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Universidade De São Paulo UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS CLÁSSICAS E VERNÁCULAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS CLÁSSICAS Fragmentos de Aristófanes: estudo e tradução Versão corrigida Karen Amaral Sacconi Tese apresentada ao Programa de Pós- Graduação em Letras Clássicas do Departamento de Letras Clássicas e Vernáculas da Faculdade de Filosofia, Letras e Ciências Humanas, para a obtenção do título de doutora em Letras. Orientadora: Profa. Dra. Adriane da Silva Duarte São Paulo 2018 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo Sacconi, Karen S119f Fragmentos de Aristófanes: estudo e tradução (versão corrigida) / Karen Sacconi ; orientadora Adriane Duarte. - São Paulo, 2018. 260 f. Tese (Doutorado)- Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. Departamento de Letras Clássicas e Vernáculas. Área de concentração: Letras Clássicas. 1. Aristófanes. 2. comédia. 3. fragmentos. 4. Geritades. 5. Convivas. I. Duarte, Adriane, orient. II. Título. Ao Martim e à Catarina. Resumo Esta tese apresenta uma tradução dos fragmentos de Aristófanes e três estudos relativos a eles. O capítulo I, mais geral, é dedicado às fontes. Trata do contexto em que esses fragmentos surgiram, no período helenístico, e da sua transmissão, sobretudo através de escoliastas e lexicógrafos. O segundo e terceiro capítulos tratam de duas comédias em particular, Geritades (Geritadēs) e Convivas (Daitalēs). Nesses dois capítulos, a análise dos fragmentos está conjugada a um paralelo com comédias preservadas: no caso de Geritades, que tem por tema a crítica literária, Rãs; e Nuvens, no caso de Convivas, cujo assunto é o embate entre a nova e a velha educação. A segunda parte da tese contém uma tradução acadêmica dos 589 fragmentos de Aristófanes, a partir do original grego para o português. Esse corpus corresponde a todos os fragmentos do comediógrafo, com exceção daqueles que não são atribuídos a uma comédia específica, as chamadas incertae fabulae. Abstract This thesis presents a translation of Aristophanes’ fragments and three studies about them. The initial chapter, of a more general nature, deals with the sources where the fragments are to be found, the context in wich they were created and their transmission, mainly through scholiasts and lexicographers. The other two chapters focus on two specific comedies: Geritades (Geritadēs) and Banqueters (Daitalēs), and parallels are drawn with extant comedies. Geritades is the object of comparative analysis with Frogs, since both plays are concerned with literary criticism. As to Banqueters, the thesis looks into points of contact with Clouds: the contrast between the “old education” and the “new education” is a central theme in both comedies. The second part of the thesis consists of an academic translation of the five hundred eighty- nine fragments, from the Greek original into Portuguese. This corpus corresponds to the totality of the comedian’s fragments, with the exception of those fragments that are not attributed to any specific comedy, the so called incertae fabulae. Agradecimentos Agradeço à Profa. Dra. Adriane da Silva Duarte, por mais uma vez ter me orientado com a sensatez e a tranquilidade de sempre. Por suas leituras minuciosas dos meus textos e da tradução dos fragmentos, por suas ótimas sugestões, e pelas conversas sempre produtivas. Aos professores José Marcos de Macedo e Daniel Lopes, pela leitura cuidadosa do trabalho e pelas valiosas sugestões dadas no exame de qualificação. Aos professores Milton Torres, Maria Celeste Consolin Dezotti e, novamente, Daniel Lopes, por aceitarem participar da banca de arguição. À amiga e colega Silvia Anderson, pela enorme ajuda com a revisão deste trabalho. Ao amigo e professor Alexandre Pinheiro Hasegawa e à amiga e colega Tarsila Doná pela grande ajuda com a tradução dos textos em latim. A todos os membros do grupo de pesquisa “Estudos sobre o Teatro Antigo” (CNPq), pelas discussões sempre enriquecedoras. À Bárbara da Costa e Silva pelo compartilhamento de material de pesquisa. À Renata Cazarini, por arejar os estudos clássicos e me trazer novo fôlego. Aos amigos “do grego” Mariana Mello, Raquel Lisboa e Ícaro Gatti, pela amizade. A minha família, meus pais, Mário Airton Sacconi e Mércia Amaral Sacconi, e minha irmã, Daniela Amaral Sacconi, pelo apoio, pela imensa ajuda nessa fase em que a maternidade é tão exigente. Ao querido Celso. Àqueles que trouxeram uma nova luz a minha vida, e sem os quais eu não saberia mais continuar, Martim e Catarina. Agradeço, enfim, à Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), processo 2014/15786-2, e à CAPES pela concessão da bolsa de doutorado e apoio financeiro para a realização desta pesquisa. As opiniões, hipóteses e conclusões ou recomendações expressas neste material são de responsabilidade da autora e não necessariamente refletem a visão da FAPESP e da CAPES. Índice Introdução ……………………………………………………………………………… 1 Capítulo I – As fontes dos fragmentos de Aristófanes……………………………..