A cultura clássica em suas múltiplas representações, independente do viés temporal a que está vinculada, nos proporciona um rememorar e um aprendizado que é lapidado a cada novo olhar. Esse artigo tem como objetivo, a partir de uma reflexão sobre a personagem Antinoo, repensar a importância das artes, em especial a confecção de esculturas, como representação da realidade.

This article offers a new reading of Pankrates’ poem on Hadrian’s and Antinoos’ hunt of a lion in 130 AD, examining both its intertextual dialogue with Homer and its evocation of Egyptian imagery. I first show how the raging lion, which emerges directly out of a Homeric simile, has been transformed fromcomparatumtocomparandum: he no longer serves to illustrate a warrior’s force, but has himself become part of the main narrative and the subject of analogy. Contemplating theaitionin which the text culminated (...) I argue that the Antinoeian lotus, which grew out of the lion’s blood, ought to be read against the backdrop of Egyptian mythology and iconography as an emblem of rebirth. Both Pankrates’ allusions to Homer, which subtly evoke Achilles’ loss of Patroklos, and the symbolic function of the lotus strongly suggest that the poem was composed in the aftermath of Antinoos’ death and conceived as a celebration of the youth’s apotheosis. (shrink)

Zusammenfassung Obschon Hadrians Reisen immer die Aufmerksamkeit der Forschung auf sich gezogen haben, machen neue Quellenfunde eine neue, gründliche Untersuchung der kaiserlichen Route, aber auch von Hadrians Absichten und Ziele nötig; auch die Reaktionen der Provinzialen erscheinen so in neuem Licht. Zunächst werden Kriterien für einen persönlichen Besuch des Kaisers in den Provinzen erarbeitet, um vor diesem Hintergrund neugefundene Inschriften und Münzen in den historischen Kontext einzuordnen. Im Folgenden wird die Route, die der kaiserliche Tross 131 von Ägypten über Syrien (...) und das westliche Kleinasien nach Nordgriechenland genommen hat, diskutiert; in diesem Zusammenhang ist die Gründung des Antinoos-Kultes ebenso von besonderer Bedeutung wie die Frage nach den Gründen von Hadrians Beliebtheit unter den Provinzialen. Obschon dieser Teil der Reise bisher als besonders schlecht dokumentiert galt, schließt sich nun die Lücke zwischen dem bekannten Besuch des Kaisers in Ägypten und seinem letzten Aufenthalt in Athen. (shrink)

The Eleatic Stranger plays a central role in all reconstructions of Plato’s “Platonism.” This paper is a study of the literary form of the Sophist and Statesman and its significance for interpreting the Eleatic’s account of the nature of philosophy. I argue that the Eleatic dialogues are best understood through a comparison with the source-texts in the Odyssey that Plato used in their composition. I show that the literary form of the Sophist is a straightforward reworking of the encounter of (...) Odysseus and his crewmen with Polyphemus the Cyclops; and that the form of the Statesman is a somewhat more complex reworking of the narrative in which Odysseus and those loyal to him oppose Antinoös, leader of the Ithacan suitors. The comparison reveals that the Eleatic Stranger is no way Plato’s spokesman. On the contrary: by casting the Stranger in the role of Polyphemus and the Cyclopean Antinoös, Plato intends the Sophist and Statesman to be read as an explicit critique of the metaphysical and political doctrines that have since come to be identified as Platonism. In Plato’s characterization, the Eleatic Stranger is neither a philosopher nor a sophist. He is an intellectual—the sort of person who professes to be a philosopher and is often mistaken for one. (shrink)