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Comments upon the polysemy of the names of Calisto and Melibea and suggests that the latter was taken from the name of a town in Thessaly mentioned by Homer.

Flinders Petrie and Heinrich Schliemann, the founding fathers of the Egyptian and Greek archaeology, had many traits in common during their lifetime, but never met each other until April 1888 during Petrie’s excavations at Hawara. Schliemann, who was travelling into Egypt for his fourth and last time, made a tour to visit the place. In the article we reconstruct the meeting taking into account the data preserved and use it to demonstrate Schliemann’s new attitude to archaeology in the last years of his life. Flinders Petrie y Heinrich Schliemann, grandes personalidades de la arqueología egipcia y griega respectivamente, compartieron en vida muchos puntos en común. Sin embargo, sus destinos se cruzaron en una sola ocasión, el mes de abril de 1888, durante las excavaciones de Petrie en Hawara, que Schliemann visitó aprovechando su cuarta y última estancia en Egipto. El presente artículo reconstruye el encuentro entre los dos personajes a partir de la documentación conservada y lo analiza como muestra del nuevo modo de afrontar el trabajo arqueológico por parte de Schliemann en los últimos años de su vida.

espanolA partir de la critica de la cultura que George Steiner despliega en sus principales obras, especialmente en En el castillo de Barbazul (1971) y en Antigonas (1984), el presente articulo intenta exponer el concepto de crisis como elemento constitutivo de los analisis steinerianos sobre la civilizacion occidental despues de Auschwitz. Segun su interpretacion, tanto desde un punto de vista historico como estructural, la cultura europea ha estado atravesada por una pulsion (auto)destructiva que conviene situar en deuda con las interpretaciones de Sigmund Freud. Bajo la presion de las relaciones entre Atenas y Jerusalen en una epoca del epilogo que esta dando paso al alborear de otra calificada de transhumanista, es preciso cartografiar algunas de las consecuencias de la conflictiva actualidad de la nocion misma de tradicion. Tomando en consideracion los simbolos del castillo de Barba Azul y de la destruccion de Troya, se esboza una propuesta que tiene en cuenta la necesidad del duelo sin incurrir en el olvido devastador de la barbarie. EnglishBased on the criticism of the culture that George Steiner displays in his especially works, especially in In the castle of Bluebeard (1971) and in Antigones (1984), this article attempts to expose the concept of crisis as a constituent element of Steinerian analyses about Western civilization after Auschwitz. According to his interpretation, both from a historical and structural point of view, European culture has been traversed by a (self) destructive drive that should be placed in debt to the interpretations of Sigmund Freud. Under the pressure of relations between Athens and Jerusalem in an era of the epilogue that is giving way to the dawn of another to be qualified as a transhumanist, it is necessary to map some of the consequences of the conflicting actuality of the notion of tradition itself. Having in consideration the symbols of the castle of Bluebeard and the destruction of Troy, our proposal takes into account the need for grief without incurring the devastating oblivion of barbarism

Virgilio emplea varias deidades rurales en su Eneida como un medio para explicar cómo la relación conflictiva entre la Troya de Eneas y la Italia de Turno se reconciliarán en la futura Roma., Virgil employs various rural deities in his Aeneid as a means to explicate how the conflicted relationship between Aeneas’ Troy and Turnus’ Italy will be reconciled in the future Rome., Instituto de Investigaciones en Humanidades y Ciencias Sociales

espanolEn el drama Las troyanas de Seneca el Joven, segun proponemos, existen argumentos e ideas de la filosofia estoica en torno a las emociones y las pasiones. Tales ideas, derivadas de la teoria etica-epistemologica estoica, estan insertas en los discursos de personajes como Hecuba, Andromaca, Agamenon o Helena. Seneca exhibe la historia-mito de la Guerra de Troya como una fuente de emociones erroneas, es decir, de pasiones que alejan a los personajes de la virtud-felicidad. Consecuentemente, el autor nos presenta discursos, en boca de sus personajes, que instan a evitar estoicamente esas pasiones, como lo son el miedo, el dolor o el orgullo excesivos. EnglishWe propose that in the dramatic play The Troades of Seneca the Young are arguments and ideas belonging to the stoic philosophy that analyze emotions and passions. Such ideas, derived from the ethical-epistemological stoic theory, are inserted on the speeches of characters like Hecuba, Andromache, Agamemnon or Helen. Seneca exhibits the history-myth of the Trojan War as a source of erroneous emotions, that is, of passions that remove happiness-virtue from the characters. Consequently the author presents us speeches, spoken by his characters, which urge to stoically avoid such passions like excessive fear, pain or pride.

En el marco del relato de la caída de Troya, la voz narrativa se traslada al centro del palacio de Príamo (En. 2, 506-525). Allí, la reina Hécuba amonesta a su esposo por querer vestir sus viejas armas e intentar incorporarse a la batalla. Actuar de esa manera, le dice, es obedecer a una mens dira que no se corresponde con el momento. Troya ya cayó: lo único que queda es esperar la ayuda de los dioses o morir. Este pasaje nos interesa especialmente por la configuración del personaje de Hécuba que, desde nuestro punto de vista, no responde al paradigma habitual de irracionalidad, pasión desmesurada y sufrimiento improductivo que se ha adjudicado a los personajes femeninos de Eneida (cf. Oliensis 1997, Nugent 1999, Keith 2004 y Foley 2005, entre otros).

