By the Roman age the traditional stories of Greek myth had long since ceased to reflect popular culture, and become instead a central element in elite culture. This book illustrates the importance of semi-learned mythographic handbooks in the social, literary, and artistic world of Rome. One of the most intriguing features of these works is the fact that they all cite classical sources for the stories they tell, sources which are often forged.

Ces dernières décennies, il est devenu habituel de considérer que la polis de la période classique contrôlait la religion sous tous ces aspects. Ce n’est que récemment que ce point de vue a été mis en question. Même si les aspects plus marginaux de la religion de la polis ont déjà reçu l’attention nécessaire, leur étude reste marquée, dans une certaine mesure, par les préjugés des savants des générations antérieures, eux-mêmes nourris des préjugés et des représentations des auteurs anciens. Cet (...) article se concentre sur les lieux de la vie reli­gieuse grecque, et plus particulièrement athénienne, où des livres et de l’écrit étaient particu­lièrement importants, dans la mesure où l’écrit permet aux gens de prendre une position plus indépendante en regard de la religion de la polis. Mes observations concerneront les manteis , la magie , les mystères et l’Orphisme , la mythographie , en terminant par quelques considérations sur la nature de la religion de la polis .In recent decades it has become customary to assume that in the classical period the polis controlled religion in all its aspects. It is only recently that this view is being questioned. Although the more marginal aspects of polis religion have already received the necessary attention, the study of these marginal aspects remains dominated, to a certain extent, by old prejudices of previous generations of scholars, which in turn were sometimes fed by the prejudices or representations of ancient authors. I will concentrate on those areas of Greek, especially Athenian, religious life in which books and writing were particularly important, as the written word enabled people to take a more independent stance in polis religion. Subsequently, I will make observations on manteis , magic , mysteries and Orphism and mythography , and end with some remarks on the nature of polis religion. (shrink)

L’écriture généalogique et l’enchaînement de filiations en catalogue sont un des modes narratifs caractéristiques de la mythographie, mais on les retrouve aussi bien au cœur d’un corpus apparemment distinct, celui de la doxographie. Que ce soit G. Dumézil, composant différents dispositifs autobiographiques, ou Diogène Laërce, le doxographe utilise la systématique généalogique pour mettre de l’ordre dans l’histoire d’une transmission du savoir. Faut-il voir cependant une simple adaptation du modèle généalogique par la doxographie ? La relation de maître à disciple est-elle (...) la transposition immédiate de la relation de filiation ? C’est en fait un parcours complexe qui se dessine entre ces deux pôles, qui passe par la question de l’origine et de la transmission de la loi. De Minos à Pythagore, entre philosophie politique de l’époque classique et mystique néo-platonicienne, l’ordre généalogique ne va pas de soi et possède une histoire propre.Genealogical Order: Between Mythography and Doxography. Genealogical writing and the listing of filiations represent one of the narrative modes characteristic of mythography, but they may also be found within the apparently distinct corpus of doxography. Doxographers such as G. Dumézil, who wrote a number of autobiographies, and Diogenus Laertius, make use of genealogical systematics to put in order the story of knowledge transmission. Is it simply a case of an adaptation of the genealogical model to the doxographic narrative? Is the relationship between master and disciple just a transposition of filiation? In fact, a more complex pattern develops between mythography and doxography, linked to the theme of origin and transmission of the law. From Minos to Pythagoras, between classical political philosophy and neo-platonic mysticism, genealogical order is not self-evident and has its own history. (shrink)

'An extremely useful collection of the early evidence for writers of 'myth as history' -D. Felton, Bryn Mawr Classical ReviewThis is the first volume in a set of two. Volume 1 introduces and collects together the scattered quotations of the Greek writers of the sixth to the fourth centuries BC who first recorded in prose the tales of Greek mythology, whilst Volume 2 will be a scholarly commentary.

