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Register a new userThe Theatre of Zeus's Judgements: Homer’s Iliad and Odyssey as Examples
مسرح أحكام زيوس ملحمتا هوميروس: الإلياذة و الأوديسة إنموذجين
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الياس خلف( باحث )
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هدفت هذه الورقة إلى تحليل ملحمتي هوميروس (الإلياذة) و (الأوديسة) بصفتهما ملحمتين رمزيتين للجريمة و العقاب. يبرز زيوس بوصفه كبير الآلهة إذ يسكن قمة أوليمبوس الشاهقة و يراقب ما تفعل الآلهة و البشر فيتدخل طبقاً لقوانينه الإلهية. و يكشف النظر الفاحص أن تدخلات زيوس هي جزء لا يتجزأ من خطط العدالة البعيدة المدى لديه. و لذا تظهر هذه الدراسة أن أحكامه تجعل من هاتين الملحمتين عملين تعليميين مخصصين لتأكيد فكرة القصاص و العدل الإلهيين.
The purpose of this paper is to analyse Homer’s Iliad and Odessey as allegorical epics of crime and punishment. Zeus, the supreme god, emerges as a supreme deity who resides in Olympus peak and watches what other gods and mortals do and intervenes accordingly. Close scrutiny reveals that Zeus's interventions are part and parcel of his long-range plans of justice. Thus this study shows that his judgments make these epics into didactic works intended to endorse the idea of divine retribution and justice.
References used
(Archaic Greek Poetry, An Anthology. Selected and translated by Barbara Hughes Fowler. (The University of Wisconsin Press: Wisconsin, 1992
(Bacchylides, Epinician Odes and Dithyrambs of Bacchylides.Translated into English by David R. Slavitt (University of Pennsylvania Press, Philadelphia, 1998
(Bacchylides. The Poems and Fragments. Edited and translated by Richard C. Jebb. (George Olms Verlagsbuchhandluny: Hildesheim, 1967
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studied in this research the general provisions of this system competent as the authority issuing and conditions of ordering, These conditions are divided into objective and formality, and then we talked about the content of the judicial control syst
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Cette étude intitulé L'intégration du monologue au théâtre de Beaumarchais, s'appuie sur les éléments qui permettent au monologue de s'enchainer au texte théâtral et sur ceux qui lui donnent son autonomie. Cette forme textuelle théâtrale qui se cara
ctérise par une sorte d'autonomie relative, entretient en même temps une relation d'enchainement, de cohérence et de cohésion avec le reste du texte théâtral.
Le début du monologue est souvent conditionné par une sorte de frontière didascalique qui annonce l’accès à un autre domaine énonciatif. En même temps, nous trouvons à l’intérieur du monologue plusieurs domaines énonciatifs, par exemple, le domaine énonciatif principal qui est celui du locuteur et le domaine énonciatif du dramaturge qui s'incarne dans ses différentes interventions à travers les didascalies internes, les indications scéniques, etc.
Le locuteur du monologue joue parfois le rôle du rapporteur du discours ou des propos d'autrui, cela nous mène au sujet du discours rapporté, du discours direct, du discours indirect, du discours indirect libre, etc. , et au sujet de la pluralité des voix dans un énoncé.
١- الوجور: صب الماء أو الدواء أو نحوهما في وسط الفم.
٢- أقوال و آراء وأفكار العلماء في أثر الوجور في أحكام الرضاع و ذكر أدلتهم من
الكتاب و السنة و المعقول ما أمكن، و مناقشة ما يحتاج إلى مناقشة.
٣- نتيجة البحث/ و هو ثبوت الحرمة بالوجور للبن.
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