En el marco del relato de la caída de Troya, la voz narrativa se traslada al centro del palacio de Príamo (En. 2, 506-525). Allí, la reina Hécuba amonesta a su esposo por querer vestir sus viejas armas e intentar incorporarse a la batalla. Actuar de esa manera, le dice, es obedecer a una mens dira que no se corresponde con el momento. Troya ya cayó: lo único que queda es esperar la ayuda de los dioses o morir. Este pasaje nos interesa especialmente por la configuración del personaje de Hécuba que, desde nuestro punto de vista, no responde al paradigma habitual de irracionalidad, pasión desmesurada y sufrimiento improductivo que se ha adjudicado a los personajes femeninos de Eneida (cf. Oliensis 1997, Nugent 1999, Keith 2004 y Foley 2005, entre otros)., In the context of the account of the fall of Troy, the narrative voice turns to Priam’s palace (Aen. 2, 506-525). There, queen Hecuba admonishes her husband for willing to wear his old armor and trying to join the battle. To act in that way, she tells him, is to obey to a mens dira which is not appropriate for those circumstances. Troy has already fallen: the only thing that remains is either to hope for the gods’ help or to die. We consider this passage especially interesting for the configuration of Hecuba’s character, which from our viewpoint does not meet the usual paradigm of irrationality, excessive passion and unproductive suffering usually adjudicated to female characters in the Aeneid (cf. Oliensis 1997, Nugent 1999, Keith 2004 and Foley 2005, among others)., Facultad de Humanidades y Ciencias de la Educación, Centro de Estudios Latinos

En el marco del relato de la caída de Troya, la voz narrativa se traslada al centro del palacio de Príamo (En. 2, 506-525). Allí, la reina Hécuba amonesta a su esposo por querer vestir sus viejas armas e intentar incorporarse a la batalla. Actuar de esa manera, le dice, es obedecer a una mens dira que no se corresponde con el momento. Troya ya cayó: lo único que queda es esperar la ayuda de los dioses o morir. Este pasaje nos interesa especialmente por la configuración del personaje de Hécuba que, desde nuestro punto de vista, no responde al paradigma habitual de irracionalidad, pasión desmesurada y sufrimiento improductivo que se ha adjudicado a los personajes femeninos de Eneida (cf. Oliensis 1997, Nugent 1999, Keith 2004 y Foley 2005, entre otros). In the context of the account of the fall of Troy, the narrative voice turns to Priam’s palace (Aen. 2, 506-525). There, queen Hecuba admonishes her husband for willing to wear his old armor and trying to join the battle. To act in that way, she tells him, is to obey to a mens dira which is not appropriate for those circumstances. Troy has already fallen: the only thing that remains is either to hope for the gods’ help or to die. We consider this passage especially interesting for the configuration of Hecuba’s character, which from our viewpoint does not meet the usual paradigm of irrationality, excessive passion and unproductive suffering usually adjudicated to female characters in the Aeneid (cf. Oliensis 1997, Nugent 1999, Keith 2004 and Foley 2005, among others). Fil: Cairo, María Emilia. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - La Plata. Instituto de Investigaciones en Humanidades y Ciencias Sociales. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales; Argentina

Dünya tarihinde çok önemli bir yer tutan Troya kenti, Batı Anadolu'da bulunur. Günümüzde Çanakkale yöresinde yer alan bu kent, MÖ. 5. Binyıldan beri yerleşimin bulunduğu bir kenttir. Bulunduğu coğrafi konum nedeniyle bu topraklar üzerinde iki büyük savaş meydana gelmiştir. Bunlardan ilki, MÖ. 1240-1230 yılları arasında Akalar ve Troyalılar arasında gerçekleşen, Troya Savaşıdır. İkincisi ise 1915yılında yaşanmış olan Çanakkale Boğazlar Savaşıdır.Arkeolojik ve yazılı kaynaklar eşliğinde Troya kentini, en eski çağlardan itibaren tanıtmaya çalışacağız. Homeros'un İlyada adlı destanında bahsettiği Troya Savaşı, gerçekten Helen ve Paris yüzünden mi çıkmıştı, yoksa savaşın nedeni gerçekte farklı mıydı? Bu gibi soruların cevabını bulmaya çalıştığımız Tezimiz, Troya Savaşından sonra meydana gelen Ege Göçleri ve neticesinde, Troyalılar' a ne oldu sorusunun cevabı ile sonuçlanmaktadır.Anahtar Kelimeler: Troya, Çanakkale Boğazı, Akalar, Homeros, Helen, Paris, Ege Göçleri. Troia city, which holds a very important place in World history, is located in Western Anatolia. Today the city of Çanakkale, B.C. It has been a seettlement since the 5th Millennium B.C. Two major wars on these lands occured due to the geographical location. The first of these is the Troia War between the Achaeans and Trojans between 1240-1230 B.C. The second is the Battle of the Çanakkale Strait War, which took place in 1915.Archaeological and written sources of the city Troia from the oldest ages we will try to promote. Was the war in Troy realy because of Helen and Paris, as Homer had mentioned in his epic Iliad, or was the reason for the war really different? The thesis that we tried to find the answers to such questions, resulted in the Aegean Migration after the Trojan War and the question of what happened to the Trojans.Keys Words: Troy, Battle of the Çanakkale Strait, Achaeans, Homer, Helen, Paris, Aegean Migration. 103