La crise politique et idéologique qui frappe Rome au ier siècle av. J.-C. ébranle le mos maiorum, en même temps qu’elle suscite un vaste mouvement d’inventaire, de classification et d’interprétation de la tradition. L’objet de cet article est d’examiner comment et dans quel but Cicéron et Diodore de Sicile ont recouru, dans des écrits où il était question de la nature des dieux, à un type de discours caractéristique de ce projet de sauvegarder le passé en le réévalu­ant : celui (...) des mythographes.The Concept of the Divine Put to the Test of Mythography: Cicero ; Diodorus of Sicily .The political and ideological crisis that affects Roman culture in the first century B.C. undermines the mos maiorum and provokes a movement of inventorying, listing and interpreting the tradition. This article will examine how and why Cicero and Diodorus of Sicily used, in texts questioning the nature of the gods, a kind of discourse typical of this project of saving the past by reassessing it: the discourse of mythographers. (shrink)

In this article I consider five anonymous quotations in Stephanus of Byzantium. The first is very probably an overlooked fragment of early mythography. The other four are much less likely to be early, but theoretically could be and are included for the sake of completeness.

Largely neglected today, the work of Karl Philipp Moritz was a highly influential source for Early German Romanticism. Moritz considered the form of myth as essential to the absolute nature of the divine subject. This defence was based upon his aesthetic theory, which held that beautiful art was “disinterested”, or complete in itself. For Moritz, Myth, like art, constitutes a totality providing an idiom free from restriction in the imitation of the divine. This examination offers a consideration of Moritz’s aesthetics (...) and mythography, before turning briefly to consider his influence on the authors of Early German Romanticism. An understanding of the role of Moritz’s thought supports a number of recent claims that challenge the conventional reading of Romanticism. At the same time it allows us to see Romanticism’s unconventional realist theological programme, permitting us to overcome the problematic secularising readings of the movement. I would like to thank Kurt Mueller-Vollmer, as well as Fredrick Beiser and Lars Fischer for their help with this project. (shrink)

Les premières mythographies de l’Europe néo-latine, depuis la Genealogia deorum de Boccace, considèrent l’histoire des dieux sur le modèle des généalogies humaines, en cherchant à recomposer « la lignée de Saturne ». Les premiers historiens de la Grèce, comme les poètes, inventèrent des généalogies mythiques pour inscrire l’origine des hommes dans l’histoire de leur relation aux dieux. Que fondent les généalogies divines ? Non seulement des structures religieuses, non seulement la raison même des sociétés humaines, mais encore la préhistoire de (...) l’humanité. Mais si les engendrements divins donnent sens aux relations entre les hommes et les dieux, c’est l’histoire des commencements du monde que les mythographes cherchent à comprendre en interrogeant l’articulation des généalogies divines et humaines. Depuis que, dans le Timée, Platon a associé mythologia et genealogia comme deux modes de discours « archéologiques », les mythographes ont ouvertement revendiqué un savoir sur le monde qui se définit comme une synthèse des « sciences de la nature ».Mythologia, Genealogia, Archaiologia:A Paleontological Scope for Mythography. The first European mythographical treatises in the Middle Ages and Renaissance, since Boccaccio’s Genealogia deorum, were determined by a genealogical method, looking at the history of the gods with human patterns and seeking the reconstruction of “Saturn’s lineage”. The early Greek mythographers, like the poets, imagined various genealogies for seeking out the origins of humanity through their relationships with gods. What is founded on divine genealogies? Not only religious structures, nor only the true ratio of human sociability, but a human paleon­tology too. By interpreting filiations as a system of connexions between gods and humans, the mythographers aimed at understanding the protohistory of the universe. Since Plato’s Timaeus associated mythologia and genealogia as two modes of “archaeological” discourse, mythographers have wanted to assert their own “physical science” as a whole synthetic perception of the natural world. (shrink)

