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Livro 1.Indb C revista brasileira de estudos clássicos la s s l C a v. 29 n. 1 2016 CLASSICA. Revista Brasileira de Estudos Clássicos [ISSN 01034316 / ISSN 21766436] Caixa Postal 905, 30161970, Belo Horizonte, MG, Brasil http://revista.classica.org.br email: editor@classica.org.br publicada pela Sociedade Brasileira de Estudos Clássicos desde 1988 SOCIEDADE BRASILEIRA DE ESTUDOS CLÁSSICOS CONSELHO EDITORIAL Diretoria (20162017) Tatiana Oliveira Ribeiro, UFRJ Paulo Martins, USP (Presidente) Adriane Silva Duarte, USP (20162019) Tatiana Oliveira Ribeiro, UFRJ (Vicepresidente) Alessandro Rolin deMoura, UFPR (20132016) Vagner Cavalheiro Porto, USP (Secretário Geral) Fábio Faversani, UFOP (20162019) Alexandre Pinheiro Hasegawa, USP (Secretário Adjunto) Fábio Vergara Cerqueira, UFPEL (20132016) Mary Macedo de Camargo Neves Lafer, USP (Tesoureira) Gabriele Cornelli, UnB (20132016) Norberto Luiz Guarinello, USP (Tesoureiro Adjunto) Henrique Fortuna Cairus, UFRJ (20162019) José Geraldo Costa Grillo, UNIFESP (20132016) CONSULTORES INTERNACIONAIS Kátia Maria Paim Pozzer, ULBRA (20162019) Ana María González de Tobia (UNLP, Argentina) Maria Cecília de Miranda N. Coelho, UFMG (20132016) Carlos Levy (Université Paris IV, França) Paulo Martins, USP (20132016) Daniel Rinaldi (UNAM, México) Paulo Sérgio de Vasconcellos, UNICAMP (20162019) David Konstan (Brown University, EUA) Renata Senna Garraffoni, UFPR (20132016) Francisco São José Oliveira (U. de Coimbra, Portugal) Teodoro Rennó Assunção, UFMG (20162019) José Remesal Rodríguez (U. de Barcelona, Espanha) Maria de Fátima Sousa e Silva (U. de Coimbra, Portugal) Martin Dinter (King’s College London, Reino Unido) Paulo Butti de Lima (U. degli Studi di Bari, Itália) Philippe Rousseau (Université Lille 3, França) Sergio Casali (Università di Roma II, Itália) Silvia Milanezi (Université de Nantes, França) EDITOR EDITORAÇÃO: Alda Lopes Jacyntho Lins Brandão (Universidade Federal de Minas Gerais) COEDITOR Tatiana Oliveira Ribeiro (Universidade Federal do Rio de Janeiro) Classica foi publicada anualmente de 1988 a 1991 e bienalmente de 1992 a 2005; em janeiro de 2006 a periodicidade tornouse semestral. Classica ISSN 01034316 é distribuída gratuitamente aos sócios da SBEC. Informações sobre fi liação à entidade e vendas avulsas estão disponíveis nas páginas da Classica on line (ISSN 21766436): http://revista.classica.org.br. A Sociedade Brasileira de Estudos Clássicos não se responsabiliza pelas opiniões expressas pelos autores nem pelo uso indevido de quaisquer elementos presentes em artigos assinados. É responsabilidade dos autores obter previamente as autorizações necessárias para a reprodução de imagens, trechos longos de obras publicadas e outros itens protegidos por copyright. Classica : revista brasileira de estudos clássicos / Sociedade Brasileira de Estudos Clássicos. — v.1 (1988)v.4 (1991) ; v.5 (1992)v.18 (2005) ; v.19 (2006) . — Belo Horizonte : SBEC, 19882005 ; 2006 Anual: 19881991 ; bienal 19922005 ; semestral: 2006 ISSN 01034316 I. Sociedade Brasileira de Estudos Clássicos. Indexada em L’Année Philologique . Abreviatura: Classica (Brasil). UC Impactum. Classica Revista Brasileira de Estudos Clássicos Este trabalho está licencido sob uma Licença Creative Commons Attribution 3.0 SUMÁRIO Classica 29, 1, 2016 Artigos Electra e Orestes: os efebos euripidianos na khóra de Argos Electra and Orestes: the Euripidean ephebes in the khora of Argos Márcia Cristina Lacerda Ribeiro . 7 A mulher na Magna Grécia: um “objeto” de valor Women in Magna Graecia: a valuable “object” Sandra Ferreira dos Santos . 29 A culpa do chefe Atrida: uma abordagem no Agamémnon de Séneca The guilt of leader Atrides: an approach to Seneca’s Agamemnon Alexandra Coelho dos Santos . 49 Passado e presente: Sicília e Mileto, Roma e Afrodísias no romance de Cáriton Past and present: Sicily and Miletus, Rome and Aphrodisias in Chariton’s novel Adriane Silva Duarte . 67 Fleuves et forêts dans la Germania de Tacite: éléments représentatifs de l’espace germanique Rios e fl orestas na Germania de Tácito: elementos representativos do espaço germânico José MambwinikivuilaKiaku . 81 Dossiê Homero Apresentação Antonio Orlando DouradoLopes Teodoro Rennó Assunção . 101 Inspiração divina e técnica narrativa na Ilíada Divine Inspiration and Narrative Technique in the Iliad Barbara Graziosi . 103 Homero nos poetas líricos: recepção e transmissão Homer in the lyric poets: reception and transmission Adrian Kelly . 125 Odysseus and the Cult of Apollo at Delos Odisseu e o culto a Apolo em Delos Jim Marks . 157 Eumeu e Auerbach: os efeitos da narrativa em Homero Eumaios and Auerbach: the effects of the narrative in Homer Christian Werner . 171 Por que Penélope menciona Helena? Relendo Odisseia, XXIII, 209230 Why does Penelope mention Helen? Rereading Odyssey XXIII, 209230 André Malta . 