The article concentrates on the causes of Polybius and Livy placing in their works an extensive d... more The article concentrates on the causes of Polybius and Livy placing in their works an extensive description of the circumstances of the premature death of Demetrius, Philip V's younger son. As the point of departure we will consider on the consequences of the selection of narrative frameworks and the point of the beginning of the story. The analysis of Eumenes, Callicrates and Archon's speeches of the years 174-173 BC, preserved in Livy, will demonstrate that the point of departure of the story on Demetrius must have been primarily the Third Macedonian War. On the other hand, the question about the narrative framework, the beginnings and the order of particular threads in the story emphasises the importance of narrative aspects in historical analyses.
The mythological hero Orpheus occupied a central role in ancient Greek culture, but ‘the son of O... more The mythological hero Orpheus occupied a central role in ancient Greek culture, but ‘the son of Oeagrus’ and a ‘Thracian musician’ venerated by the Greeks has also become a prominent figure in a long tradition of classical reception of Greek myth. This book challenges our entrenched idea of Orpheus and demonstrates that in the Classical and Hellenistic periods depictions of his identity and image were not as unequivocal as we tend to believe today.
Concentrating on Orpheus’ ethnicity and geographical references in ancient sources, Tomasz Mojsik traces the development of, and changes in, the mythological image of the hero in antiquity and sheds new light on contemporary constructions of cultural identity by locating the various versions of the mythical story within their socio-political contexts. Examination of the early literary sources prompts a reconsideration of the tradition which locates the tomb of the hero in Macedonian Pieria, and the volume argues for the emergence of this tradition as a reaction to the allegation of the barbarity and civilizational backwardness of the Macedonians throughout the wider Greek world. These assertions have important implications for Archelaus’ Hellenizing policy and his commonly acknowledged sponsorship of the arts, which included his incorporating of the Muses into the cult of Zeus at the Olympia in Dium.
More info: https://www.bloomsbury.com/uk/orpheus-in-macedonia-9781350213180/
"This work forms part of a larger project attempting to describe the image, place, and function, ... more "This work forms part of a larger project attempting to describe the image, place, and function, as well as the methods of perception of the Muses in the antiquity. It should be stressed that those aspects of the Muses’ image in the Greek culture have been considered particularly worthy of analysis, which have been hitherto ignored or insufficiently highlighted in the research. Thus, among a number of issues under investigation there is for instance the question of the Muses’ place in the ancient Greek religion, the question of the Muses’ gender, or the problem of the relations between poetologische Bildersprache and the culture of a given period, including, among others, analyses of the scenes of poetic initiation.
This study, however, is focused exclusively on the question of the genealogy, names, and number of the Muses. To date, this particular subject-matter has not been approached more comprehensively, while the existing analytical studies are either superficial or flawed with methodological shortcomings."
In line 1 of the so-called Seal (118 AB) Posidippus invokes Μοῦσαι πολιήτιδες ('Muses fellow-citi... more In line 1 of the so-called Seal (118 AB) Posidippus invokes Μοῦσαι πολιήτιδες ('Muses fellow-citizens'). This fact has puzzled scholars for years, as the Muses are nowhere else referred to as such. Referring to an epigram of Queen Eurydice, a dedication in honor of the Muses from the Pella area as well as knowledge of cultural activity in the Macedonian capital, I demonstrate that the term πολιήτιδες used in the poem is related to the poet's hometown. I also illustrate that naming the Muses 'fellow-citizens ' and placing their statues in the agora, theatre or gymnasion reflected the central position of mousikē , education and literature in Greek culture. In addition, I draw a parallel with the phenomenon of honoring poets with statues at central points in the city, often surrounded by the Muses
The article is a polemic with a review by Krzysztof Nawotka ("Klio" 2020, vol. 54, pp. 199-208) a... more The article is a polemic with a review by Krzysztof Nawotka ("Klio" 2020, vol. 54, pp. 199-208) and focuses on the issues of source studies, methodology, ancient ethnicity and research on myth.