The concept of interpretation is applicable to any forms of knowledge, including systems of religious knowledge, designing the ideal model of the subject of religious veneration. The author analyzes the epistemological features of theology as a form of spiritual culture, its formation in ancient culture. It is shown that the epistemological basis for overcoming mythological consciousness was the decentralization of thinking, i.e. development of the ability of consciousness in the construction of the image, the picture of the world to correct (...) the position of the subject, to take into account the relativity of the reference system, from the standpoint of which the subject perceives the object and transforms it into an operational system of thinking. Decentration of thinking provided the overcoming of the subjective mental boundaries of the field, giving the thinking nature of universality. Historical stages and moments of this process - the transformation of mythology into forms of folk art, mythopoetic epic, in the form of religious consciousness. In line with such transformations of archaic consciousness, cultural and historical prerequisites of theology emergence were formed. They are represented in mythopoetic art, ancient mythography, early traditions of critical and rationalistic interpretation of the myth, etc. The article shows the formation of allegorical theology, which became possible in the era of individualization of artistic creativity, when the visible was the difference between the motive and the purpose of activity, creative idea and its embodiment, figuratively-poetic and rationally-conceptual ways of reflecting the world, when the image of reality and its personal meaning began to be realized as different States of consciousness. The main function of any theology is the interpretation of abstract models of the subject of religious veneration. (shrink)

This is a general reading of Callimachus' work within the socio-political context of Ptolemaic Alexandria. "Alibis" refers to the constitutionally expatriate nature of the populace and culture established there, which in Callimachus gives rise to a poetics based on the principles of displacement and convergence. Close analysis of a wide variety of passages, drawn principally from the epigrams, Aetia, and Hymns, demonstrates how the "order of the alibi" informs all major aspects of the poet's work, from the lexical make-up of (...) his texts to their larger narrative and thematic structure. Certain poems in the corpus, such as the Lock of Berenice and the Hymn to Apollo, not only require detailed knowledge of Greek literature, history, and religious institutions, but also draw extensively on Egyptian mythography and cultural models, which do not so much replace the Hellenic matter as-characteristically-cohabit with it. In this respect, Callimachus served both as a key architect of the new, multi-ethnic culture that the Ptolemies institutionalized in Egypt and as its most penetrating critic. (shrink)

Ancient Greek comedy takes interesting approaches to mythological narrative. This article analyzes one excerpt and eight fragments of ancient Greek Old, Middle, and New Comedy. It attempts to show a comic rationalizing approach to mythology. Poets analyzed include Aristophanes, Cratinus, Anaxilas, Timocles, Antiphanes, Anaxandrides, Philemon, Athenion, and Comic Papyrus. Comparisons are made to known rationalizing approaches as found in the mythographers Palaephatus and Heraclitus the Paradoxographer. Ancient comedy tends to make jokes about the ludicrous aspects of myth. Early Greek myth (...) rationalization and mythography share a similar approach to comedy in that they attempt to rationalize the improbable parts of myth narrative. (shrink)

Ce livre retrace le cheminement du chercheur: le journal de ses intuitions, ses espoirs, ses doutes, ses certitudes, - jusqu'au silence d'avril 1908. Il replace la quete dans l'activite d'ensemble du savant: monographies, cours de linguistique generale, travaux de mythographie. Il la situe dans un paysage intellectuel scrupuleusement balise. Par dela des considerations d'une technicite souvent rebutante, et non exemptes de contradictions (parfois flagrantes), il s'attache a suivre le fil d'une quete autant mystique que linguistique. Par surcroit il donne a (...) lire le texte de Lucrece (accompagne de sa traduction), et la facon dont le transfigurent les Cahiers (dont une part importante est reproduite en fac simile). Il en soumet la lecture a certaines epreuves (dont un test informatique), qui demontrent que le phenomene echappe a la prison binaire qu'evoquait R. Barthes (son/graphie, demontre/indemontrable...), et reste d'une implacable actualite: qu'il pose dans toute son acuite la problematique d'une ecriture. Reste largement meconnu, Saussure le sera-t-il moins apres ce livre? Une chose est sure: on ne pourra, une fois ces pages refermees, conserver le meme regard sur celui qui fut en linguistique, selon le mot de Benveniste, une 'autre facon de commencer'. (shrink)