193 O jovem Nestor como leïstér (saqueador) na Ilíada e o tema da razia de gado em Homero Le jeune Nestor comme leister (pillard) dans l’ Iliade et le thème de la rapine de bétail chez Homère Leonardo Medeiros Vieira . 205 A destruição do muro aqueu no canto XII da Ilíada: questões e interpretações The destruction of the Achaean wall in Iliad’s book 12: questions and interpretations Antonio Orlando DouradoLopes . 233 Lotófagos (Odisseia IX, 82104): comida fl oral fácil e risco de desistência Lotophages (Odyssée IX, 82104): nourriture de fl eur, facile, et risque d’abandon Teodoro Rennó Assunção . 273 ARTIGOS Revista Classica , v. 29, n. 1, p. 727, 2016 7 ELECTRA E ORESTES: OS EFEBOS EURIPIDIANOS NA KH ÓRA DE ARGOS Márcia Cristina Lacerda Ribeiro* * Doutora em História pela Universidade de São Paulo. Professora RESUMO: Este artigo pretende analisar a Electra de Eurípides, sob um de História Antiga ângulo específi co – o exame da efebia ( ephēbeía ). O drama de exclusão na Universidade do inclusão de Electra e Orestes, somado ao espaço de ação, a fronteira, Estado da Bahia. levou-nos a conjecturar que os jovens vivenciam conjuntamente a instituição militar conhecida como efebia, um ritual de iniciação masculino. Em que pese a efebia ser exclusiva do universo masculino, desenvolvemos a ideia de os heróis formarem uma unidade, uma única persona – o vingador/justiceiro; portanto, ambos participariam do mesmo ritual. Comparamos alguns aspectos da instituição com as ações desenvolvidas pelos protagonistas e cogitamos da possibilidade de assistir, no nível do texto poético, a uma efebia trágica. PALAVRASCHAVE: Eurípides; Electra; efebia. ELECTRA AND ORESTES: THE EURIPIDEAN EPHEBES IN THE KHORA OF ARGOS ABSTRACT: This article aims to analyze the Electra by Euripides, under a specifi c point of view – the examination of ephebeia . The drama of exclusioninclusion of Electra and Orestes, added to the action space, the border, has led us to surmise that these young people experience together the military institution known as ephebeia , a male initiation ritual. Despite the ephebeia should be exclusively part of the male universe, we developed the idea that the heroes form a unity, only one persona – the avenger/vigilante; therefore, they both would participate in the same ritual. We compared some aspects of the institution with the actions taken by the protagonists and theorized the possibility of watching, on the poetic text level, a tragic ephebeia . KEYWORDS: Euripides; Electra; ephebeia . or volta de 415 a.C., Eurípides leva aos palcos Electra, talvez um pouco posterior à encenação da peça homônima de PSófocles, e cerca de 40 anos depois de Ésquilo celebrizar o mito em Coéforas. Das 32 tragédias que nos chegaram na íntegra, 8 Revista Classica , v. 29, n. 1, p. 727, 2016 estamos diante do único exemplo onde é possível cotejar o mesmo mito sob três singulares fábulas poéticas. Aristóteles ( Poética , IX, 1451b 25) bem observou: “não é necessário seguir à risca os mitos tradicionais donde são extraídas as nossas tragédias; pois seria ridícula fi delidade tal, quando é certo que ainda as coisas conhecidas são conhecidas de poucos, e contudo agradam elas a todos igualmente”. Na sequência, Aristóteles pondera exatamente acerca da necessária permanência da essência mítica e nos oferece como exemplo o matricídio da tindarida: “se por um lado o poeta pode usar da liberdade para transitar pelo mito, por outro, não deve fazer alterações drásticas nos mitos tradicionais, como, por exemplo, mudar o destino de Clitemnestra e ela não ser assassinada pelo seu fi lho” (Poética , XIV, 1453b 25). Embora o cerne mítico permaneça inviolável, somos agraciados com diferenças substanciais de várias ordens, sobretudo em Eurípides, que se afasta marcadamente dos seus predecessores. Merece especial atenção a instigante opção espacial do poeta em transportar toda a ação cênica e o elenco para a kh ṓra argiva. E não menos perturbador é se deparar com a heroína de punhal nas mãos, desferindo o golpe mortal contra sua mãe e se transformando em coautora do matricídio. Nosso artigo pretende focalizar a tragédia Electra, de Eurípides, sob um ângulo específi co – o exame da efebia ( ephēbeía ). Ao seguir os passos dos protagonistas, Electra e Orestes, na kh ṓra de Argos, percebemos um jogo de espaço (físico) muito bem elaborado – ora a kh ṓra soa como espaço de exclusão, ora como espaço de inclusão. O drama de exclusão/inclusão – que nasce a partir da exclusão dos príncipes do espaço palacial e passa sucessivamente pela inclusão na kh ṓra, quando os heróis encontram condições favoráveis para executar seus planos, por uma nova exclusão após o matricídio, e se encerra com uma inclusão atípica –, somado ao espaço de ação, a
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