Epithets used to describe the Muses are an essential component of metapoetic language, starting a... more Epithets used to describe the Muses are an essential component of metapoetic language, starting as early as the time of Homer and Hesiod. However, it has never been a static phenomenon as the cultural transformations entailed the changes in the language describing the Muses. Its scope included physical appearance, ancestry, voice/sound, relations with the poet/musician and – a rather important aspect – geographical associations. Revealing traces of this imagery is not an easy task – we lack cult hymns, and in most literary works we encounter merely 2-3 epithets at the most. In this respect Ovid is exceptional. In his Metamorphoses (5,254-6,2), in the story of the contest between the Muses of Helicon and the false Pierides, the poet deploys a uniquely rich descriptive terminology concerning the Muses (Mnemonides, Thespiades, Aonides, Emathides, [Pierides], doctae sorores, etc.). In this article I look at the poet's choices in this story and analyze the origins, functions and connotations of the epithets and terms he uses.
The article proves that the term mouseion used by Plato in Phaedrus 278b cannot mean “sanctuary/s... more The article proves that the term mouseion used by Plato in Phaedrus 278b cannot mean “sanctuary/shrine of the Muses” here, but it probably refers to the cicadas chirping under the plane tree of which Socrates speaks earlier in the dialogue (259b-c). Such an interpretation is consistent with our knowledge of the early stage of development of the concept of mouseion, and also with its use elsewhere in Plato’s dialogue (267b). It should therefore be concluded that the cult of the Muses at the Ilissus, known from late testimonies, did not come from the classical era and appeared under the influence of reading Plato’s dialogue. Plato’s testimony should also not be raised as an important argument in disputes regarding the relationship of the nymphs and the Muses and the early identification of the Muses with water.
Mythos. Rivista di Storia dei Religioni (open access on the site of the Journal), 2020
Starting with pointing at the presence of a specific ethnic and geographical duality of Orpheus i... more Starting with pointing at the presence of a specific ethnic and geographical duality of Orpheus in the mythical image, the article aims to explain the context of the appearance and function of his tomb and statues in Pieria. Re-analysis of the testimonies reveals the discrepancies between the early sources and their subsequent transformations, as well as some kind of tensions between Thracian and Pierian context in the mythical stories about Orpheus. The analysis of the circumstances in which certain features of the mythical image appear will allow us to pose a question about the role of his cult and tomb within the phenomenon of the cult of the poets, on the one side, and King Archelaos’ cultural politics, on the other. In my conclusions I try to show that the cult of the Muses, as well as the tomb and the heroic cult of Orpheus in Pieria was part of the "Hellenizing" policy of Macedon, as well as an important element of the newly constructed cultural identity of the Macedonians as true "Hellenes".
The third stasimon of Oedipus Rex (OT) is the climax of the play, separating the conversation wit... more The third stasimon of Oedipus Rex (OT) is the climax of the play, separating the conversation with the Corinthian messenger from the interrogation of the shepherd, so crucial for the narrative. Indeed, the question τίς σε, τέκνον, τίς σ’ ἔτικτε, critical for the plot, comes right at the beginning of its antistrophe. Sophocles, however, offers no easy answer to it. Instead, he provides yet another narrative misdirection, one that—for the last time—suggests that the paths of the king of Thebes and of his predecessor may have been divergent: the possibility that Oedipus’ divine ancestry would question the prophecy of Apollo. After enumerating Pan, Hermes and Apollo himself as possible parents, the song also mentions Dionysus and the ‘Heliconian nymphs’. The reference to Helicon has perplexed the readers for many years, since the text seems to focus on Cithaeron as the ‘birthplace’. As a result, editions and translations prefer the conjecture ἑλικωπίδων (Νυμφᾶν) proposed by U. von Wilamowitz-Moellendorff in 1879, over Ἑλικωνί(α)δων, the form present in all manuscripts. In this paper I argue that an analysis of our sources for Heliconian cults, an assessment of the performative context, and a close reading of the stasimon and its place in the narrative, all suggest that the manuscript reading should be retained.
In the current essay, I focus on the issues related to the origins and functions of a cult of the... more In the current essay, I focus on the issues related to the origins and functions of a cult of the Muses in Syracuse. The research hypothesis may be defined as follows: the cult of the Muses appeared or already existed in Syracuse at the end of the 5th or at the beginning of the 4th century at the latest, and it was connected with the theatre. It is also very plausible that there is a connection between a place of cult and the practice of collecting mementos of famous authors. The question is inseparably linked with the interpretation of a passage written by Hermippus of Smyrna, the assessment of the parallel testimony given by Lucian, and the evaluation of the reasons behind the actions of Dionysius I described there. Thus, the present article aims at providing a proper context in which the information recounted by Hermippus might seem probable and Dionysius’ motives – understandable.