Bütünleşik kırsal kalkınma, bölgenin niteliklerine göre turizm ve tarım gibi sektörlerin kalkınmasının eş zamanlı olarak sürdürülmesi anlamına gelmektedir. 1996 yılında milli park kapsamına alınmış olan Troya Antik kentinin çevresindeki bölge 16 köy ile ilişki içindedir. Bu köyler çok verimli tarım arazilerine sahip olup, köylüler tarımsal faaliyetlerle geçimini sağlamaktadırlar. Söz konusu alandaki köylerin hem tarımsal kalkınma, hem de turizm faaliyetleri ile birlikte bütünleşik bir kalkınma modelinin başarı ile gerçekleştirilebileceği öngörülmektedir. Bütünleşik kalkınma modelinin başarısı mevcut alanın doğal ve kültürel kaynaklarının iyi bir biçimde analiz edilmesi, yöre halkı ile birlikte programlanmasına bağlıdır. Bu çalışmanın amacı; bölgenin doğal ve kültürel özelliklerini, kapasitesini ortaya koyarak, kurumların yaptığı faaliyetler ve yerel halkın yaklaşımlarının tespit edilerek analiz edilmesidir. Çalışma Troya Milli Parkı alanı ile etkileşim halinde olan 16 köyden Troya Ören Yeri ile doğrudan etkileşim halinde olan Çıplak, Kalafat ve Tevfikiye köyleri ile sınırlandırılmıştır. Bütünleşik kırsal kalkınma konusunda ulusal ve uluslararası literatür incelemesi, Troya Tarihi Alan Milli Parkı ile ilgili raporların değerlendirilmesi, kurumsal verilerin analiz edilmesi, kurum temsilcileri, köy yönetimleri ile yapılan görüşmelerle çalışma gerçekleştirilmiştir., Integrated rural development means that the development of sectors such as tourism and agriculture is carried out simultaneously according to the characteristics of the region. The region around the ancient city of Troy, which was included in the national park in 1996, is in contact with 16 villages. These villages have very fertile agricultural lands and the villagers maintain their livelihood through agricultural activities. It is foreseen that the villages in the said area can be realized successfully with an integrated development model with both agricultural development and tourism activities. The success of the integrated development model depends on a good analysis of the natural and cultural resources of the existing area and programming with the local people. The aim of this study is to determine and analyze the natural and cultural characteristics and capacity of the region, the activities of institutions and the approaches of local people. The study was limited to the Çıplak, Kalafat and Tevfikiye villages, which directly interacted with the Troy Ruins in the 16 villages interacting with the area of Troy National Park. National and international literature review on the integrated rural development, the evaluation of the reports on the Troy National Park, the analysis of the corporate data, the representatives of the institutions, the interviews with the village administrations were conducted.

La memoria fue un concepto central dentro de la configuración colectiva de la antigua Roma. La civilización romana ha sido la gran configuradora e instauradora de distintas formas de memoria, que han operado dentro del proceso de construcción y legitimación cultural de Occidente por 20 siglos. Toda creación de un lieu de mémoire implica, necesariamente, la abolición o desplazamiento de otro o, al menos, el desplazamiento semántico de las memorias asociadas a ese lugar específico. Augusto tuvo la difícil tarea de presentarse y legitimarse a sí mismo dentro de un complejo proceso histórico como la continuidad aparente de un sistema político y social perimido cuando en verdad encarnaba una nueva manera de concebir y ejercer el poder que había aprendido, a partir de la experiencia de Julio César, a presentarse de modos mucho más aprehensibles y, lo que es más relevante, asimilables para el pueblo romano. Virgilio lleva a cabo en Eneida 8 una operación literaria de resignificación del espacio, y del tiempo, tan radical como simple. La visión virgiliana aúna operaciones poéticas ideológicas y culturales donde el poder perpetuador de la palabra configura de manera efectiva en el espacio, en este caso, una Roma aeterna cuyo pasado, resignificado en su momento primigenio, legitima no una profundidad y una gloria pasadas sino una gloria futura sine fine que es confutada por Lucano con la descripción del paseo de Cesar sobre las ruinas de Troya en el libro 9.950-999, donde Troya es representada como el mnemotopo admonitorio por excelencia del destino final de Roma., Memory was a central concept in the collective configuration of ancient Rome. Roman civilization has constructed various forms of memory that has been working in the cultural configuration of the West for more than twenty centuries. The creation of a lieu de mémoire implies the abolition or the semantic displacement of the memories linked to that particular place. Augustus had the difficult task of appearing as the apparent continuation of an exhausted political system, when he actually represented a new conception of power that had learned to appear in ways far more comprehensible and easier to assimilate to the Roman people, as taught by Julius Caesar’s murder. Virgil embarks, in Aeneid 8, in a complex literary operation where he resignifies not only the spaces of Rome but also their origins. The Virgilian vision juxtaposes ideological and cultural operations in which the perpetuating power of the Word gives new meanings to the spaces of Rome, creating a Roma aeterna whose past supports not the ancient splendour of the city but the city’s future glory. This glory sine fine is rebuked by Lucan’s account of Caesar’s walk over the ruins of Troy in Book 9.950-999, where the city’s ruinous state represents an admonitory mnemotopo of Rome final destiny., Universidad Nacional de La Plata (UNLP) - Facultad de Humanidades y Ciencias de la Educación

El metro elegido para la traducción es el endecasílabo, un metro que tiene amplia tradición en la poesía en español. En el caso de la poesía clásica, en donde la rima no existe, puede decirse que es completamente adecuado, ya que es el tipo de verso que más ha prescindido de ella, aquel en el que se ha producido la mayor cantidad de composiciones no rimadas (salvo, por supuesto, el verso no medido). La utilización de un metro castellano de fuerte tradición en la historia de la literatura implica el haber descartado cualquier intento de imitar los metros originales, ya que la tradición de la poesía castellana no rimada no ofrece alternativas válidas, es decir, combinaciones métricas con las que el lector pueda estar familiarizado, formas estróficas a las que su oído esté acostumbrado por haber sido ya utilizadas por los poetas que escribieron en nuestra lengua., Universidad Nacional de La Plata (UNLP) - Facultad de Humanidades y Ciencias de la Educación

Estudiamos, sobre imágenes ad hoc, un nuevo espacio del 'Jardín de las Delicias', de la tabla central: el 'Juicio de Paris', estructura superficial de una estructura profunda, que implica el concepto de la lucha de los Contrarios, que se resuelve con el regreso a la Unidad primigenia. Este estudio consta de dos partes: en ésta, la primera, los puntos concretos son: el Juicio, el rapto de Helena y la guerra de Troya. We study, on images ad hoc, another subject of 'The Garden of Earthly Delights' in the central board: the 'Judgement of Paris': it is the Surface structure of a Deep structure, which involves the concept of the tension of the opposites, what finish with the return to the original Unit. This study has two parts: this first part includes the judgement, the abduction of Helen and the war of Troy.