In the half-century since Kenneth Sisam characterized the Middle English Sir Orfeo as a Greek myth “almost lost in a tale of fairyland,” scholars have struggled to synthesize these two apparently disparate elements into a unified reading of the poem. The narrator has seemingly transformed the ancient legend of Orpheus and Eurydice into a contemporary romance of a king Orfeo and his queen Heurodis. The Greek harper becomes an English minstrel, and some readers have explored the meaning of this transformation (...) through the traditions of medieval mythography and the music theory of Boethius. In Orfeo's loss of his wife and kingdom, his wandering in the wilderness, and his final successful return, other readers have seen the outlines of a specifically Christian allegory. Many of these scholars have explored the exegetical resonances between Orpheus and David and Orpheus and Christ, and, in spite of differences in emphasis and technique, they share a view of Orfeo's journey as a kind of penance or pilgrimage of the soul. Unlike his classical counterpart, however, Orfeo finds his wife not in Hell but in fairyland, and in defining the precise nature of this other world, suggestions range from a version of the Celtic world of “the dead and the taken” to associations between fairyland and the architecture of Revelation. (shrink)

La cultura del agua debe ser vinculada de forma especial a las manifestaciones del patrimonio cultural intangible de los pueblos, como las tradiciones orales o escritas, la simbología o los rituales, que conforman lo que llamamos los Imaginarios del Agua. Estos deben ser analizados y deconstruidos a la luz de los nuevos paradigmas, como la hermenéutica y la ecocrítica. De este modo, la mitografía ayuda a perfilar el significado profundo de la cultura del agua ante las nuevas demandas medioambientales, educativas (...) y culturales del siglo XXI, en un contexto donde el agua ya no es solo un recurso estratégico, sino un bien cultural ligado al desarrollo local y a las políticas de sostenibilidad. Por ello, al conocer las tradiciones ancestrales y los imaginarios en torno al agua, y al sensibilizar a los alumnos con los valores plurales de estas manifestaciones culturales --que siempre van encaminados al respeto y al conocimiento del patrimonio natural y cultural--, contribuimos de forma decisiva a la gobernanza del agua y a la gestión sostenible y responsable de los recursos hídricos, pues sin duda el principal problema de la sostenibilidad será la educación de los ciudadanos. Water culture must be linked in a special way to expressions of intangible cultural heritage of peoples, such as oral or written traditions, symbols or rituals that make up what we call the imaginary water. They must be analyzed and deconstructed in the light of the new paradigms, such as hermeneutics and the ecocriticism. Thus, mythography helps shape the profound meaning of the culture of the water at the new environmental, educational and cultural demands of the 21st century, in a context where the water is not only a strategic resource but a cultural property linked to local development and sustainability policies. Therefore, to know the ancestral traditions and imaginaries in connection to water, and to educate students with the plural values of these cultural manifestations, --which always aimed to respect and knowledge of the natural and cultural heritage-- we contribute decisively to the governance of the water and the sustainable and responsible management of water resources then no doubt the main problem of sustainability will be the education of citizens. (shrink)

