文献一覧: 京都大学西洋古典研究会 (出版者)

The motherless goddess Athene is more like a man than a woman; or, as J. Harrison suggested, she is rather a sexless thing, neither man nor woman. She appears as an equal to Zeus, and shares several qualities with him, including intelligence. The most telling, and curious, correlation is their sharing of the aegis. The phrase 'aegis-bearing' (αἰγιόχος) is one of Zeus' most common epithets, and the aegis itself is made by Hephaestus for Zeus in the Iliad (15.309-10). However, in the Chrysippus fragment, Metis makes the aegis for Athene. Also, in the fragment of the Meropis, the aegis is made by Athene herself from the skin of the Giant Asteros whom she killed in the Gigantomachy. In the Iliad, Athene wears the aegis to encourage the Achaeans (2.450-2 and 5.738-42) and to fight with Ares (21. 400-414); she also casts it over Achilles' shoulder (18.203-4). Two of these passages, 5.738-42 and 21.400-414, in particular merit our attention for their connection with Zeus. In these two passages, Ares' challenge is quite easily beaten off by Athene, who is backed up by Zeus' aegis. By giving birth to Athene, Zeus acquires a counterpart who fights on his side and as his deputy, defeating his son, Ares, who might prove a challenger to his power. It is a marker of Athene's functional affinity to Zeus that, as Zeus becomes more remote from human beings, she eventually replaces him as the chief guardian of the state and people. Athene is the symbolic representation of the rule of Zeus; she is the symbol of a new kind of state, or of the cultural renewal of Zeus' world. The concept of a strong alliance between Zeus and Athena fits perfectly both with Panhellenic ideals and Greek societal and moral norms, thus ensuring the continued popularity and success of Homer and Hesiod. The sharing of the aegis between Zeus and Athene could be interpreted in this context.

2015-01-09 01:05:23
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https://ci.nii.ac.jp/naid/120002056232

1 0 0 0 OA 事実と教訓 : トゥーキューディデース第7巻29~30章について

著者: 田中博明
出版者: 京都大学西洋古典研究会
雑誌: 西洋古典論集 (ISSN:02897113)
巻号頁・発行日: vol.11, pp.104-117, 1994-03-30

この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

2014-07-28 23:01:36
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http://hdl.handle.net/2433/68618

1 0 0 0 OA デモステネスの雄弁----ディオニュシオスの耳

著者: 木曽明子
出版者: 京都大学西洋古典研究会
雑誌: 西洋古典論集 (ISSN:02897113)
巻号頁・発行日: vol.18, pp.1-17, 2002-10-30

この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

2013-12-07 00:19:50
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http://hdl.handle.net/2433/68670

1 0 0 0 IR ラテン語で読むケンペル「鎖国論」 : 『廻国奇観』所収論文とその翻訳について

著者: 五之治昌比呂
出版者: 京都大学西洋古典研究会
雑誌: 西洋古典論集 (ISSN:02897113)
巻号頁・発行日: vol.22, pp.260-278, 2010-03-28

Engerbert Kämpfer's so-called 'Sakoku-ron' (On Japan's closed country) is an essay arguing the validity of Japan's closed country in the 17th century. It is included in his Amoenitates Exoticae, written in Latin, which is the only book he published during his lifetime. He was preparing a larger-scale book about Japan in German, Heutiges Japan, which contained a lot of information he had collected during his stay in Japan as a doctor of the Dutch East Indian Company. Unfortunately, he did not see it published during his life and a large collection of his drafts and notes were left to his heirs. After a complicated process, two celebrated books were produced by editing the drafts of Kämpfer's unpublished work on Japan: J. C. Scheuchzer's English translation and C. W. Dohm's German edition. Both authors included translations of Kämpfer's essays on Japan from Amoenitates Exoticae, including Sakoku-ron, as an appendix to their books. After publication, these two books were subsequently so successful and widely read that little attention was paid to the Latin original. Most arguments on these texts, especially Sakoku-ron, have been usually based on the translations (especially Dohm's). The aim of my paper is to compare closely the Latin original and the translations and to reveal some remarkable differences among them. On the whole, Dohm's translation is faithful to the original, while Scheuchzer's is full of free, often arbitrary, paraphrases and supplements. Yet, even Dohm's translation, upon close comparison and examination, reveals differences from Kämpfer's original. Some of them are clearly Dohm's own simple errors and misunderstandings, but some are possibly his intentional alterations. In some cases he changed the positive expressions of the original into negative or neutral ones. Evidently he was highly critical of Kämpfer's excessive admiration of Japan, since at the end of his translation he placed long supplementary notes to show his objections to Kämpfer's several comments or arguments on Japan. It is, therefore, appropriate to conclude that Dohm's personal attitude is reflected in the negative alterations made in his translation.

