https://uvadoc.uva.es/handle/10324/5484 Minerva: Revista de filología clásica - 2001 - Num. 15 2026-04-20T04:08:23Z https://uvadoc.uva.es/handle/10324/10441 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10440 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10438 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10439 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10437 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10436 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10434 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10433 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10435 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10431 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10432 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10430 Beginning with the Middle Irish version of the Odyssey the present article traces references to Ulysses throughout Early Irish Literature. The study involves the question of the transmission of Classical sources. For this purpose, the evidence for some acquaintance with Greek in early Christian Ireland, as well as the readiness to adapt Classical legends to suit native conditions, is discussed below. 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10429 Time in historical narratives is not a mathematical abstraction, but is shaped by events and distributed into periods. After reviewing traditional strategies of periodization, including cycles, the Hesiodic succession of ages. and the early Roman idea of historical decline. this paper examines how two views of historical time -as alternating between good and bad eras and as a succession of historical stages corresponding in part to the ages of man- were combined in the work of the neglected historian "Vopiscus" (one of the authors of the Historia Augusta) to produce a new conception of historical periodization. 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10428 The story of the enigmatic Aspasia of Phocis, briefly related in the Greek literature since Xenophon, is specially developed in Aelian's Varia Historia. This paper intends to study the new data that Aelian added to Aspasia's literary biography, among them folk topics such as the presence of number three, healings through unconventional methods, warning dreams, magic transformations of animals into human beings ... , which were thought to provide readers, fond of superstition and pseudo-scientific curiosities, with entertainment. 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10426 This article seeks to describe the sociolinguistic situation of modern Greece during the period from 1830 to 1941. Thanks to Charles Ferguson, this situation has been traditionally viewed as an example of diglossia. However, other authors have argued that Ferguson's diglossia does not correspond with modem Greece. Therefore, Lamuela's survey of the social roles of languages (symbolic, definitory, and communicative), which stands as a valuable alternative to Ferguson's scheme of diglossia, has been used in this article. As a conclusion, the linguistic situation of modern Greece after 1830 can be seen as a linguistic culture where the written tradition became the most important national value. Only at the end of the XIX century demoticists attempted to develop an alternative national language and presented Greece as a diglossic community. 2001-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/10427 The language of Satyr-Drama occupies an intermediate stage between the language of Tragedy and that of Comedy. In fact, in the Euripidean Satyr Play Cyclops. for instance, Silenos sometimes speak like a tragic character, calling the "oarsmen" κώπης άνακτας, a tamiliar expression in Tragedy, and sometimes like a lewd comic hero, alluding unequivocally to his sex with the demonstrative pronoun τούτο, as we can see in the line: ίν’ έστι τουτί τόρθόν έξανιστάναι, a typical feature of the Aristophanic Comedy. But Satyr Drama is neither a Tragedy nor a Comedy, neither a Parody of Tragedy nor a special kind of Ancient Comedy. Its effect rests on the mixing up of two unharmonious elements. the tragic and the satyric, that are clearly reflected in its language, sometime noble, elevated, full of rare words and hapax, sometime childish and full of licentiousness and impudence. 2001-01-01T00:00:00Z