This paper looks at the way in which scholars of the seventeenth and eighteenth centuries conceptualized the relationship between sacred history and pagan mythology through the lens of their approach to the ancient Greek writer Euhemerus. It argues that the popular contemporary tendency to equate Euhemerism with the historical interpretation of pagan mythology is the product of early eighteenth century French mythography, during which time scholars divested the study of pagan myth from the study of biblical history and thereby (...) sought for new, non-Christian, hermeneutical traditions through which to analyze the origins of pagan mythology more generally. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Humanism, Female Education, and Myth:Erasmus, Vives, and More's To CandidusA. D. CousinsWhen considering pleasure and chance as aspects of human experience, Thomas More sometimes gendered them female; that is to say, at times he represented them by drawing from the mythographies of Venus and of Fortune. But what did he suggest that actual women, as distinct from goddesses, were or should be or might become: what were his notions (...) of being a woman, of femaleness? Further, what did he suggest that women might contribute to the common weal? A useful way to start answering that question is to look at what More seems to have thought about educating women: in particular, women who were entering adult life—entering into what was agreed to be the major female role—by marrying for the first time and therefore newly taking upon themselves the management of a household. In one of his most ambitious Latin poems, as nowhere else, More wrote elaborately, concisely and problematically on the education of women who were in just those circumstances. My discussion attempts a repositioning of that poem, To Candidus: How to Choose A Wife A Poem in Iambic Dimeter Brachycatalectic (Versvs Iambici Dimetri Brachycatalectici ad Candidvm, Qvalis Vxor Deligenda). To make the attempt involves examining More's other Latin poems on women, as would be anticipated; however, I am mainly concerned here with affinities between To Candidus—then, to a lesser extent, some of More's associated Latin poems—and notions about female education that were or were to become part of the already long, and mostly male, debate about the nature of femaleness.1 To be [End Page 213] specific, I am chiefly concerned with affinities between More's poem and writings by Erasmus and by Vives on the education of prospective or of recent brides.Because the primary concern in my discussion is to clarify the relations between More's To Candidus and humanist notions on female education, especially notions put forward by two of More's humanist friends about young brides, I want initially to revisit the early modern debate on educating women, of course an important element of the wider debate about femaleness itself. One medieval and thence early modern idea on female education was that, in addition to what their mothers taught them, most women needed merely to receive religious and ethical instruction from their husbands, who would likewise instruct them in how to govern a household.2 After all, it was often pointed out, the household was women's natural domain: since, therefore, they would not normally engage with the world at large as would men—since, for example, they would not normally be educators, or writers, or politicians—women did not usually need the broad education appropriate to men.3 Assertion to the contrary was variously argued—and differences between or among those contrary assertions did not always depend on whether an author was male or female. In The Book of the City of Ladies (1405), a response to Boccaccio's De Mulieribus Claris and, perhaps unknowingly, also to Plutarch's The Virtues of Women, Christine de Pizan attempted to construct at once a refuge and a resource for [End Page 214] women, whom she recognized as having been misrepresented to themselves no less than to men throughout generations of misogynistic male fictions, ranging from satire to epic, from fable to history.4 Her City, in so far as it is a revisionist history of women, forms a textual space which does indeed offer a refuge as well as a resource, for Christine advocates that women, fulfilling their capabilities as women, aim at "cultivat[ing] virtue" and thereby gaining inclusion in the true, illustrious record of female achievement: membership of a textual community within which they will see themselves reflected and which is at one with the City of God.5 Inseparable from their seeking to do so, she emphasizes, will be their receiving education.6 Despite that emphasis—and despite her emphasizing that women are men's intellectual equals or, not infrequently, superiors—Christine nevertheless defends the concept that the domestic sphere and not the public is in general that "appropriate" to women.7... (shrink)

