Heracles carece de un programa estructurado que incluya muchas de sus aventuras. Este patrón podría originarse en el hecho de que hasta 21 de sus enemigos son descendientes del agua de mar en todas sus manifestaciones mitológicas: Poseidón, Ponto, Forcis, Ceto. Esta revisión se puede comparar con el papel cosmológico de Ninurta y Marduk en la mitología mesopotámica que lucha contra Tiamat y algunos de sus actos y escenarios. Se puede comprobar que Heracles realiza gran parte de sus trabajos: controla (...) montañas y manantiales de agua dulce, organiza cursos de ríos abriendo gargantas o construyendo canales, limpia las desembocaduras y la costa. Heracles sería un buen hijo del dios de la lluvia. (shrink)

The return of Hephaistos to Olympos, as a myth, concerns the establishment of a balance of power among the Olympian gods. Many visual representations of the myth in Archaic and Classical Greek art give visible form to the same theme, but they do so in a manner entirely distinct from the manner in which it is expressed in literary narratives of the tale. In this paper, I argue that vase-painters incorporated elements of Dionysiac processional ritual into representations of the return (...) of Hephaistos in order to articulate visually the principal theme of the myth. The vase-painters structured the myth along the lines of epiphanic processions in which Dionysos was escorted into the city of Athens. Like Dionysiac epiphanic processions, the procession of Hephaistos, Dionysos and the wine-god's followers is distinguished visually by drunkenness, ostentatious display of the phallus and obscene or insulting behaviour. To judge from the aetiological myths associated with them, the epiphanic processions symbolized the triumph of Dionysos over, and his belated acceptance by, those who denied his status as a god. By structuring the visual representations of the return of Hephaistos along the lines of such Dionysiac processions, artists conveyed visually the idea that the myth al so concerned the triumph of a god over those who rejected him, and his acceptance among the Olympians. It is not necessary to assume that the vase-painters relied on a detailed poetic account of the myth to create their representations of it, because they employed elements of religious spectacle, an inherently visual phenomenon, to convey the essence of the story. (shrink)

This thesis is a study of Archaic and Early Classical philosophical poetry within the competitive context which characterized the poetic production of that period. In particular, I evaluate the ideas and arguments of Xenophanes, Parmenides, Epicharmus and Empedocles in the context of the social and cultural aspects of Archaic poetic performance in order to evaluate their response to traditional agonism. As I argue, these figures entered the poetic contest not only to defeat their poetic adversaries, but also to transform and (...) redefine the terms of the competition itself. Chapter 1 is devoted to the analysis of three institutionalized forms of poetic agonism: sympotic games, rhapsodic contests, and dramatic performances. In chapter 2, I evaluate the socio-political import of Xenophanes' poetry and argue that his conception of the greatest god serves to substantiate his moral prescriptions aimed at eliminating civic conflict. In chapter 3, I examine Parmenides' original notion of alētheia as logical deduction, whereby he provides a solution to the problem of the truth-status of poetry stemming from the Muses' ability to inspire both genuine and false accounts, as narrated in Hesiod's Theogony. Chapter 4 provides an analysis of Empedocles' polemic allusions to his poetic and philosophical predecessors. I argue that Empedocles' confidence in his poetic authority is ultimately grounded on his self-declared divine status, which grants him a unique and comprehensive poetic knowledge. In chapter 5, I evaluate Epicharmus' philosophical fragments against the background of early rhetoric and argue that, through the use of philosophically inspired arguments, Epicharmus aimed to make manifest philosophy's agonistic potential and to show how it could be exploited to one's own advantage. (shrink)