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Prodicus at the Crossroads. Once Again on the Antilogy

100%
Giombini S.
Peitho. Examina Antiqua
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2017
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vol. 8
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issue 1
187-200
EN
The aim of this paper is to analyze the tale of Heracles at the Crossroads, attributed to Prodicus by Socrates in Xenophon’s Memorabilia, through the notion of antilogy. The apologue has got an antilogic structure that is immediately outlined in the description of the situation in which the young Heracles finds himself. But the text, seemingly antilogic, does not develop itself according to one of the most important rules of antilogies, i.e., the epistemic parity of two speeches, since it appears to be completely in favor of just one of the theses. Prodicus would have had no interest in writing a text that did not demonstrate his rhetorical and linguistic abilities. According to this perspective, Xenophon’s version of Heracles at the Crossroads does not seem to be the original version by Prodicus, as can be seen by analyzing its structure and properties.
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Luctus est istic tuus,/ crimen novercae. Boskie i ludzkie szaleństwo Heraklesa na podstawie tragedii Eurypidesa i Seneki (Luctus est istic tuus,/ crimen novercae. Divine and human madness of Heracles according to the dramas by Euripides and Seneca)

100%
Karamucka M.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2013
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vol. 23
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issue 2
113-128
PL
The article aims to examine the tragedies: Ήρακλής μαινόμενος by Euripides and Hercules Furens by Seneca and exactly the different types of the madness, by which the main character is overcome in the above mentioned dramas. Although the article touches also on the issue of the insanity sent to the hero by Hera/ Juno, concentrates especially on the fit of madness, that is here defined as a human madness.
3
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Psychotic phenomena in Euripides’ Heracles

100%
Stróżyński M.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2017
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vol. 27
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issue 3
EN
The article is an attempt at the psychoanalytic interpretation of the Euripidean Heracles. The theory used to explain psychological phenomena of the play is Melanie Klein’s concepts of the paranoid-schizoid and depressive position, as well as contributions to the understanding of psychotic thinking made by her followers: Hanna Segal, Wilfred Bion, Herbert Rosenfeld, and John Steiner. Characters in the play, in their speech and behaviour, as well as in the chorus’ songs, reveal a significant number of primitive psychological mechanisms, such as splitting, denial, idealisation and projective identification. The analysis of those mechanisms expressed in literary material allows to see the much argued continuity of Euripides’ extraordinary play.
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Zjawiska psychotyczne w 'Heraklesie' Eurypidesa

100%
Stróżyński M.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2011
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vol. 21
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issue 2
109-143
EN
Euripides’ Heracles has drawn the attention of numerous scholars, since Willamowitz’s excellent commentary on the play. The play has been seen as lacking unity, full of contradictions, incoherent, bizzarre even. Later critics tried to show structural unity, especially by analyzing recurrent motifs and ideas. The madness was being explained by Willamowitz, Verrall, Pohlenz, Grube and others with reference to Heracles’ inner process, of a “megalomaniac” character. Such psychological interpretations of madness were widely questioned in the second half of the 20th century, and Heracles himself provoked extreme reactions and opinions of scholars. In the article Heracles’ madness is considered a central theme of the play, expressed both in the fragmented and split structure of it and in the contradictions and bizzarre elements within the tragedy. I used Melanie Klein’s (especially, the concepts of the paranoid-schizoid and depressive positions as well as of primitive defense mechanisms) and her followers’ (especially, Segal’s notes on symbol formation and Bion’s theory of psychotic thinking) theory to show the essentially psychotic character of the play. The dramatis personae, in their behavior and words manifest such psychotic mechanisms as splitting, denial, idealization, projective identification, omnipotent control as well as primitive envy. The gods can be seen as projections of Heracles and other characters, as well as of the common unconscious space of the play (“the analytical third” of the tragedy, to use Thomas Ogden’s concept). The climactic Heracles’ madness is understood as a breakdown of psychotic defense mechanisms, cause by intense, yet split off, envy and by a powerful threat to dependent parts of the self, symbolized in Heracles’ children and wife. The whole tragedy is a way from the world of fantasy, gods, underworld towards more realist world of human beings and their relationships, which in Kleinianism can be conceptualized as a movement from the paranoid-schizoid position to the depressive one.
5
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Herakles w bizantyńskiej refleksji poetyckiej. Studium przypadku

84%
Kotłowska A.
Vox Patrum
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2015
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vol. 64
293-297
EN
The article presents the first Polish translation and commentary of so far in­edited literary epistle written by Niketas Eugeneianos, famous Byzantine novelist and poet of the twelfth century.
6
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Herkules i Gerion, królowie Hiszpanii. Mit i jego recepcja w iberyjskich kronikach dobry średniowiecza i nowożytności

73%
Barbarzak D.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2018
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vol. 28
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issue 2
89-125
EN
The ancient myth about Hercules’ expedition to the island of Erythea, his combat with Geryon and setting the Pillars was adopted by the authors of Iberian chronicles from the Middle Ages and the Early Modern period. The paper responds to the question of how the myth was being changed by the authors and what their political or genealogical aim related with the historical period was. The analysis of ancient sources and the comparison with chosen Iberian chronicles proves that the character of Hercules was intentionally adapted for creating old dynastic genealogies, a model of good king or founding myths of Spanish cities (as Cádiz and A Coruña). For similar reasons, Spanish colonial expansion changed also the idea of the Pillars of Hercules which were not perceived as the boundary of the Mediterranean anymore but became a gate to the New World.
7
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Heracles in the Iberian Peninsula

59%
Grzelak-Krzymianowska A.
Collectanea Philologica
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2022
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issue 25
13-33
ES
La storia delle dodici fatiche di Eracle, come molte altre della mitologia greca, ha subito vari cambiamenti da quando le prime trasmissioni di Esiodo hanno contribuito a consolidare gli elementi essenziali del mito e le sue caratteristiche. Con la traslazione dei miti dallʼIberia caucasica a quella occidentale, sono stati trasferiti anche alcuni luoghi, personaggi ed eventi associati al posto. Sono state ricollocate le Isole Fortunate, il Giardino delle Esperidi, il luogo della decima e dellʼundicesima fatica di Eracle, e sono stati identificati e interpretati lʼorigine e il significato dei pilastri eretti dallʼeroe. Lʼobiettivo di questo articolo è mostrare come uno di questi miti, quello di Eracle e Gerione, sia stato plasmato in epoca classica e successiva. Verrà analizzata la trasformazione di tre elementi di questo mito: la sua collocazione, la figura di Gerione e la descrizione delle fatiche di Ercole.
EN
The story of Herculesʼ achievements, like many others in Greek mythology, has undergone various changes since Hesiodʼs early transmissions helped to consolidate the essential elements of the myth and its characteristics. With the translocation of myths from Caucasian Iberia to Western Iberia, certain places, characters and events associated with the land were also transferred. The Fortunate Islands, the Garden of Hesperides, the place of the 10th and 11th labours of Hercules have been relocated, and the origin and meaning of the pillars set up by the hero have been identified and interpreted. The aim of this article is to show how one of these myths, namely that of Hercules and Geryon, was shaped in the classical and later periods. The transformation of three elements of this myth will be analysed: its location, the figure of Geryon and the description of Herculesʼ achievements.
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