Homero e Xenofonte: Panteia, Abradatas e a Guerra de Ciro

Lucia Sano

Resumo


A intenção do artigo é discutir a representação da morte dos personagens Panteia e Abradatas na Ciropédia de Xenofonte, considerando-se o contexto mais amplo de como o tema da guerra é apresentado na obra. Sugere-se que a identificação de Panteia e Abradatas com Andrômaca e Heitor serve ao propósito de introduzir o questionamento da própria representação positiva da guerra na narrativa de Xenofonte, bem como a da conduta de seu herói, que por meio do conflito violento ascende à posição de líder do maior império até então conhecido.


Palavras-chave


Xenofonte; Ciropédia; Ilíada; recepção dos clássicos; guerra.

Texto completo:

PDF

Referências


BARAGWANATH, Emily. The character and functions of speeches in Xenophon. In: FLOWER, Michael (Ed.). Cambridge companion to Xenophon. Cambridge/New York: Cambridge University Press, 2017, p. 279-300.

BUXTON, Richard Fernando. Xenophon on leadership: commanders as friends. In: FLOWER, Michael (Ed.). Cambridge companion to Xenophon. Cambridge/New York: Cambridge University Press, 2017, p. 323-37.

DANZIG, Gabriel. The best of the Achaemenids: benevolence, self-interest and the ‘ironic’ reading of Cyropaedia. In: HOBDEN, Fiona; TUPLIN, Christopher (Ed.). Xenophon. Ethical principles and historical enquiry. Leiden: Brill, 2012, p. 499-539.

DUE, Bodil. The Cyropaedia. Xenophon’s aims and methods. Aarhus: Aarhus University Press, 1989.

GERA, Deborah. Xenophon’s Cyropaedia. Style, genre, and literary technique. New York: Oxford University Press, 1993.

GOLDHILL, Simon. The seductions of the gaze: Socrates and his girlfriends. In: GRAY, Vivienne (Ed.). Xenophon. Oxford readings in Classical Studies. New York: Oxford University Press, 2010, p. 167-93.

GRAY, Vivienne. Xenophon’s mirror of princes. Reading the reflections. Oxford/New York: Oxford University Press, 2011.

GRAY, Vivienne. Le style simple de Xénophon: du rabaissement de la grandeur. In: PONTIER, Pierre (Ed.). Xénophon et la rhétorique. Paris: Presses Universitaires de Paris-Sorbonne, 2014, p. 319-37.

HARMAN, Rosie. Viewing, power and interpretation in Xenophon’s Cyropaedia. In: PIGON, Jakub (Ed.). The children of Herodotus. Greek and Roman historiography and related genres. Newcastle: Cambridge Scholars Publishing, 2009, p. 69-91.

HOMERO. Ilíada. Tradução de Christian Werner. São Paulo: Ubu, 2018.

HOWIE, J. Gordon. The major aristeia in Homer and Xenophon. Papers of the Leeds International Latin Seminar, v. 9, p. 197-217, 1996.

HOWLAND, Jacob. Xenophon’s philosophical odyssey: on the Anabasis and Plato’s Republic. American Political Science Review, v. 94, n. 4, p. 875-89, 2000.

KIRK, Geoffrey Stephen (Org.). The Iliad. A commentary. Cambridge: Cambridge University Press, 1990. v. 2, books 5-8.

KRISCHER, Tilman. Formale Konventionen der homerischen Epik. München: C. H. Beck, 1971.

LOSSAU, Manfred. Xenophons Odyssee. Antike und Abendland, n. 36, p. 47-52, 1990.

LOVATT, Helen. The epic gaze. Vision, gender and narrative in ancient epic. Cambridge/New York: Cambridge University Press, 2013.

MARINCOLA, John. Odysseus and the historians. Syllecta Classica, v. 18, p. 1-79, 2007.

MARINCOLA, John. Xenophons’ Anabasis and Hellenica. In: FLOWER, Michael (Ed.). Cambridge companion to Xenophon. Cambridge/New York: Cambridge University Press, 2017, p. 103-18.

McLOUGHLIN, Kate. Authoring war. The literary representation of war from Iliad to Iraq. Cambridge/New York: Cambridge University Press, 2011.

MUELLER-GOLDINGEN, Christian. Untersuchungen zu Xenophons Kyrupädie, Stuttgart: Teubner, 1995.

MYERS, Tobias. What if we had a war and everybody came? War as spectacle and the duel of Iliad 3. In: BAKOGIANNI, Anastasia; HOPE, Valerie (Ed.). War as spectacle. Ancient and modern perspectives on the display of armed conflict. London/New York: 2016, p. 25-42.

NÜNLIST, René. Poetics and literary criticism in the framework of ancient Greek scholarship. In: MONTANARI, Franco; MATTHAIOS, Stefanos; RENGAKOS, Antonios (Ed.). Brill’s companion to ancient Greek scholarship. Leiden/Boston: Brill, 2014, p. 706-55.

SCHEIN, Seth. “War – what is it good for?” in Homer’s Iliad and four receptions. In: ______. Homeric epic and its receptions. Interpretative essays. Oxford: Oxford University Press, 2016, p. 149-70.

SEGAL, Charles. The theme of the mutilation of the corpse in the Iliad. Leiden: Brill, 1971.

STADTER, Philip. The fictional narrative in the Cyropaedia. American Journal of Philology,

v. 112, p. 461-91, 1991.

TATUM, James. Xenophon’s imperial fiction. On the Education of Cyrus. New Jersey: Princeton University Press, 1989.

THALMANN, William G. ‘Anger sweeter than dripping honey’: violence as a problem in the Iliad. Ramus, v. 44, n. 1-2, p. 95-114, 2015.

TSAGALIS, Christos. Xenophon homericus: an unnoticed loan from the Iliad in Xenophon’s Anabasis. Classica et Mediaevalia, v. 53, p. 101-21, 2002.

TUPLIN, Christopher. Heroes in Xenophon’s Anabasis. In: BARZANÒ, Alberto; GATTINONI, Franca; BEARZOT, Cinzia (Ed.). Modelli eroici dall’antichità alla cultura europea. Roma: L’Erma di Bretschneider, 2003, p. 115-56.

VAN WEES, Hans. Heroes, knights and nutters. Warrior mentality in Homer. In: LLOYD, Alan (Ed.). Battle in Antiquity. Swansea: Classical Press of Wales, 1996, p. 1-86.

VERNANT, Jean-Pierre. A bela morte e o cadáver ultrajado. Trad. Elisa A. Kossovitch e João A. Hansen. Discurso, n. 9, p. 31-62, 1979.

YAMAGATA, Naoko. Use of Homeric references in Plato and Xenophon. The Classical Quarterly, v. 62, n. 1, p. 130-44, 2012.

YAMAGATA, Naoko. From our own correspondent. Authorial Commentary on the ‘Spectacles of War’ in Homer and in the Tale of the Heike. In: BAKOGIANNI, Anastasia; HOPE, Valerie (Ed.). War as spectacle. Ancient and modern perspectives on the display of armed conflict. London/New York: 2016, p. 43-56.




DOI: https://doi.org/10.24277/classica.v32i1.836

Métricas do artigo

Carregando Métricas ...

Metrics powered by PLOS ALM

Apontamentos

  • Não há apontamentos.




Direitos autorais 2019 Lucia Sano

Licença Creative Commons
Esta obra está licenciada sob uma licença Creative Commons Atribuição 4.0 Internacional.

 

 Classica está licenciada sob a Creative Commons Atribuição 4.0 Internacional