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Copyright of Höyük is the property of Turkish Historical Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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.

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 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.

Copyright of Gerion: Revista de Historia Antigua is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Online Journal of Art & Design is the property of Online Journal of Art & Design and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arkeoloji Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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. [ABSTRACT FROM AUTHOR]

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).

Copyright of Arkeoloji Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ágora: Estudos Clássicos em Debate is the property of Agora: Estudos Classicos em Debate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Aksaray University Faculty of Economics & Administrative Sciences / Aksaray Üniversitesi Iktisadi ve Idari Bilimler Fakültesi Dergisi is the property of Aksaray University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Management & Economics Research is the property of Journal of Management & Economics Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We 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. [ABSTRACT FROM AUTHOR]

Copyright of Auster is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Espacio, Tiempo y Forma: Serie II, Historia Antigua is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gegenstand der Studie ist ein marmornes Idol, das aus dem Hügel von Maydos Kilisetepe geborgen wurde. Die Fundstelle befindet sich nahe der Stadt Eceabat, Provinz Çanakkale. Das Idol wird als Idol des Troja-Typus angesprochen, Typ 2C nach C. Blegen, bezeichnet wird es außerdem als 'Eulenköpfiges Idol', eine Ansprache, die auf Heinrich Schliemann zurück geht. Fundkartierungen zeigen, dass Idole dieser Art im westlichen Anatolien weit verbreitet waren. Dabei liegen aus lokalen Siedlungen keine identischen Exemplare vor, sondern nur solche, die ihrer Gestaltung nach variieren. Zum Verständnis der Nutzung jener Idole werden die Fundkontexte genauer beleuchtet, die mehrheitlich dem häuslichen Kontext entstammen. Angenommen werden kann daher, dass die Idole im Rahmen häuslicher Kulte Verwendung fanden. Bemerkenswert ist auch die Chronologie jener Idole, treten diese auch in einem Zeitraum von der Mitte bis zum Ende der Frühbronzezeit auf, wobei sich ihre Nutzung auch in der beginnenden mittleren Bronzezeit noch fortsetzt. Die Idole spiegeln den Glauben der Menschen und es kann angenommen werden, dass sie die Muttergöttin symbolisieren, die im Hauskult dem Schutz des Heimes dienten. Eulengesichtige Göttinnen werden außerdem auf Keramiken und Stelen dargestellt, verbreitet im dritten vorchristlichen Jahrtausend in Mesopotamien, Syrien wie auch im westlichen Mittelmeerraum mit der Iberischen Halbinsel. Die besprochenen Artefakte zeigen damit überregional weitgespannte Kontakte, den mesopotamischen Raum wie auch das Mittelmeer umfassend. The subject of this study is a marble idol recovered at the Maydos Kilisetepe mound located near the town of Eceabat in the province of Çanakkale in Turkey. The idol belongs to a type known as a Troy type, specifically Type 2C of Blegen's typology. It is also known as an 'owlheaded idol', as proposed by Schliemann. The distribution maps of these idols show that they are widely found in western Anatolia. There are no identical examples from local settlement sites; on the contrary they all vary. The contexts of the idols, which in the majority of cases come from domestic contexts, are examined in greater detail to reach a better understanding of their use. From this we conclude that the idols were employed within a domestic cult environment. The chronology of the owl-headed idols is also considered; they appear in the middle to late Early Bronze Age but continued to be used at the beginning of the Middle Bronze Age. The idols reflect the beliefs of the people and probably symbolise the mother-goddess who had the role of protecting the household. Owlfaced goddess representations also figure on pottery and stelae of the third millennium BC in Mesopotamia, Syria and the western Mediterranean as far west as the Iberian Peninsula. The artefacts considered in this article suggest that wide-ranging contacts existed in a geographical area encompassing Mesopotamia and the Mediterranean. [ABSTRACT FROM AUTHOR]

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.

Copyright of Auster is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the declamatory and descriptive poems which GA 9 gathers, a source of inspiration is the destruction of Troy, sung by Homer, and the enclave of Minor Asia is linked with Mycenae or Rome and with critical situations like enmity of the gods, the collapse of the city and their protagonists' ups and downs. This exploratory-analytical research aims to verify in thirteen selected texts which reasons, consequences and episodes related to the above mentioned warlike conflict are central and coincident -among other causes, because of the interaction between repertoires- and what details each poet contributes with, in agreement with the permanence of such components in Greek collective imaginary. [ABSTRACT FROM AUTHOR]

New research at Troy has led to revisions in our understanding of the site in the Protogeometric, Geometric, and Archaic phases (1070/1040–500/480 B.C.). This article provides an overview of the key developments as well as presenting the new chronological framework for these phases. Three major chronological revisions are discussed in this article. First is the evidence for continued occupation in the Protogeometric and Geometric phases. Second, is the evidence for a destruction at the site in the middle of the 7th century and the changes that occur after this destruction. Third, is the division of the Archaic phase into sub-phases ending with a hiatus at the site in the early Classical period. The majority of archaeological remains can be associated with religious activity, and it is likely that the main significance of Troy during these phases was as a regional cult center. [ABSTRACT FROM AUTHOR]

This paper argues that an important nostos theme in Euripides’ Hecuba underlies the more obvious themes of sacrifice and revenge. The nostos theme, in fact, drives the plot since it is the Greek army’s keen desire to return home that leads to the sacrifice and the discovery and subsequent burial of Polydorus’ body. The Trojans must be honoured and buried before the Greeks can depart, which collapses the difference between them and invites the audience to re-evaluate the Greeks’ relationship with their conquered enemy. [ABSTRACT FROM AUTHOR]