Bu çalışmada Çanakkale ili Ezine ilçesinde yer alan Troya Tarihi Milli Parkı çevresindeki alanlarda amfibi ve kuş populasyonları ile bu populasyonlara ait bazı ekolojik veriler araştırılmıştır. Şubat 2016 – Şubat 2017 tarihleri arasında yapılan 34 günlük arazi çalışmaları sonucunda çalışma alanındaki istasyonlarda bir Ordo, dört Familya'ya dahil dört amfibi türüne rastlanılmıştır. IUCN verilerine göre bu türlerden üç tanesi LC (Least Concern) düşük tehdit, bir tür ise (Bufotes variabilis) DD (Data Deficient) yetersiz veri kategorisindedir. 17 Ordo, 43 Familya'ya dahil 99 kuş türüne ait toplam 14.527 bireye rastlanılmıştır. IUCN verilerine göre bu türlerin 97 tanesi LC (Least Concern) düşük tehdit, bir tür (Vanellus vanellus) NT (Near Threatened) tehdide yakın ve bir tür de (Streptopelia turtur) VU (Vulnerable) duyarlı kategorisindedir. In this study, amphibian and bird population and some ecological data belong to these populations in the vicinity of Troy Historical National Park located at Ezine province of Çanakkale were investigated. As a result of the total 34 field studies carried out between February 2016 and February 2017, four amphibian species belong to one Ordo, four Familia were reported. According to IUCN data, three of these species are in LC (Least Concern) and the one species (Bufotes variabilis) is in DD (Data Deficient) category. The sum of 14.527 individuals belong to 99 bird species which included in 17 Ordo, 43 Familia. According to IUCN data 97 of these species are in LC (Least Conncern), one species (Vanellus vanellus) is in NT (Near Threatened) and one species (Streptopelia turtur) is in VU (Vulnerable) category. 153

En este trabajo proponemos estudiar la dinámica de memoria y olvido implicada en el diálogo entre Júpiter y Juno en Eneida XII, 791-842. Examinaremos la definición de los romanos planteada por Juno (y en especial su pedido de que Troya caiga en el olvido) teniendo en cuenta que la identidad no es algo dado sino el producto de una constante configuración y negociación. En segundo lugar, proponemos examinar los elementos en común entre este pasaje y el diálogo entre Júpiter y Venus en I, 223-304, en el que también se discute la relación entre el pasado troyano y el futuro de la ciudad que Eneas fundará. Si bien algunos críticos han analizado estos pasajes en términos de oposición, señalando contradicciones irreconciliables entre lo que Júpiter afirma al principio y al final del poema, entendemos que estas variaciones pueden considerarse en el marco del proceso de negociación entre memoria y de olvido que supone toda propuesta de definición de una identidad., In this paper we aim to study the dynamics of memory and forgetting implied in the dialogue between Iupiter and Iuno in Aeneid XII, 791-842. We will examine the definition of Romans presented by Iuno (and especially her request that Troy must be casted into oblivion) taking into account that identity is not a given, but the product of constant configuration and negotiation. Secondly, we propose to examine the common traits between this passage and the dialogue between Iupiter and Venus in I, 223-304, in which the relationship between the Trojan past and the future of Aeneas’ city is also discussed. Even when some scholars have analyzed these passages in terms of opposition, pointing out irreconcilable contradictions in what Iupiter states at the beginning and at the end of the poem, we understand that these variations can be considered as part of the process of negotiation between memory and forgetting that every definition of identity implies., Facultad de Humanidades y Ciencias de la Educación

El trabajo analiza la conexión existente entre la descripción que Eneas hace del saqueo de Troya (Aen., II) y el episodio de Niso y Euríalo en el libro IX. La conexión entre ambos epyllia se da, particularmente, a través de un triple eco en el libro IX del verso invadunt urbem somno vinoque sepulta (Aen, II, 265). Los vínculos verbales existentes entre ambos episodios resultan claves para entender la compleja trama de alusiones e interconexiones inherentes a la poética virgiliana. This paper aims to analyse the connexion between Aeneas' description of the sack of Troy (Aen., II) and Nisus' and Euryalus' episode in Book IX. The connexion between both epyllia comes through three echoes in Book IX of the line invadunt urbem somno vinoque sepulta (Aen., II, 265). The verbal relations that link the episodes together are vital to understand the complex net of allusions and internal relations inherent to Vergilian poetics.

