with the defenders of patriarchal status quo, Ibsen’s female protagonists come to the fore to challenge prevailing social conviction about femininity and domesticity. They lead a crusade to establish their position and identity as human beings equal to men. In this play, the female characters Lona, Martha and Dina hold a revolutionary banner to protest against male domination of female. In their constant struggle, they win while the male characters become loser. This study analyses the voice of these leading female characters in the light of feminist theory proposed by scholars such as Kete Millett and Sylvia Walby.

scholarly journals The legal paradox in the work of Eça de Queiroz: thoughts on the novels “O crime do padre Amaro” and “O primo Basílio”

2020 ◽  
Vol 6 (1) ◽  
pp. 247-273
Author(s):  
Eduardo de Carvalho Rêgo
Keyword(s):  
Scientific Method ◽  
Female Characters ◽  
Male Characters ◽  
The Law ◽  
Correct Application ◽  
Main Instrument

This paper searches for one possible way of understanding the Law based on the novels "O crime do padre Amaro" and "O primo Basílio", by Portuguese writer Eça de Queiroz. In both novels, the deaths of the female characters (Amélia and Luísa) are consequences of their lovers’ conducts (Amaro’s and Basílio’s), with no legal punishments for any of them. After reading these novels, there might be a feeling of injustice to the women, even if the male characters had not formally done any criminal actions. Precisely, this lack of action of the Law creates a paradox: even though the search for Justice is its main objective, by attempting to accomplish that purpose, sometimes severe injustice is brought by it, such as what happens to Amélia and Luísa. This research used the inductive scientific method, so the analysis of specific phenomena serves to generate generic conclusions. In this case, the main conclusion is the paradoxical trait of the Law, which is the main instrument for Justice, but is, at the same time, strongly capable of generating injustice because of its correct application.

“To Give Greece Back to the Greeks”

2018 ◽  
pp. 107-138
Author(s):  
Samuel N. Dorf
Keyword(s):  
Modern Dance ◽  
Silent Film ◽  
Folk Song ◽  
Ancient Greek ◽  
Ritual Music ◽  
Greek Culture ◽  
Modern Greek ◽  
Social Events ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps

Eva Palmer Sikelianos, along with her husband, the poet Angehlos Sikelianos, founded the first modern Delphic Festival in 1927 in an effort to revive the ancient Greek rites that had taken place on that spot more than twenty-five hundred years before. This chapter explores Palmer Sikelianos’s choreography, rituals, music, and dramaturgy for her reconstructed Prometheus Bound by Aeschylus in light of her research on ancient Greek culture, conducted in both Paris and modern Greece. Based on silent film records of Palmer Sikelianos’s 1930 festival, her autobiography, her collaborations with Natalie Clifford Barney on Greek-themed theatricals in the early 1900s, and comparisons to the movement vocabulary and other contemporary stagings of ancient Greek festivals and sport, the chapter demonstrates how Palmer Sikelianos navigated between the needs and methods of the archaeologist and those of the performer. She blended the oldest sources on ancient Greek ritual music and dance that she could find with what she saw as an authentic “spirit” of Greek culture that she observed in modern Greek society. Her performances drew from archival/archaeological courses (ancient treatises, dance iconography) and lived practices (folk song, modern dance, Byzantine chant traditions). Like the Ballets Russes’s re-enactment of ancient Greece in Daphnis et Cholé and L’Après-midi d’un Fauné and pagan Rus’s in Le Sacre du printemps [The Rite of Spring], Palmer Sikelianos’s project to re-enact “authentic” Greek theater and choreography illustrates that theories of theatrical historical reconstruction in the early twentieth century were heavily influence by contemporary theatrical, political, and social events.

scholarly journals The Role of Archaeology in Forming Greek National Identity and its Embodiment in European Identity

2020 ◽  
Vol 28 (3) ◽  
pp. 448-458
Author(s):  
Olga Katsiardi-Hering
Keyword(s):  
National Identity ◽  
Archaeological Sites ◽  
Ancient Greek ◽  
Modern Greek ◽  
Set Up ◽  
Roman Antiquity ◽  
Europe Today ◽  
Greek World ◽  
Of Greece