2013-09-20 00:22:20
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https://ci.nii.ac.jp/naid/120002056224

1 0 0 0 IR プラウトゥス『メナエクムス兄弟』 : 束縛からの解放

著者: 岩崎務
出版者: 京都大学西洋古典研究会
雑誌: 西洋古典論集 (ISSN:02897113)
巻号頁・発行日: vol.22, pp.249-259, 2010-03-28

In the Menaechmi of Plautus there are many expressions about binding and restrictions and we find situations in which people are bound or restrained. On the other hand, some people are set free at the end of the play. Messenio who saved Menaechmus I (the twin in Epidamnus) from kidnapping wishes to be released from slavery and Menaechmus I, who is mistaken for Menaechmus II (the twin from Syracuse), agrees with him. Furthermore, Menaechmus I achieves reunion with his brother and tries to leave Epidamnus for his homeland after selling off all his possessions. The motifs of restraint and release are constituent factors throughout this play. As far as restrictions and release are concerned, Peniculus seems the one who tries to set Menaechmus I free from his house. But, fundamentally, he wants Menaechmus I to stay in his own house, because that way he can get invited to meals more surely. So he is always on the lookout for his master just outside the doors. On the other hand, Messenio attempts to get a grip on Menaechmus II by giving him wise advice, but, ignored by his master, he fully realizes that he is just a slave. Peniculus' behavior forms a strong contrast to Messenio's. The former, who wants to be bound to the house, fails to follow Menaechmus I and loses a chance to enjoy an expensive dinner, while the latter, who deplores his state of enslavement, saves Menaechmus I from abduction and on that account is released from slavery. It is uncertain whether the Menaechmi is based on any Greek original. However, we can discern a symmetrically built structure behind this play. Plautus often brings in farcical elements or Romanizes some scenes in the play to please the Roman audience, even if it may mean spoiling a well-balanced structure and realism of the original. This play also has such scenes where the motifs of restrictions are more prominent (446-65, 571-97, etc.). Menaechmus I as the head of the household controls his family members. However, it is often the wife with a large dowry (uxor dotata), always scolding her husband in the house, who is in control. Outside the house, too, he is bound by various customs and human relations typical of the Roman society. Here it is emphasized that not only slaves but also free men like him, the head of the household, encounter restrictions in this social system. Occasionally he is bound by duties towards a client, a parasite or a slave, who should otherwise be subject to his own authority. This play ends with the divorce of Menaechmus I from his wife in contrast to other comedies which usually end happily with young lovers' marriage. The story after Menaechmus I's coming to Epidamnus is not related in detail in the play. From the information provided by the prologue we are under the impression that the Epidamnian merchant was a benefactor for the kidnapped twin because he made the twin his inheritor and let him marry a wealthy man's daughter, though he committed the crime of kidnapping. Therefore the audience is likely to question Menaechmus I's behavior at the end of the play. To make this ending happy and appropriate for comedy, Plautus had to emphasize Menaechmus I's state of captivity by various expressions concerning a restricted situation. Menaechmus I loses his wealth and the status of the head of the household but he is released from his shackles and becomes a truly free person. His escape from the maze of restrictions of everyday life features in the play more prominently than the theme of kidnapping and restrictions imposed by living in a foreign land.

2012-12-30 03:30:05
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https://ci.nii.ac.jp/naid/120002056225