The present study proposes a close reading of Dicearchus of Messana’s account of the circumstance... more The present study proposes a close reading of Dicearchus of Messana’s account of the circumstances surrounding Pythagoras’s death (fr. 41 Mirhady). As the analysis shows, the purpose of Dicearchus’ account was to demonstrate that at the moment of the anti-Pythagorean revolt the philosopher was not welcomed in any of Italian cities because he was perceived as a danger to social and political stability. Such an interpretation of the authorial intention stems from a new reading of the scene of Pythagoras’ death in the temple of the Muses. Considering Dicearchus’ narrative as a whole it can be assumed that Pythagoras, as a supplicant, sought protection of gods, and his death should be interpreted as the effect of the philosopher’s isolation in the temple by the inhabitants of Metapontum. Moreover, the author of the present study considers the presence of the Muses in the story and the significance of this fact in the hypothesis concerning the essential role of the goddesses in the Pythagorean movement.
The article concentrates on the causes of Polybius and Livy placing in their works an extensive d... more The article concentrates on the causes of Polybius and Livy placing in their works an extensive description of the circumstances of the premature death of Demetrius, Philip V's younger son. As the point of departure we will consider on the consequences of the selection of narrative frameworks and the point of the beginning of the story. The analysis of Eumenes, Callicrates and Archon's speeches of the years 174-173 BC, preserved in Livy, will demonstrate that the point of departure of the story on Demetrius must have been primarily the Third Macedonian War. On the other hand, the question about the narrative framework, the beginnings and the order of particular threads in the story emphasises the importance of narrative aspects in historical analyses.
The mythological hero Orpheus occupied a central role in ancient Greek culture, but ‘the son of O... more The mythological hero Orpheus occupied a central role in ancient Greek culture, but ‘the son of Oeagrus’ and a ‘Thracian musician’ venerated by the Greeks has also become a prominent figure in a long tradition of classical reception of Greek myth. This book challenges our entrenched idea of Orpheus and demonstrates that in the Classical and Hellenistic periods depictions of his identity and image were not as unequivocal as we tend to believe today.
Concentrating on Orpheus’ ethnicity and geographical references in ancient sources, Tomasz Mojsik traces the development of, and changes in, the mythological image of the hero in antiquity and sheds new light on contemporary constructions of cultural identity by locating the various versions of the mythical story within their socio-political contexts. Examination of the early literary sources prompts a reconsideration of the tradition which locates the tomb of the hero in Macedonian Pieria, and the volume argues for the emergence of this tradition as a reaction to the allegation of the barbarity and civilizational backwardness of the Macedonians throughout the wider Greek world. These assertions have important implications for Archelaus’ Hellenizing policy and his commonly acknowledged sponsorship of the arts, which included his incorporating of the Muses into the cult of Zeus at the Olympia in Dium.
More info: https://www.bloomsbury.com/uk/orpheus-in-macedonia-9781350213180/
"This work forms part of a larger project attempting to describe the image, place, and function, ... more "This work forms part of a larger project attempting to describe the image, place, and function, as well as the methods of perception of the Muses in the antiquity. It should be stressed that those aspects of the Muses’ image in the Greek culture have been considered particularly worthy of analysis, which have been hitherto ignored or insufficiently highlighted in the research. Thus, among a number of issues under investigation there is for instance the question of the Muses’ place in the ancient Greek religion, the question of the Muses’ gender, or the problem of the relations between poetologische Bildersprache and the culture of a given period, including, among others, analyses of the scenes of poetic initiation.
This study, however, is focused exclusively on the question of the genealogy, names, and number of the Muses. To date, this particular subject-matter has not been approached more comprehensively, while the existing analytical studies are either superficial or flawed with methodological shortcomings."