Church and theology heading towards the third millennium: Thoughts on the contextualization of dialectical theology within a plural society This article elaborates on a previous one [HTS 51/1, 13-38] in which it was argued that postmodern theology, seen from a specific angle, might be regarded as a contextualization of dialectical thinking. The intention of this article is to focus on an illumination of the road that the author is convinced ought to be taken by the church and in theology, heading (...) towards the third millennium — specifically against the background of the changing South African context. The following issues are given cursory attention: mythography and the importance of metaphors, the social political dimension of believing, ecumenism, interfaith dialogue, and postconfessionalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 136-146MuseSearchJournalsThis JournalContents[Access article in PDF]The Christian Bain de Diane, or the Stakes of an Ambiguous ParatextPatrick AmstutzTranslated by Gerald MooreUpon its publication, Le bain de Diane elicited few reactions on the part of criticism. Klossowski's name was still a secret and, despite its note among writers such as Bataille, Beauvoir, Camus, Parain, and Sartre and their public following, the number of readers to have read this (...) fifth work remained confined to those already familiar with Klossow-ski the essayist (Sade mon prochain, Méditations bibliques de Hamann), or the novelist (La vocation suspendue, Roberte, ce soir). The discreet silence that characterized the first reception of Le bain de Diane would last until the end of the seventies, despite a reedition in 1972 by the same publisher. During this time three important moments made Le bain de Diane resurface at the heart of the literary world: first, in fictional form, thanks to a subtle but explicit homage paid by Henri Thomas [Le promontoire]; second, in the form of a penetrating commentary article by Michel Foucault ["La prose d'Actéon"], and finally, at the hands of René Micha and Catherine Backès-Clément, key contributors to the issue that the review L'Arc dedicated to the writer. The reedition of Le bain de Diane by Gallimard1 would significantly relaunch interest in this work which, one comes increasingly to realize, is a major text in the Klossowskian oeuvre: offering a reflection on the image and writing, it was Gilles Quinsat who would open this new period of critical reception.An Uncertain IdentityQuinsat emphasizes the "series of 'tableaux' that glazes Le Bain de Diane" in accordance with a "circular" descriptive movement, he says, "from vision to commentary, attributed to the deferral without end of signs, and which feeds the entire work of Pierre Klossowski" [95]. And if he borrows the term "exegesis" from Foucault to describe the genre of the work, he immediately associates it with that of "narrative." A quarter of a century earlier, a commentary in the new Nouvelle revue française had already underlined the "disconcerting" character of Klossowski's book, by accentuating not only the strangeness of its thematic, but also the difficulties posed by the uncertainty of its generic belonging (which is echoed by the absent mention of a paratext): the critic, hesitating, suggested somewhat confusedly a typological kinship with philosophical commentary, theological scholasticism, prose poetry, series of paintings, historical narrative and even the analysis of myths [Amer 144]. In fact, this mythological "reverie," neither an essay nor a narrative, is, from this point of view, a typically Klossowskian [End Page 136] book, as Ian James has more recently reminded us [143]. Le bain de Diane mixes erudite commentary and narrative discourse so well that it entices its commentators into the traps of scholarly, historical, and philological annotation. Yet this would be to forget, as Maurice Blanchot has observed [92–94], that the written oeuvre of Klossowski belongs fully to the field of literature, even more so than to those of philosophy, theology, or psychoanalysis.When it comes to discerning the literariness of this literary object, which the different paratextual and intertextual stakes and levels underline, the principal difficulty consists in not losing oneself in a mythological labyrinth and innumerable variants of the cult of Artemis, which was one of the most significant, oldest, and popular cults of the Greco-Roman era and which plunges into a world on whose complexity historians and philologists have insisted on many occasions. The study of Klossowski's sources could lead one through multiple disciplines (philology, mythography, psychoanalysis, the history of religions, history of art, French literature—all centuries cobbled together, and so on) to overly vast inquiries: the goddess "of a thousand names" assumes a properly vertiginous semiotic richness, and the cult of Artemis, before being linked to that of Apollo, stretches back to time immemorial where, behind Artemis, can be glimpsed the Asiatic figure of a Great Mother Goddess, whose... (shrink)

It is commonly assumed that Victorian patriarchs disposed of their women by making myths of them; but then as now social mythology had an unpredictable life of its own, slyly empowering the subjects it seemed to reduce. It also penetrated unexpected sanctuaries. If we examine the unsettling impact upon Sigmund Freud of a popular mythic configuration of the 1890's we witness a rich, covert collaboration between documents of romance and the romance of science. Fueling this entanglement between the clinician's proud (...) objectivity and the compelling images of popular belief is the imaginative power of that much-loved, much-feared, and much-lied-about creature, the Victorian woman.Nina Auerbach, associate professor of English at the University of Pennsylvania, is the author of Communities of Women: An Idea in Fiction as well as articles on Victorian women and culture. The present essay is an excerpt from her forthcoming book, Woman and the Demon: The Life of a Victorian Myth, a mythography of Victorian Womanhood. (shrink)

