Results for 'Iliad'

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  1. What Do We Mean by 'Forgiveness?': Some Answers From the Ancient Greeks.Maria Magoula Adamos & Julia B. Griffin - 2013 - Forgiveness:Philosophy, Psychology, and the Arts.
    There seems to be confusion and disagreement among scholars about the meaning of interpersonal forgiveness. In this essay we shall venture to clarify the meaning of forgiveness by examining various literary works. In particular, we shall discuss instances of forgiveness from Homer’s The Iliad, Euripides’ Hippolytus, and Aristotle’s Nicomachean Ethics and we shall focus on the changes that the concept of forgiveness has gone through throughout the centuries, in the hope of being able to understand, and therefore, of being (...)
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  2. Elementos Hipotácticos En la Composición de la Odisea.Aida Míguez Barciela - 2014 - Pensar la Traducción. La Filosofía de Camino Entre Las Lenguas.
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  3. "El cuerpo" como problema hermenéutico en la lectura los textos homéricos.Aida Míguez Barciela - 2016 - Eidos: Revista de Filosofía de la Universidad Del Norte 25:245-257.
    El objetivo de este trabajo es doble. Primero se recuerda cierta reserva metodológica relevante para una lectura hermenéutica de los poemas homéricos. En segundo lugar se intenta comprender cómo algo que ya se parece a nuestra dualidad de "el cuerpo" y "la mente" pudo generarse a partir de lo que originalmente era un fenómeno unitario. A modo de cierre se apunta asimismo hacia la cuestión de en qué sentido precisamente este fenómeno unitario juega un papel importante en la crítica de (...)
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  4. Inclusiones Virtuales En la Ilíada: El Eídolon de Patroclo y Algunas Estrategias Narrativas.Aida Míguez Barciela - 2007 - Ontology Studies 7:284-291.
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  5. La Problematización Del Ejército Aqueo En El Canto II de la Ilíada.Aida Míguez Barciela - 2007 - Ex Novo. Revista D’Història I Humanitats:47-58.
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  6.  2
    De Libros.Aida Míguez Barciela - 2019 - Café Montaigne 6:xx.
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  7. Belleza, amor y desarraigo. Sobre Helena en la Ilíada.Aida Míguez Barciela - 2008 - Daimon: Revista Internacional de Filosofía 45:41-54.
    Se esboza una interpretación de Helena en la Ilíada atendiendo a la cuestión que hace de ella la figura escindida y desarraigada capaz de reflejar asuntos pertenecientes al telón de fondo del poema. La razón del desarraigo aparece en el canto tercero como la terrible experiencia de la belleza, es decir, como la inevitabilidad del poder de Afrodita. Por qué éros nombra el desarraigo inherente al reconocimiento de la belleza se aclara a través de ciertos fragmentos de Safo y otras (...)
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  8. Good Sense, Art, and Morality in Hume's ‘Of the Standard of Taste’.Reed Winegar - 2011 - Journal of Scottish Philosophy 9 (1):17-35.
    In his essay ‘Of the Standard of Taste,’ Hume argues that artworks with morally flawed outlooks are, to some extent, aesthetically flawed. While Hume's remarks regarding the relationship between art and morality have influenced contemporary aestheticians, Hume's own position has struck many people as incoherent. For Hume appears to entangle himself in two separate contradictions. First, Hume seems to claim both that true judges should not enter into vicious sentiments and that true judges should adopt the standpoint of an artwork's (...)
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  9.  86
    Ἦ Μάλα Θαῦμα Κύων Ὅδε Κεῖτ᾽ Ἐνὶ Κόπρῳ. The Anagnorisis of Odysseus and His Dog Argos (Hom. Od. 17, 290–327).Magnus Frisch - 2017 - Literatūra - Research Journal for Literary Scholarship 59 (3):7-18.
    In the Odyssey, there is a description of Odysseus being recognized by his age-old and decrepit dog Argos, whom he had reared and trained himself before his departure for Troy. This so-called Argos episode (Od. 17.290–327) is still famous today. It has been continuously treated by generations of scholars from antiquity to our time and served as an inspiration to both the visual arts and literature. The present article deals with the function and intended effects of the Argos scene. After (...)
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