In line 1 of the so-called Seal (118 AB) Posidippus invokes Μοῦσαι πολιήτιδες ('Muses fellow-citi... more In line 1 of the so-called Seal (118 AB) Posidippus invokes Μοῦσαι πολιήτιδες ('Muses fellow-citizens'). This fact has puzzled scholars for years, as the Muses are nowhere else referred to as such. Referring to an epigram of Queen Eurydice, a dedication in honor of the Muses from the Pella area as well as knowledge of cultural activity in the Macedonian capital, I demonstrate that the term πολιήτιδες used in the poem is related to the poet's hometown. I also illustrate that naming the Muses 'fellow-citizens ' and placing their statues in the agora, theatre or gymnasion reflected the central position of mousikē , education and literature in Greek culture. In addition, I draw a parallel with the phenomenon of honoring poets with statues at central points in the city, often surrounded by the Muses
The article is a polemic with a review by Krzysztof Nawotka ("Klio" 2020, vol. 54, pp. 199-208) a... more The article is a polemic with a review by Krzysztof Nawotka ("Klio" 2020, vol. 54, pp. 199-208) and focuses on the issues of source studies, methodology, ancient ethnicity and research on myth.
Epithets used to describe the Muses are an essential component of metapoetic language, starting a... more Epithets used to describe the Muses are an essential component of metapoetic language, starting as early as the time of Homer and Hesiod. However, it has never been a static phenomenon as the cultural transformations entailed the changes in the language describing the Muses. Its scope included physical appearance, ancestry, voice/sound, relations with the poet/musician and – a rather important aspect – geographical associations. Revealing traces of this imagery is not an easy task – we lack cult hymns, and in most literary works we encounter merely 2-3 epithets at the most. In this respect Ovid is exceptional. In his Metamorphoses (5,254-6,2), in the story of the contest between the Muses of Helicon and the false Pierides, the poet deploys a uniquely rich descriptive terminology concerning the Muses (Mnemonides, Thespiades, Aonides, Emathides, [Pierides], doctae sorores, etc.). In this article I look at the poet's choices in this story and analyze the origins, functions and connotations of the epithets and terms he uses.
The article proves that the term mouseion used by Plato in Phaedrus 278b cannot mean “sanctuary/s... more The article proves that the term mouseion used by Plato in Phaedrus 278b cannot mean “sanctuary/shrine of the Muses” here, but it probably refers to the cicadas chirping under the plane tree of which Socrates speaks earlier in the dialogue (259b-c). Such an interpretation is consistent with our knowledge of the early stage of development of the concept of mouseion, and also with its use elsewhere in Plato’s dialogue (267b). It should therefore be concluded that the cult of the Muses at the Ilissus, known from late testimonies, did not come from the classical era and appeared under the influence of reading Plato’s dialogue. Plato’s testimony should also not be raised as an important argument in disputes regarding the relationship of the nymphs and the Muses and the early identification of the Muses with water.
Mythos. Rivista di Storia dei Religioni (open access on the site of the Journal), 2020
Starting with pointing at the presence of a specific ethnic and geographical duality of Orpheus i... more Starting with pointing at the presence of a specific ethnic and geographical duality of Orpheus in the mythical image, the article aims to explain the context of the appearance and function of his tomb and statues in Pieria. Re-analysis of the testimonies reveals the discrepancies between the early sources and their subsequent transformations, as well as some kind of tensions between Thracian and Pierian context in the mythical stories about Orpheus. The analysis of the circumstances in which certain features of the mythical image appear will allow us to pose a question about the role of his cult and tomb within the phenomenon of the cult of the poets, on the one side, and King Archelaos’ cultural politics, on the other. In my conclusions I try to show that the cult of the Muses, as well as the tomb and the heroic cult of Orpheus in Pieria was part of the "Hellenizing" policy of Macedon, as well as an important element of the newly constructed cultural identity of the Macedonians as true "Hellenes".
The third stasimon of Oedipus Rex (OT) is the climax of the play, separating the conversation wit... more The third stasimon of Oedipus Rex (OT) is the climax of the play, separating the conversation with the Corinthian messenger from the interrogation of the shepherd, so crucial for the narrative. Indeed, the question τίς σε, τέκνον, τίς σ’ ἔτικτε, critical for the plot, comes right at the beginning of its antistrophe. Sophocles, however, offers no easy answer to it. Instead, he provides yet another narrative misdirection, one that—for the last time—suggests that the paths of the king of Thebes and of his predecessor may have been divergent: the possibility that Oedipus’ divine ancestry would question the prophecy of Apollo. After enumerating Pan, Hermes and Apollo himself as possible parents, the song also mentions Dionysus and the ‘Heliconian nymphs’. The reference to Helicon has perplexed the readers for many years, since the text seems to focus on Cithaeron as the ‘birthplace’. As a result, editions and translations prefer the conjecture ἑλικωπίδων (Νυμφᾶν) proposed by U. von Wilamowitz-Moellendorff in 1879, over Ἑλικωνί(α)δων, the form present in all manuscripts. In this paper I argue that an analysis of our sources for Heliconian cults, an assessment of the performative context, and a close reading of the stasimon and its place in the narrative, all suggest that the manuscript reading should be retained.