Partiendo de los mitos fundacionales de Roma por Rómulo y Remo en Horacio y de la estirpe de Eneas en Virgilio se analizan las faltas iniciales que marcan a las respectivas descendencias: la muerte de Remo por Rómulo en Horacio y el engaño de Laomedonte a Poseidón y a Apolo, constructores de las murallas de la ciudad de Troya. Horacio y Virgilio consideran estas faltas imbricadas en los orígenes como maldiciones generadoras de la guerra civil. Analizamos las consecuencias de ese planteo en ambos poetas dentro de un esquema de culpa-castigo- expiación como un hilo conductor que recorre toda la obra de ambos autores diseñando una visión de la historia de Roma con sus semejanzas y diferencias. En Horacio el itinerario comienza en el Epodo VII con la noción de culpa primigenia que se transmite a toda la estirpe y genera la guerra civil sin término posible. En la misma colección el Epodo XVI muestra una salida utópica de las turbulencias cívicas: la evasión de los mejores, entre los que se incluye el autor, a las Islas Afortunadas. Al pasar a las Odas el planteo se vuelve más complejo, así la Oda I, 2 presenta un nivel vertical a la pregunta sobre la causalidad de la guerra: el crimen inicial, ofensa a la divinidad, merece un castigo, requiere una expiación y un expiador; este debe ser un héroe de doble naturaleza, cuyo accionar se acota al campo político: acabar con la guerra civil y pacificar el orbe romano, lo que ocurre con verbos en pretérito en la oda IV, 15. H. pasa de Rómulo a Augusto, estirpe troyana de Anquises y Venus, incluyéndose en el planteo virgiliano. ¿Cómo ocurre esto? En la Oda III, 3, con un discurso de Juno que admite la apoteosis de Rómulo bajo ciertas condiciones: la no reconstrucción de Troya y el no retorno de los exiliados a su ciudad de origen. Este discurso es la bisagra con que H. ensambla ambas estirpes y la aceptación y adopción del pasado troyano. Paralelamente en Eneida XII, 791-842 Virgilio presenta en un contexto distinto (el combate entre Eneas y Turno) y en forma dialógica con el padre de los dioses, también las condiciones de Juno para reconciliarse con los romanos; ni Horacio ni Virgilio ponen en boca de Juno las mismas razones, por eso ambos discursos parecen complementarse con sus diversas motivaciones míticas e históricas., We start from the foundational myths of Rome by Romulus and Remus in Horace and from the Aeneas’ lineage in Virgil analyzing the initial guilts that defines the respective successors: the death of Remus and the Laomedon’s deception to Poseidon and Apollo, builders of the city walls of Troy. Horace and Virgil think these faults in the origins are imbricated as maledictions that generate the civil war. We analyze the consequences of these arrangements in both poets into a diagram of guiltpunishment- expiation as a conducting thread that runs through their entire work drawing a vision of the Roman history with their resemblances and differences. In Horace the itinerary begins in the Epode VII with the notion of primigenial guilt that passes from generation to generation and generates a civil war whitout end. In the same collection the Epode XVI shows an utopic exit of the civic storms: the escape of better men to the Fortunate Islands, including the author. Passing to the Odes the arrangement become more complex; thus the ode I, 2 offers a vertical level to the question of the origin of the war: the initial crime, an offense to the divinity, deserves a punishment, needs an expiation and an expiator; this must be a hero of double nature, whose activity is limited to politic field: to finish the civil war and to pacify the Roman world, this is also what happens in the ode IV, 15 with the verbs in past tense. H. passes from Romulus to August, Trojan descendant from Anchises and Venus, joining his project to the Virgilian arrangement. How does this happens? In ode III, 3 with a speech by Juno that admits the Romulus’ apotheosis under certain conditions: the no reconstruction of Troy and the no return of the exiles to their native city. This speech is the hinge with which H. assembles both lineages and the acceptance and adoption of Trojan past. Simultaneously in Aeneid XII, 791-842, V. also shows in a different context (the fight between Aeneas and Turnus) and in a dialog with the father of the gods, also the Juno’s conditions to reconcile with the Romans; neither H. nor V. put in Juno’s mouth the same reasons, therefore both speeches seem to complement each other with their different mythical and historical motivations., Facultad de Humanidades y Ciencias de la Educación

Este trabajo presenta un estudio de la significación del Palladium troyano en el relato de Virgilio a partir de las referencias en el Libro II (162 ss., 183-184). El robo del Palladium aparece en la narración del yo-Eneas-protagonista quien a su vez inserta la voz de Sinón cuando falazmente explica a los troyanos la nueva posibilidad de obtener el favor especial de Atenea, debilitado por la ausencia del talismán protector de la diosa. Eneas huye de Troya, según Virgilio, atendiendo el llamado de la sombra de Héctor: los sacra y penatis (v. 293) serán fatorum comites, imagen rubricada por la compañía de Anquises y Ascanio que completan la línea dinástica y se integran en el sentido doméstico de los dioses familiares. A partir de estas referencias, el estudio considera las siguientes cuestiones: a) Importancia del Palladium en la leyenda troyana: los talismanes de poder. b) El Palladium en Roma: del templo de Marte al templo de Vesta. El viaje del Palladium en el comentario de Servio. c) Los testimonios arqueológicos: Eneas portador del Palladium vs. Eneas portador de los Penates. La versión virgiliana significa la elección de una tradición en concordancia con la política de Augusto. This paper studies the meaning of the Palladium of Troy within the Virgilian poem starting from the references in Book II, 162 ff & 183-184. The Palladium's theft appears in the narration of the Aeneas-protagonist-self who introduces the voice of Sinon when he misleadingly explains to the Trojans the possibility to regain Athena's favour, weakened by the absence of the talisman. Aeneas flights from Troy, according to Virgil, harkening to Hector's call: The sacra and the penatis (v. 293) will be his fatorum comites, image initialled by Anquises' and Ascanius' company who completes the dynastic line and are both integrated in the domestic sense of the family deities. From these references, the paper considers the following questions: a) The importance of the Palladium in the Trojan legend: The talismans of power. b) The Palladium in Rome: From Mars' Temple to Vesta's. The Palladium's voyage in Servius' commentary. c) The archaeological testimonies: Aeneas, bearer of the Palladium vs. Aeneas bearer of the Penates. The Virgilian version means the choice of a tradition according to Augustus' politics. Fil: Galán, Lía Margarita. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.

Fil: Galán, Lía Margarita. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.