The so called ‘Prose Edda’ or ‘Snorra Edda’, usually dated to the third decade of the 13th century, contains after a short prologue two substantial sections dealing mainly with mythography and poetics and a long concluding skaldic poem. In the extant medieval manuscripts from around 1300 and the beginning of the 14th century, additional material like genealogies, grammatical treatises, etc. is included. The present paper focuses on one of the earliest of these manuscripts, codex DG 11 4to, University Library (...) Uppsala, and analyses some central features of the specific way in which it presents different narrative layers. For the first time, this analysis combines a study of textual and visual aspects of the manuscript, and special attention is given to two of the many illustrations in this codex. Together with later scribal notes, the drawings contribute heavily to the process of framing, which is one of the main features of the ‘Prose Edda’. This process of creating potentially endless narrative and visual frames is part of the text‘s ambition to establish a distance to the traditional pagan myths and to facilitate new fictional possibilities. (shrink)

In the history of its reception, the myth of Medea has always been of prime importance for reflections on an awareness of civilization crisis. This process culminates in the modern age, and especially so with Pier Paolo Pasolini’s exceptionally significant version of the Medea story. Pasolini’s far-seeing and complex poetics of cinema combines the ancient myth with sources drawn from the history of religions and thereby exposes the concept of social naturalness as ideologically posited. Against an ideology of the allegedly (...) natural, his „Medea“ brings to bear an ethnoaesthetic mythography, which casts doubt on the postulate of the progress of civilization. To be sure, in the context of modernism, a rehabilitation of religious myth is impossible except in a mode of aesthetic illusion. But it is the fiction of ›mythopoiesis‹ which assures that such an enterprise can make sense, if only in an imaginary way. (shrink)

Attachée par Jack Goody à l’usage de l’écriture, la liste se révèle, dans une confrontation avec différentes traditions orales africaines, appartenir en fait à différentes formes de mémoire. Moyen mnémotechnique mis en forme selon différentes logiques d’ordre verbal autant que d’ordre sémantique, la liste devient alors, dans la mise en discours, un catalogue, avec sa pragmatique. Parmi ces logiques catalogales on compte la narration généalogique, privilégiée par les poètes animateurs de la mémoire de la communauté. Les logiques catalogales fournissent donc (...) un instrument idéal pour penser les formes et les fonctions des genres mythologiques et mythographiques pratiquées par Grecs et Romains.Jack Goody has put into relation the list and the use of writing. Different types of oral tradition, especially in Western Africa, show that the list is actually a privileged form of memory. As such, the list is organised into different sequences according to different logic, on the verbal level as well as on the semantic one. Through these different formal organisations, the list becomes a catalogue with its pragmatics. Genealogical narration is one of these principles of discursive logic, often used by the poets, masters of the memory of the community. The logic of the catalogues is an ideal mechanism for thinking about the forms and genres of mythology and of mythography in Greece and Rome. (shrink)

Comment raconter un mythe : généalogie, mythologie, mythographie. Cet article étudie le registre linguistique de la mythographie de l’époque classique afin d’identifier la fonction de ces textes. Au moyen de la sociolinguistique, de la narratologie et d’une brève analyse des circonstances énonciatives des textes, il suggère qu’il s’agissait bien d’œuvres de référence, à la manière des productions de la mythographie plus tardive. Cette conclusion a des implications importantes pour le statut contemporain de la mythologie.This article investigates the linguistic register of (...) Classical mythography in order to infer the purpose for which these works were composed. Using sociolinguistics, narratology, and a brief analysis of the enunciative circumstances of the texts, it suggests that the texts were works of reference much like those of later mythography. This has important implications for the contemporary status of mythology. (shrink)

The purpose of this article is twofold. First, on the basis of a re-examination of the sources and with new arguments, it discusses the meaning of a verse-fragment quoted anonymously by Servius ad Aen. 4.638 (Enn. Ann. Dub. Fr. V Sk. = Inc. 31 blänsdorf, p. 434 courtney), and supports the attribution of this fragment to Ennius’ “Annales”. Second, it demonstrates that this attribution is not undermined by the presence, in the fragment, of a parenthetical phrase that is “in apposition”, (...) a stylistic feature which, though commonly believed to date back to Virgil’s time, may, in fact, be also attested in another Ennian fragment from the “Annales” (Enn. Ann. 22 Sk.). (shrink)