In the current essay, I focus on the issues related to the origins and functions of a cult of the... more In the current essay, I focus on the issues related to the origins and functions of a cult of the Muses in Syracuse. The research hypothesis may be defined as follows: the cult of the Muses appeared or already existed in Syracuse at the end of the 5th or at the beginning of the 4th century at the latest, and it was connected with the theatre. It is also very plausible that there is a connection between a place of cult and the practice of collecting mementos of famous authors. The question is inseparably linked with the interpretation of a passage written by Hermippus of Smyrna, the assessment of the parallel testimony given by Lucian, and the evaluation of the reasons behind the actions of Dionysius I described there. Thus, the present article aims at providing a proper context in which the information recounted by Hermippus might seem probable and Dionysius’ motives – understandable.
The present study proposes a close reading of Dicearchus of Messana’s account of the circumstance... more The present study proposes a close reading of Dicearchus of Messana’s account of the circumstances surrounding Pythagoras’s death (fr. 41 Mirhady). As the analysis shows, the purpose of Dicearchus’ account was to demonstrate that at the moment of the anti-Pythagorean revolt the philosopher was not welcomed in any of Italian cities because he was perceived as a danger to social and political stability. Such an interpretation of the authorial intention stems from a new reading of the scene of Pythagoras’ death in the temple of the Muses. Considering Dicearchus’ narrative as a whole it can be assumed that Pythagoras, as a supplicant, sought protection of gods, and his death should be interpreted as the effect of the philosopher’s isolation in the temple by the inhabitants of Metapontum. Moreover, the author of the present study considers the presence of the Muses in the story and the significance of this fact in the hypothesis concerning the essential role of the goddesses in the Pythagorean movement.
Analiza cover-texts zawierających frg. Timajosa wskazuje na znaczące różnice w obrębie kontekstu ... more Analiza cover-texts zawierających frg. Timajosa wskazuje na znaczące różnice w obrębie kontekstu narracyjnego, w którym umieszczono niemal identyczną informację o córce i/lub domu. Sugeruje to niemożność wskazania oryginalnego kontekstu cytatu, albo uzależnia jego rekonstrukcję od uwzględnienia innych czynników. Analizowany tu przypadek prowadzi nas z kolei do sformułowania szerszych wniosków dotyczących roli kontekstu narracyjnego, a także wyrażenia potrzeby uwzględniania wielu rozmaitych kontekstów analitycznych w badaniach historycznych.
Abstract: The contribution contains a critical re-assessment of the earliest archaeological mater... more Abstract: The contribution contains a critical re-assessment of the earliest archaeological material originating from the Valley of the Muses, i.e. archaic vessels and figurines, two examples of hydriai allegedly linked with the Muses and an iconographic testimony. In the current historiography, these sources are still considered to confirm the archaic, or even earlier, origin of the cult of the Muses at the foot of Mt. Helicon. An analysis of testimonies is complemented with an overview of a broader cultural context (i.e. the musical agones, the Muses and nymphs, the history of Ascra/Thespiae); this enables us to correctly assess the sources and supports chronological considerations. Conclusions drawn from the re-assessment of testimonies are of key importance not only to the dating of the cult of the Muses at this site, but also to our assessment of the phenomenon of the cult of these goddesses in the Greek world in general.