La ambigüedad que sintieron los romanos hacia lo griego dio origen a diversos mitos fundacionales. Cicerón afirma lo romano con la fundación romuliana, y destaca la gloria del virtuoso gobernante. La gloria implica la plenitud y sólo se puede alcanzar en la categoría de lo propio. Además, si no existe la distinción sino solamente lo homogéneo, el hombre finalmente se iguala a los dioses y no tiene la posibilidad de la gloria. Entonces solamente podemos pensar en la gloria autónoma., The ambiguity felt by Romans towards the Greek spirit gave rise to various foundational myths. Cicero affirms the Roman character by means of the Romulean foundation and emphasizes the glory of a virtuous ruler. Glory inolves plenitude and can only be achieved in one’s own category. Moreover, where there is no distinction and only the homogenous exists, man finally is equal to the gods and has no chance to achieve his own glory. Therefore, only autonomous glory is possible., Facultad de Humanidades y Ciencias de la Educación

This paper aims at analyzing the spaces in conflict and the scopes for action that “spoilwomen” show in Euripides’ tragedies. The captives’ slavery in the Trojan-plot tragedies represents a key element because it duplicates the domination they already suffer as women. On the other hand, the lack of a group of kinship for the defeated women entails the setting-up of different strategies of survival, which are related to their new servile status. Nevertheless this absence of a familiar framing implies the absence of men : the new situation often leads to the assumption of male roles. Falling into serfdom inevitably involves gender issues, which can also be read from a teratological point of view, as in case of the avenging woman., Nos proponemos en este trabajo analizar los espacios en conflicto y los márgenes de acción que poseen las mujeres-botín en las tragedias euripideas. La esclavitud que caracteriza a las cautivas en las tragedias de trama troyana representa un elemento clave por cuanto viene a duplicar la situación de dominación que las encuadra en tanto mujeres. Por otro lado, la inexistencia de un grupo de parentesco para las vencidas implica el montaje de distintas estrategias de supervivencia, propias de la condición servil. Pero esa ausencia de encuadramiento familiar significa también ausencia de hombres : la nueva situación conduce con frecuencia a la asunción de roles asignados normalmente a los varones por lo que la caída en servidumbre se cruza de manera inevitable con cuestiones de género, lo que puede ser leído también en clave teratológica, como en el caso de la mujer vengadora., Rodriguez Cidre Elsa. Espacios en conflicto y márgenes de acción de las cautivas de guerra en Eurípides. In: Los espacios de la esclavitud y la dependecia desde la antigüedad. Madrid, 28-30 novembre 2012. Actats del XXXV coloquio del GIREA. Homenaje a Domingo Placido. Besançon : Presses Universitaires de Franche-Comté, 2015. pp. 123-133. (Actes des colloques du Groupe de recherche sur l'esclavage dans l'antiquité, 35)

The purpose of this paper is to study the presence of the rethoric of silence in the mythological feminine models, in specific the character of Kassandra, the Troian princess, in the mythic context of the ancient Greek society. Kassandra speaks inspired by the god Apollo and also by herself. Nevertheless, her voice is silenced, her prophecies are not believed and her discourse is ignored by the society in which she lives. The Troian princess ends her life isolated and surrounded by silence. El propósito de este artículo es el análisis de la presencia del silencio retórico en los modelos míticos femeninos, concretamente el personaje de Casandra, la princesa troyana, en el contexto mítico de la sociedad griega antigua. Casandra habla inspirada por el dios Apolo y por sí misma. No obstante, la voz de Casandra es silenciada, sus profecías no son creídas y su discurso es ignorado por la sociedad en la que vive. Al final, Casandra muere aislada y rodeada por el silencio.

El motivo que ha llevado a la realización de un estudio e investigación acerca de la ciudad de Troya, se debe, al misterio que envuelve su leyenda, desde el mítico caballo de madera, las distintas civilizaciones que habitaron la región, su misteriosa desaparición física de la faz de la tierra, y como perduro, a pesar de su desaparición física, su leyenda a través de los tiempos. Tanto como por su trascendental historia como por su repercusión e influencia en multitud de distintos relatos y otras artes gráficas y escénicas. Para ello, los principales objetivos establecidos son los siguientes: 1. Estudio Geográfico de la región donde se encuentra la ciudad de Troya. 2. Los distintos acontecimientos históricos por los que ha pasado el yacimiento de la ciudad de Troya. 3. La exposición y estudio de las principales fuentes que hablan de la legendaria ciudad de Troya (La Iliada y la Odisea) y fuentes provenientes de otras culturas. 4. La ciudad de Troya como patrimonio de la humanidad. Las distintas actuaciones arqueológicas que se han realizado hasta la fecha. 5. El turismo en la región de Troya y otros destinos turísticos y culturales cercanos para visitar.

Este artículo trata sobre cómo poderes políticos, eclesiásticos y culturales transformaron ciudades en conceptos e iconos a lo largo de las épocas medieval y moderna. Se focaliza en los casos emblemáticos de Roma y de Troya y se alude a Babilonia. Asimismo, los principales poderes transformadores se localizan en el Imperio Otomano, en Rusia y en Inglaterra. La última parte del artículo describe cómo los símbolos vinculados a la conceptualización de las ciudades fueron usados por la monarquía de Enrique VIII de Inglaterra para formalizar una revolución desde arriba. This article deals about how political, ecclesiastic and cultural powers have transformed cities into concepts and icons thoughtout Medieval and Early Modern Times. It is focused in the emblematic cases of Rome and Troy and it alludes to Babylon, as well. Likewise, the main transformer powers are located in the Otoman Empire, in Russia and in England. The last part of these article analyses how Henry VIII and his men have used the symbols associated to those cities to build a new concept of state in England.