The murder of Johann Joachim Winckelmann, for many the ‘founder of archaeology’, in 1768 in a Trieste inn, did not mean the end for his work, which could be said to have been the key to understanding ancient Greece, which Europe was re-discovering at the time. In the late Enlightenment, Neoclassicism, followed by Romanticism, elevated classical, Hellenistic and Roman antiquity, and archaeological research, to the centre of academic quests, while the inclusion of archaeological sites in the era’s Grand Tours fed into a belief in the ‘Regeneration’/‘Wiedergeburt’ of Greece. The Modern Greek Enlightenment flourished during this same period, the late eighteenth and early nineteenth centuries, with a concomitant classicizing turn. Ancient Greek texts were republished by Greek scholars, especially in the European centres of the Greek diaspora. An admiration for antiquity was intertwined into the Neohellenic national identity, and the first rulers of the free Greek State undertook to take care of the nation’s archaeological monuments. In 1837, under ‘Bavarian rule’, the first Greek University and the ‘Archaeological Society of Greece in Athens’ were set up. Archaeologists flocked to Greece and those parts of the ancient Greek world that were still part of the Ottoman Empire. The showcasing of classical monuments, at the expense of the Byzantine past, would remain the rule until the latter half of the nineteenth century. Modern Greek national identity was primarily underpinned by admiration for antiquity, which was viewed as a source of modern Hellenism, and for ‘enlightened, savant, good-governed Europe’. Today, the ‘new archaeology’ is striving to call these foundations into question.

Thinking About the Concept of Social Gender With a Film

2020 ◽  
pp. 228-247
Author(s):  
Berceste Gülçin Özdemir
Keyword(s):  
Social Order ◽  
Female Characters ◽  
The Public ◽  
Male Characters ◽  
Making Sense ◽  
The Social ◽  
Narrative Cinema ◽  
Feminist Film ◽  
The Subject ◽  
The Public Sphere

The concept of social gender is an interdisciplinary matter of debate and is still questioned today. Making sense of this concept is understood by the ongoing codes in the social order. However, the fact that men are still positioned as dominating women in the contrast of the public sphere/private sphere prevents the making sense of the concept of gender. This study questions the concept of social gender through the female characters and male characters presented in the film Tersine Dünya (1993) within the framework of Judith Butler's thoughts regarding the notion of the subject. The thoughts of feminist film theorists also bring the strategies of representation of female characters up for discussion. Butler's thoughts and the discourses of feminist film theorists will enable both making sense of social gender and a more concrete understanding of the concept of the subject. The possibility of deconstruction of patriarchal codes by using classical narrative cinema conventions is also brought up for discussion in the examined film.

One Fish, Two Fish, Bonito, Bluefish: Ancient Greek ἀµία and γοµφάριον

Mnemosyne ◽  
2016 ◽  
Vol 69 (2) ◽  
pp. 249-261
Author(s):  
Ephraim Lytle
Keyword(s):  
Ancient Greek ◽  
Important Species ◽  
Modern Greek

The Ancient Greek fish name ἀµία has been identified with the bonito since the Renaissance. I argue that this identification is wrong and that the amia can only be another important species, the bluefish. The name amia eventually fell out of use and was replaced by another term, γοµφάριον, which has been similarly misidentified despite having survived into Modern Greek, only slightly changed, as a common name for the bluefish.

Freeing Ahasuerus, Haman, and Mordechai: Liberating the Oppressor in the Book of Esther

2020 ◽  
Vol 71 (1) ◽  
pp. 36-61
Author(s):  
Denise Flanders
Keyword(s):  
Biblical Text ◽  
Negative Consequences ◽  
Female Characters ◽  
Marginalized Communities ◽  
Patriarchal System ◽  
Male Characters ◽  
Patriarchal Ideology

Abstract The approach taken in this essay proceeds from the assumption that the biblical text of Esther reflects a patriarchal ideology and it is largely the males in the story who wield the power. However, instead of examining the negative consequences for the female characters and how the patriarchal system forces them to operate, I look to the male characters to see how they fare in the system of patriarchy which they undoubtedly inhabit. In the first part of the essay, I consider the call issued by womanist and liberation theologians from traditionally marginalized communities for the need for liberation of both the oppressed and the oppressors from systems of oppression. In the second part of the essay, I respond to this call via an analysis of the book of Esther. First, I examine four different actions or attitudes that characterize the men in the story. Second, I observe some places where their power clearly brings them loss. Third, I argue that the destructive attitudes, actions, and relationships of the men in the story demonstrate their own need for liberation from the oppressive system of patriarchy from which they supposedly benefit.

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