This paper focuses on the question of the place of gender traits in the image of the Muses as pro... more This paper focuses on the question of the place of gender traits in the image of the Muses as protectors of poetry and poets. Pointing out certain peculiar features of the image – the Muses’ virginity, dependence on other deities, especially male gods, relative uniformity, equality and anonymity within the group, present in the early representations, their independence as the mothers of mythical poets from ca. the end of the 6th century BC, and the occurrence of the elements characteristic of the female sex in the poetologische Bildersprache – the author tried to indicate the position of those aspects of the image in the method of conceptualisation of poetry, its influence and the position of a poet in the Greek world. The analyses stemmed from the conviction that in the poetical sphere the role of the Muses was not evident, and that they held an unquestionable advantage in this sphere over Apollo or Dionysus. Thus, the question is: what were the actual gender traits of the Muses that made them associated with the spheres of music and poetry, and thus, which of the traits of the female sex, as a construct functioning in Greek culture, allowed poets to conceptualise – in this very manner – poetry, music and their actions. Why and when their image became dominated by male features – which could be testified by the image of mythical poets as sons of the Muses with no information about their fathers – and whether they belong to their divine traits or to the metapoetic sphere. It seems that certain traits attributed to the female sex in Greek culture – relationship with the knowledge, mimesis, ambiguity and pleasure as results of an action – as well as much more general model of perception of socially marginalised groups could allow us to understand the phenomenon of female protectors of the male sphere of knowledge, memory, word and verbal expression.
In present article I would like to focus on three things: the usefulness of the Alcidamas’s fragm... more In present article I would like to focus on three things: the usefulness of the Alcidamas’s fragment (cited in Arist. Rhet. 2.23.1398b) for the procedure of establishing when the cult of poets/intellectuals began, the suitability of the terminology in scholarly papers referencing the problem, and the validity of the information about Pythagoras. In conclusion is proposed that there are no existing testimonies supporting the (weak) hypothesis that the phrase καὶ Ἰταλιῶται Πυθαγόραν featuring in manuscripts of Rhetoric is authentic. Few late testimonies are either too vague or they indicate only Crotone and Metapontum, and not Greeks from the Italian peninsula in general. Such a perspective is not typical (to say the least) and at most reveals that the mention of respecting Pythagoras by those Greeks is not to be trusted fully. In the form as we know it, the phrase does not harmonize neither with the epoch of Alcidamas nor with the passage quoted by Aristotle.
This article aims to investigate the circumstances of the function of the ‘discrepancy’ in mythic... more This article aims to investigate the circumstances of the function of the ‘discrepancy’ in mythical stories between orality and literacy as well as the practical considerations of composition in the oral era. My analysis is based on the assumption that in response to a change in the methods of the modification and perception of myths one can posit that there was a change in the method of communication – a transition from orality to (the predominance of) literacy. For we see in the sources a movement from what was typical of the archaic period and of part of classical era - the liberal creation of new versions of myth - to their compilation, sorting and explanation, and also to the search for rarer (but attested) modifications of known stories in the form of texts, rather than in their oral form. Along with the emergence of book collections and the possibility of comparing the texts as extracted from their contexts, there was also an evident change in the evaluation of the stories and their constituent elements. Callimachus’ words – "amartyron ouden aeido" – are here an emphatic expression of this tendency in the Hellenistic era. The use in relation to earlier eras of the terms ‘change’ or ‘discrepancy’ in the context of mythical stories is, however, rather a shorthand for historiography. We cannot speak of change in a world in which the actual and accepted (by a group of listeners) version of a myth displaces and replaces other versions. There is no space here for contradictions or discrepancies; it is at most a question of upgrading. Discrepancies are, however, the creation of the era of writing, which come from the explanations of the Greeks themselves, for instance those of the Hellenistic period, and which end in the discursive explanations of contemporary scholars.
„Celem pracy było poddanie analizie średniowiecznych opisów wjazdu królewskiego jako przykładów p... more „Celem pracy było poddanie analizie średniowiecznych opisów wjazdu królewskiego jako przykładów praktyki komunikacyjnej ocenianych zarówno z punktu widzenia metod historycznych jak i teorii antropologicznych. Autor posłużył się w analizie materiałem historycznym pochodzącym ze źródeł średniowiecznych, który zderzył następnie z kilkoma znanymi koncepcjami socjologiczno-antropologicznymi, mającymi szczególny wymiar komunikacyjny. Pozwoliło to ująć zjawisko historyczne w inne ramy (spojrzeć na nie z innej strony) i ujawnić jego dodatkowe aspekty. Wśród przywołanych autorów znaleźli się Erving Goffman, Arnold van Gennep, Victor Turner i Pierre Bourdieu. We wnioskach autor wskazuje, że większość proponowanych rozwiązań ma podłoże pragmatyczne, a zatem, że w analizie mamy do czynienia z poszukiwaniem kontekstów, w których wjazd staje się zrozumiały jako komunikat. Jednym zaś z ważniejszych założeń leżących u podstawy analizy było dostrzeżenie, że ceremoniał wjazdu ma na celu ukrycie, że władza i majestat jest tworzony i konstruowany (lub zdobywany w walce), a nie przyrodzony. O ile jednak prawdziwe i celne jest wskazanie, że wjazd może być opisany jako jedno z najważniejszych narzędzi w repertuarze form symbolicznych, za pomocą których średniowieczna elita kreowała i utwierdzała swą wyższość w hierarchii społecznej, to jest to definicja bez wątpienia zawężająca obraz zjawiska z komunikacyjnego punktu widzenia. Postrzeganie wjazdu jako praktyki komunikacyjnej wydaje się zaś użyteczne badawczo właśnie o tyle, że poszerza spektrum analityczne i pozwala na bardziej wielostronną analizę zdarzenia, a także możliwie szerokie zarysowanie tła społeczno-kulturowego zjawiska.”