…... 3 Capítulo II – o banquete poético em Geritades…………………………………….….. 23 Capítulo III – Convivas: a educação do sensato e do pervertido………………..…….. 38 Nota à tradução ……………………………………………………………………….. 61 Títulos e datas das comédias ………………………………………………………..… 63 Tradução dos Fragmentos Eolosícon I/II ………………………………………………………………..… 65 Anfiarau ……………………………………………………………………..… 69 Anagiro ……………………………………………………………………...… 75 Babilônios ……………………………………………………………………... 82 Lavradores …………………………………………………………………..… 90 Velhice ………………………………………………………………………… 97 Geritades …………………………………………………………………...… 103 Dédalo ……………………………………………………………………...… 112 Convivas ……………………………………………………………………… 116 Danaides ……………………………………………………………………… 131 Dioniso Náufrago …………………………………………………………..… 136 Dramas I/II …………………………………………………………………... 136 Dramas ou Centauro …………………………………………………..……… 136 Dramas ou Niobo ……………………………………………………...……… 139 Dramas ……………………………………………………………………...… 141 Paz II ………………………………………………………………………..… 143 Heróis ………………………………………………………………...……..… 144 Tesmoforiantes ………………………………………………………………. 149 Cócalo ………………………………………………………………..……… 160 Lêmnias ……………………………………………………………………… 164 Nuvens I ………………………………………………………………….….. 169 Ilhas ……………………………………………………………………..…… 171 Enviados aos Odomantes ……………………………………….…………… 175 Navios Mercantes …………………………………………………………..... 175 Cegonhas ……………………………………………………..……………… 183 Pluto I …………………………………………………………………...…… 186 Poesia ……………………………………………………………...………… 188 Poliído …………………………………………………………………..…… 189 Proagon ……………………………………………………………………… 192 Acampadas ………………………………………………………………...… 194 Fritadores ……………………………………………………………………. 198 Tel(e)messianos ………………………………………………………..……. 207 Trífales ……………………………………………………………………… 211 Fenícias …………………………………………………………………...… 215 Estações ………………………………………………………………..…… 216 Conclusão …………………………………………………………………………... 221 Bibliografia ………………………………………………………………………… 222 Anexo I – Testemunhos e outros fragmentos ……………………………………… 233 Anexo II – Fragm. 332 ……………………………………………………………... 235 Imagens …………………………………………………………………….. 243 Anexo III – Lista de autores e obras ……………………………………………….. 244 Introdução Esta tese divide-se em duas partes. A primeira contém três capítulos que tratam dos fragmentos de Aristófanes. O capítulo I, mais geral, é dedicado às fontes dos fragmentos, e o segundo e terceiro capítulos tratam de duas comédias em particular, Geritades (Geritadēs) e Convivas (Daitalēs), respectivamente. A segunda parte contém a tradução dos 589 fragmentos de Aristófanes, o que corresponde a todos os fragmentos do comediógrafo, com exceção daqueles que não são atribuídos a uma comédia específica, as chamadas incertae fabulae. Os fragmentos do nosso corpus distribuem-se entre 33 comédias, cujos títulos são, seguindo a ordem alfabética do grego: Eolosícon I/II, Anfiarau, Anagiro, Babilônios, Lavradores,Velhice, Geritades, Dédalo, Convivas, Danaides, Dioniso Náufrago, Dramas ou Centauro, Dramas ou Niobo, Paz II, Heróis, Tesmoforiantes, Cócalo, Lêmnias, Nuvens I, Ilhas, Enviados aos Odomantes, Navios Mercantes, Cegonhas, Pluto I, Poesia, Poliido, Proagon, Acampadas, Fritadores, Tel(e)messianos, Trífales, Fenícias, Estações. O primeiro capítulo, dedicado às fontes, trata do contexto em que os fragmentos surgiram e da sua transmissão. A grande maioria dos fragmentos cômicos chegou-nos por via indireta, isto é, sobreviveram graças a citações, e o objetivo com que se deram essas citações é determinante em relação ao conteúdo do que foi preservado. Por isso, entender a relação das fontes com os fragmentos é pré-requisito para qualquer estudo que se debruce sobre as comédias perdidas. O segundo e terceiro capítulos demonstram o tipo de estudo que se pode fazer acerca dessas peças cômicas, enquanto tais. A análise de obras em estado fragmentário, em geral, constitui um desafio em si. No caso das comédias de Aristófanes, o material disponível consiste em excertos curtos, de um a três versos em sua grande maioria, dominados por uma temática que possivelmente não é representativa em relação ao todo da obra. Diante disso, e a fim de reunir mais informações sobre essas peças, levo em conta alguns testemunhos antigos, além dos próprios fragmentos das comédias em questão. Considero ainda, com objetivo de comparação, fragmentos cômicos
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