El trabajo analiza la conexión existente entre la descripción que Eneas hace del saqueo de Troya (Aen., II) y el episodio de Niso y Euríalo en el libro IX. La conexión entre ambos epyllia se da, particularmente, a través de un triple eco en el libro IX del verso invadunt urbem somno vinoque sepulta (Aen. II, 265). Los vínculos verbales existentes entre ambos episodios resultan claves para entender la compleja trama de alusiones e interconexiones inherentes a la poética virgiliana., This paper aims to analyse the connexion between Aeneas’ description of the sack of Troy (Aen., II) and Nisus’ and Euryalus’ episode in Book IX. The connexion between both epyllia comes through three echoes in Book IX of the line invadunt urbem somno vinoque sepulta (Aen., II, 265). The verbal relations that link the episodes together are vital to understand the complex net of allusions and internal relations inherent to Vergilian poetics., Instituto de Investigaciones en Humanidades y Ciencias Sociales (IdIHCS)

In the study of Celestina, contemporary critics have frequently analyzed how the work represents love and lovers. Our study contributes to determine love’s role in Celestina by examining a pervasive metaphor in the text, love as fire, and its implications. By far, the most common way in which the characters of Celestina describe love is by referring to a classical metaphor: love as fire. In fact, the phrase «huego de amor» (love’s fire) appears specially frequently in Celestina to describe the characters feelings. The expression appears in connection to two famous urban fires of classical antiquity: those of Troy and Rome. Fiery love played a decisive role in these two well-known fires, and that connection implies that both the love as fire metaphor and urban fires warn the reader about the tragical end of Celestina’s lovers. Thusly, the work connects urban fire and love as fire to communicate a moral lesson about the dangers of love. En el estudio de Celestina, la crítica contemporánea se ha centrado frecuentemente en analizar la visión del amor que destila la obra. Nuestro estudio contribuye a determinar el papel del amor en Celestina analizando una metáfora de la obra, el amor como fuego, y sus implicaciones. El modo más común en que los personajes de Celestina describen el amor es recurriendo a la metáfora clásica del amor como fuego. De hecho, la frase «huego de amor» aparece con inusitada frecuencia en la tragicomedia para describir los sentimientos de los personajes. La expresión aparece vinculada a dos famosas conflagraciones urbanas de la Antigüedad clásica: las de Troya y Roma. El papel destructor que el amor desempeñó en estos dos conocidos incendios implica que tanto la frase como las conflagraciones funcionan como advertencias que anuncian el trágico fin de los amantes de Celestina. De este modo, la obra asocia conflagración urbana y amor fuego para transmitir una lección moral sobre la peligrosidad del amor.

La novela escrita por Francesca Petrizzo, joven autora italiana que siempre ha sido amante de la mitología clásica, trata de Helena de Troya. Se divide en dos partes, Sparta y Troia, que cuentan su vida desde cuando se marcha con Paris dejando al marido Menelao, hasta el momento en qué vuelve a él. La historia de Helena está escrita teniendo en cuenta las diferentes versiones del mito y habla sobre todo de sus relaciones con los hombres. The author of this novel is Francesca Petrizzo, a Young Italian who has always loved classical mythology. It is about Helen of Troy it is divided into two parts, Sparta and Troia. The novel walks us through her life since she leaves with Paris, abandoning her husband Menelaus, until the moment in which she goes back to him. The story is written taking into account the different versions of the myth and it mostly talks about her relationships with men.

Cuando Enrique de Villena decide traducir en prosa la Eneida de Virgilio y glosarla le procede una compleja tradicion textual y exegética. Este ensayo describe la apropiación de esta tradición por parte de Villena, la transformación y adaptación de un modelo científico y escolástico a un proyecto de glosa civil dirigida a la cultura cortesana y caballeresca., When Enrique de Villena decides to translate into prose the Virgil's Aeneid and to gloss it, his labour is preceded by a complex textual and exegetical tradition. This essay describes the appropriation of this tradicion by Villena, the transformation and the adaptation of a scientific and scholastic model to a project of civil gloss addressed to the courtly and chivalric culture.

[ES] Reseña de P. Carlier, /Homero /(2005)., [EN] Review of P. Carlier, /Homero/ (2005).

Günümüzde, en hızlı büyüyen sektörlerden biri de turizmdir. Turizm aracılığıyla kazanılanı döviz girdisi, diğer sektördekilere göre daha önemlidir. Turizmden daha fazla gelir elde etmenin yolarından biri de turizmi çeşitlendirmekten geçmektedir. Bugüne kadar insanların özellikle tercih ettiği deniz, güneş ve kum turizmi, artık eskisi kadar cazip olmayıp, turist eğilimleri farklı turizm çeşitlerine doğru kaymaya başlamıştır. Turizmin, çeşitlendirilmesi yönünde yapılan çalışmalar günümüzde hızla artmaktadır. Bölgeler veya iller kendileri için en uygun turizm çeşidini seçme yoluna gitmektedir. Çeşitlendirmenin yollarından biri de ülkelerin kendi kültür miraslarını turizm amaçlı olarak ziyaretçilere sunmalarından geçmektedir. Bir ören yeri olarak Troya'ya bakıldığında; tarihsel ve kültürel açıdan oldukça zengin bir turizm potansiyeline sahip olduğunu görülmektedir. Günümüzde değişen turist eğilimleri de göz önüne alındığında, kültürel miras turizminin bölge turizmi için önemli bir turizm çeşidi olacağı düşünülmektedir. Çalışmada, Troya'da kültürel miras turizm kavramım, turistlerin satın alma davranışlarını ve turist tiplerini dikkate alarak, kültürel miras turizmine katılan turistleri anlamayı amaçlamaktadır. Çalışmada, Troya'ya gelen üç farklı kültürel turist tipi ortaya çıkmıştır. Birinci tip turistler, bölgeyi ve Troya'yı bilerek gelenler; ikinci tip turistler, bölgeyi bilerek gelen fakat Troya'yı bilmeyenler ve son turistler ise, bölge ve Troya hakkında hiç bilgi sahibi olmayanlardır. Çalışmada, ayrıca turistlerin günlük yaşam algılan da incelenmiş ve yine üç farklı kişilik tipi ortaya çıkmıştır. Bunlar, içe dönük kişilik tipi, dışa dönük kişilik tipi ve içice kişilik tipi olarak sınıflandırılmıştır. Böylece, bölgeye kültürel amaçlı gelen turistlerin daha iyi anlaşılması mümkün olacaktır. Today, tourism is one of the most rapidly growing economic sectors. The foreign exchange input earned by tourism is more important than the input earned by the other sectors. One of the ways of gaining more revenue from tourism is, to diversify the tourism product. Sea- sun-sand tourism which has been especially preferred by the people until today, is decreasing by the terms of attractiveness and tourism motives are beginnig to change into different tourism kinds. With this aim, today the efforts through diversifying tourism is increasing rapidly. The regions or cities are beginning to search the appropriate tourism kind. One of the ways of diversifying is the presentation of the cultural heritages of the countries to the travelers as a tourism activity. When we consider Troia as a ruin destination ; we can see that Troia has a very rich tourism potential in terms of history and culture. When the changing tourism trend are considered; it has been thought that cultural heritage tourism would be important tourism kind for the region. This study aims to understand the tourists participating in cultural heritage tourism with considering the cultural heritage tourism in Troia, the purchase behaviours of the tourists and tourist types. In this study, three different types of cultural tourist has been determined. First type tourists are which are coming with the knowledge of the region and Troia, the second type tourists are which are coming with the knowledge of the region and without knowledge of Troia, the third and the last type tourists are which are coming without knowledge of the region and Troia. Besides these, in this study, the daily life perceptions has been analysed and again three different personality types has been determined. These personality types are classified as psychocentrics, allocentrics and midcentrics. Therefore, understanding the tourists which are travelling to the region with the purpose of cultural tourism will be possible 103