En Grèce ancienne, à côté des cultes des dieux, ont pris place dès l’époque géométrique des culte... more En Grèce ancienne, à côté des cultes des dieux, ont pris place dès l’époque géométrique des cultes religieux voués à des humains particuliers – le plus souvent, après leur mort – , perçus comme des personnages d’exception, ayant apporté aux hommes une contribution jugée digne de remerciements (fondation de cités, victoire guerrière, instauration de régimes politiques, mais aussi fondations d’écoles philosophiques, composition de poèmes rendant les dieux propices ou promouvant les valeurs de la cité, victoires athlétiques…). Le colloque a pour objet de revenir sur la variété des manifestations entourant ces grands hommes – qu’ils soient historiques ou fictifs selon les critères actuels, la différence n’étant pas perçue de la même manière par les Grecs anciens – , en cherchant à souligner les points de contacts entre des destinataires de cultes à première vue très différents et les lignes de force des comportements et mentalités antiques à travers les siècles. Il s’agit d’affiner et d’assouplir les catégories usuelles de destinataires comme de modalités de cultes, en soulignant : 1) la diversité des modalités de culte classés habituellement comme “héroïques” ou “divins”, en soulignant l’évolution historique et la diversité géographique des pratiques, qui interdisent de ranger a priori les manifestations dans des cases préconçues ; 2) l’unité de la relation aux destinataires de cultes, révélée par les témoignages des Anciens eux-mêmes. Dans les textes littéraires comme dans les inscriptions, les divers cultes religieux de destinataires non-divins présentent des similitudes qui incitent à beaucoup de prudence par rapport à la tentation du classement et du compartimentage auquel se livrent souvent les historiens de la religion grecque. Le volet montpelliérain (26-27 novembre 2018), qui tirera partie du cadre historique de l’évolution globale des pratiques rituelles posé par le volet italien, proposera une réflexion sur la réception antiques des cultes des grands hommes. Elle mettra en lumière le continuum entre héros épiques et/ou fondateurs, souverains, poètes, philosophes et athlètes, en examinant la façon dont les Anciens eux-mêmes concevaient ces cultes, les justifiaient ou au contraire, les critiquaient. Elle s’appuiera sur une étude des représentations, telles qu'elles se manifestent dans les sources littéraires, épigraphiques et iconographiques. Il s’agira de déterminer quels sont les critères d’élection de tel ou tel grand homme, à quels principes religieux, moraux, politiques ou idéologiques répondent les cultes, mais aussi quels sont les motifs de critique de ces cultes, chez les auteurs païens et chrétiens. Les communications chercheront à souligner les évolutions dans la conception des cultes de héros ou de grands hommes (en particulier athlètes, poètes et philosophes) des époques archaïque et classique, sur le temps long, de l’époque classique à l’époque impériale.
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Books by Tomasz Mojsik
Concentrating on Orpheus’ ethnicity and geographical references in ancient sources, Tomasz Mojsik traces the development of, and changes in, the mythological image of the hero in antiquity and sheds new light on contemporary constructions of cultural identity by locating the various versions of the mythical story within their socio-political contexts. Examination of the early literary sources prompts a reconsideration of the tradition which locates the tomb of the hero in Macedonian Pieria, and the volume argues for the emergence of this tradition as a reaction to the allegation of the barbarity and civilizational backwardness of the Macedonians throughout the wider Greek world. These assertions have important implications for Archelaus’ Hellenizing policy and his commonly acknowledged sponsorship of the arts, which included his incorporating of the Muses into the cult of Zeus at the Olympia in Dium.
