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Grado en Filología Clásic

La lengua de los personajes. Caracterización lingüística en la obra de Eurípides a partir de los Heraclidas

The purpose of this thesis is to determine how Euripidean characters are characterised through their language with respect to one another. Heraclidae is taken as a starting point. The thesis is divided into five chapters with an abstract and concluding remarks in English, an index locorum and a list of figures. Chapter 1 deals with the much-discussed question of what characterisation implies and how it can be approached. Chapter 2 addresses the method, whose aim is to establish guidelines for approaching linguistic characterisation in a dramatic corpus. The potentially relevant features for the study of linguistic characterisation have been selected under the framework of Speech Act Theory, Conversation Analysis, and especially, Politeness Theory, thus forming the baselines of a threefold approach. Chapter 3 examines the socio-pragmatic factors pertaining to the use of forms of address with a focus on the forms of address at the right periphery, namely, at the end of the clause. The last two chapters are about two speech acts, namely approval and supplication. Chapter 4 examines the distribution of approval formulae, which can be considered as taxemic markers. Chapter 5 offers an analysis of how im/politeness strategies work with regard to the role played by the characters involved in a number of suppliant scenes

Hipercortesía verbal en Eurípides

This paper presents an overview of the theoretical background on over- and under-politeness as well as on conventionalised irony. It goes on to explore these phenomena in relation to a collection of suppliant scenes by Euripides, since they are easy to compare in terms of the narrative pattern and the role performed by the characters. Along with other examples from the sample, this article attempts to propose that the idioms οὐκ οἶδ’ ἐγώ ‘I am not aware that’, ὡς ἔοικε ‘it seems’ and βούλῃ (+ subj. / acI); ‘do you want…?’, εἰ βούλῃ ‘if you want’ are likely cases of conventionalised overpoliteness.This paper presents an overview of the theoretical background on over- and under-politeness as well as on conventionalised irony. It goes on to explore these phenomena in relation to a collection of suppliant scenes by Euripides, since they are easy to compare in terms of the narrative pattern and the role performed by the characters. Along with other examples from the sample, this article attempts to propose that the idioms οὐκ οἶδ’ ἐγώ ‘I am not aware that’, ὡς ἔοικε ‘it seems’ and βούλῃ (+ subj. / acI); ‘do you want…?’, εἰ βούλῃ ‘if you want’ are likely cases of conventionalised overpoliteness

Ejes de cortesía lingüística en Eurípides

This paper provides an analysis of the distribution of deference and insults with regard to three linguistic politeness axes: speaker-addressee, speaker-referent, speaker-bystander. In the following example, Theseus insults the Herald in the speaker-bystander axis, since he abusively speaks of him to a third participant:e.supp.426-28: κομψός γ’ ὁ κῆρυξ καὶ παρεργάτης λόγων.The herald is a real smart-alec and over-argumentative.The scale, on the one hand, of insulting and, on the other, of deference, works inversely. Therefore, a semi-circular continuum of pragmatic in-/sincerity is advanced. The S-addressee axis is the most unstable zone, both for the expression of deference and insults because it leaves way to over- and under-politeness, respectively. The S-bystander axis is more effective both for the expression of deference and for conveying insults.; Este trabajo ofrece un análisis de cómo se distribuye la expresión deferente e insultante en virtud de tres ejes de cortesía lingüística: Hablante-oyente, Hablante-Punto de referencia, Hablante-testigos. En el siguiente ejemplo Teseo insulta al Heraldo en el eje Hablante-testigo, hablando de él de forma insultante a un tercer participante: e.Supp.426-28: κομψός γ’ ὁ κῆρυξ καὶ παρεργάτης λόγων. sí que es sofisticado el heraldo y artificioso de palabras.La escala, por un lado, en la expresión de insultos y, por otro, de la deferencia es inversa en relación a estos ejes. Así, es posible plantear un contínuum semicircular de in/sinceridad pragmática. El eje H-o es la zona más fluctuante para la expresión tanto deferente como insultante, ya que puede redundar en usos hiper- e infra-corteses. El eje H-t se presenta como el más potente tanto para la deferencia como para el insulto

La lengua de Hécuba como suplicante en la tragedia homónima

In this article, we compare Hecuba’s two supplications alongside other successful and unsuccessful supplications from the perspective of politeness theory. This comparison will enable us to track the evolution of her language throughout the plot. The differences in the language of her first and second supplications may shape the way in which she is characterized.Comparamos las dos súplicas de Hécuba junto con otras súplicas aceptadas y rechazadas desde la perspectiva de la teoría de la cortesía. Esta comparación nos permitirá trazar la evolución de su manera de expresarse a lo largo de la trama. Las diferencias entre su primera y segunda súplica en cuanto a la estrategia comunicativa a la que recurre el personaje pueden contribuir a su caracterización

El diégema en Moralia de Plutarco: el relato de Arión

Mediante el análisis del relato de Arión en los Moralia de Plutarco como diégema, progýmnasma de la narración, se exploran aproximaciones alternativas para concebir la técnica compositiva plutarquea más allá de la influencia platónica, tradicionalmente reconocida, pero no siempre válida para explicar la selección temática y su disposición.By analyzing the story about Arion in Plutarch's Moralia as a diegema -a progymnasma on narration- a different approach to the understanding of the compositional techniques in Plutarch's work can be developed beyond the traditionally acknowledged platonic influence which cannot always account for the thematic selection and its arrangement

Respuestas a múltiples preguntas en el drama griego

En este trabajo analizamos el orden en el que se responden dos o más preguntas auténticas acumuladas en un mismo turno en una selección de obras de Esquilo, Sófocles, Eurípides, Aristófanes y Menandro. Según Sacks (1987), lo esperable es responder primero la última de las preguntas en virtud de una preferencia conversacional por la contigüidad. Ese es el orden normal en Homero, como ya advirtió Cicerón (Att. 1. 16. 1). En el drama griego, sin embargo, difícilmente podemos afirmar que exista preferencia por la contigüidad, al menos en lo que respecta a múltiples preguntas y a múltiples respuestas

Approaches to Greek and Latin Language, Literature and History: Κατὰ σχολήν

This peer-reviewed collection of essays provides an account of several current foci of research in Classics. It gathers fifteen contributions covering subjects such as Greek and Latin papyrology and epigraphy. It also includes approaches to various key literary texts, from Homer to post-classical Humanists, in addition to chapters on navigation, coinage, and sculpture. This book represents a useful research tool for a wide range of scholars in Greek, Latin and Ancient History, as well as an up-to-date source for any classicist.Peer reviewe