Bilindiği üzere Homeros, Eskiçağ dünyasının en ünlü ozanıdır. Ona maledilen İlyada ve Odysseia adlı destanlar, günümüzde bile coşkuyla okunmaktadır. İlyada'da Troya Savaşları anlatılır. Troyalılar Anadolulu bir kavimdir. Troya Savaşları, tarihte Doğu ve Batı dünyalarım karşı karşıya getiren ilk büyük mücadeledir. Homeros'a göre bu savaşın çıkış nedeni, Sparta Kraliçesi Helena'mn Troya Kralı Priamos'un oğlu Aleksandros Paris tarafından kaçınlmasıdır. Aka beyleri, Mykenai Kralı Agamemnon'un liderliği altında Troya önlerine gelerek Troyalılara savaş ilân ederler. Troya Savaşları 'nm iki ünlü erkek kahramanı Akalı Akhilleus ile Troyalı Hektor'dur. Bu savaşın iki ünlü kadm kahramanı ise Sparta Kraliçesi Helena ile Hektor'un karısı Andromakhe'dir. Bu kadınlardan ilki Batı dünyasını, ikincisi ise Doğu dünyasını temsil etmektedir. Homeros, kadınların toplum içindeki rollerini destanlarında tüm çıplaklığı ile gözler önüne sermektedir, As it is known, Homeros is the most famous poet of the Ancient World. Ilyada and Odysseia which belong to Homeros, are read in enthuasiasm at present. In Ilyada Trojan Wars are told. The Trojans are a people of Anatolia. Trojan Wars is the first great struggle between Eastern and Western worlds. According to Homeros, the reason of this war is a woman kidnapping event. Really. Aleksandros Paris who is the son of Priamos who is the king of Troy has kidnapped Helena who is ihe queen of Sparta which is a city of Greece. The kings of Achaeans whose leader was Agamemnon who is the king of the city Mykenai arrived in the costs of Troy and fought with Trojans. Two famous men heros of Trojan Wars are Akhilleus who is an Achaean king and Hektor who is the son of Troy king. Two famous women of this war are Helena Who is the queen of Sparta and Andromakhe who is wife of Hektor. Homeros tells everything about women in his epics.

This paper studies the Quintus of Smyrna's narration of the arrivals and receptions of the heroes in Troy. It shows that the episodies are structured in a rather symmetrical way, although he introduces some variations into narrative scherne. For this reason, in order to avoid so much similarity, Quintus uses the resort of parallelisms and contrasts when he is dealing with the characterization of such heroes.

El tema troyano en la Edad Media: Guido delle Colonne ¿traductor de Benoit de Sainte-Maure?

Jean Giraudoux'nun Troya Savaşı Olmayacak (1935) başlıklı oyunu İlya­ da'nın Odysseus ile Menelaos'un savaş öncesi Troya'ya elçi olarak gelişlerine kısa­ ca değinen iki dizesinden esinlenilmiş gibidir: lll, 205-207 ve XI,· 140 (Azra Erhat­ A. Kadir çevirisi). İlyada'ya bir tür öndeyiş niteliğinde olan bu oyunda Giraudoux bir yandan gerçeği tümüyle yeniden yaratırken, bir yandan da kara mizalı içinde yoğurulmuş hem banşçı hem de karamsar bir bildiri iletir. Troya Savaşı Olmayacak'ın yapısı bir engelli yarışa ya da çıkılmak zorunda olunan ve her basamağı barışa karşı bir engel oluşturan bir merdivene benze­tilebilir. Oyunun eyleyeni olan Hector, barışa ulaşabilmek için, savaşın bu görünür engellerini aşmaya çalışacak, ancak sonunda temel nedene takılacaktır: "İnsanların aptallığı ile insandışı güçlerin aptallığına. La Guerre de Troie n'aura pas lieu ( 1935) de Jean Giraudoux semble etre inspire de deux vers de l'Iliade (lll, 205, et XI, 138) sur la venue en arnbassade d'Ulysse et de Menelas a Troie avant la guerre. Cette piece qui constitue une sorte de prelude a celte epopee contient en meme temps qu'une realite reccreee entiere­ ment par Giraudoux, un message a la fois pacifique et pessimiste, ıraverse d'hu­ mournoir. La structure de La Guerre de Troie n'aura pas lieu represente celle d'une course de haies ou eelle d'un escalier que l'on doit gravir et dont chaque haie ou chaque marche constitue un obstacle devallt l'actant, Hector, qui essaie d'empe­ cher la gue"e en eliminant par tous les moyens possibles les causes apparentes de eelleci, sans arriver toutefois a vaincre sa raison essentielle: "la belise des hommes et eelle des elements.