More info: https://www.bloomsbury.com/uk/orpheus-in-macedonia-9781350213180/
This study, however, is focused exclusively on the question of the genealogy, names, and number of the Muses. To date, this particular subject-matter has not been approached more comprehensively, while the existing analytical studies are either superficial or flawed with methodological shortcomings."
Papers by Tomasz Mojsik
Concentrating on Orpheus’ ethnicity and geographical references in ancient sources, Tomasz Mojsik traces the development of, and changes in, the mythological image of the hero in antiquity and sheds new light on contemporary constructions of cultural identity by locating the various versions of the mythical story within their socio-political contexts. Examination of the early literary sources prompts a reconsideration of the tradition which locates the tomb of the hero in Macedonian Pieria, and the volume argues for the emergence of this tradition as a reaction to the allegation of the barbarity and civilizational backwardness of the Macedonians throughout the wider Greek world. These assertions have important implications for Archelaus’ Hellenizing policy and his commonly acknowledged sponsorship of the arts, which included his incorporating of the Muses into the cult of Zeus at the Olympia in Dium.
More info: https://www.bloomsbury.com/uk/orpheus-in-macedonia-9781350213180/
This study, however, is focused exclusively on the question of the genealogy, names, and number of the Muses. To date, this particular subject-matter has not been approached more comprehensively, while the existing analytical studies are either superficial or flawed with methodological shortcomings."
Analizowany tu przypadek prowadzi nas z kolei do sformułowania szerszych wniosków dotyczących roli kontekstu narracyjnego, a także wyrażenia potrzeby uwzględniania wielu rozmaitych kontekstów analitycznych w badaniach historycznych.
In conclusion is proposed that there are no existing testimonies supporting the (weak) hypothesis that the phrase καὶ Ἰταλιῶται Πυθαγόραν featuring in manuscripts of Rhetoric is authentic. Few late testimonies are either too vague or they indicate only Crotone and Metapontum, and not Greeks from the Italian peninsula in general. Such a perspective is not typical (to say the least) and at most reveals that the mention of respecting Pythagoras by those Greeks is not to be trusted fully. In the form as we know it, the phrase does not harmonize neither with the epoch of Alcidamas nor with the passage quoted by Aristotle.
Il s’agit d’affiner et d’assouplir les catégories usuelles de destinataires comme de modalités de cultes, en soulignant :
1) la diversité des modalités de culte classés habituellement comme “héroïques” ou “divins”, en soulignant l’évolution historique et la diversité géographique des pratiques, qui interdisent de ranger a priori les manifestations dans des cases préconçues ;
2) l’unité de la relation aux destinataires de cultes, révélée par les témoignages des Anciens eux-mêmes. Dans les textes littéraires comme dans les inscriptions, les divers cultes religieux de destinataires non-divins présentent des similitudes qui incitent à beaucoup de prudence par rapport à la tentation du classement et du compartimentage auquel se livrent souvent les historiens de la religion grecque.
Le volet montpelliérain (26-27 novembre 2018), qui tirera partie du cadre historique de l’évolution globale des pratiques rituelles posé par le volet italien, proposera une réflexion sur la réception antiques des cultes des grands hommes. Elle mettra en lumière le continuum entre héros épiques et/ou fondateurs, souverains, poètes, philosophes et athlètes, en examinant la façon dont les Anciens eux-mêmes concevaient ces cultes, les justifiaient ou au contraire, les critiquaient. Elle s’appuiera sur une étude des représentations, telles qu'elles se manifestent dans les sources littéraires, épigraphiques et iconographiques. Il s’agira de déterminer quels sont les critères d’élection de tel ou tel grand homme, à quels principes religieux, moraux, politiques ou idéologiques répondent les cultes, mais aussi quels sont les motifs de critique de ces cultes, chez les auteurs païens et chrétiens. Les communications chercheront à souligner les évolutions dans la conception des cultes de héros ou de grands hommes (en particulier athlètes, poètes et philosophes) des époques archaïque et classique, sur le temps long, de l’époque classique à l’époque impériale.