Philosophy

Este artículo estudia los empleos de los pronombres personales de sujeto (PPS) en Plauto. La primera parte abarca los empleos del PPS para expresar la identidad y para la presentación de personajes, la oposición, el reparto de papeles (ego vs. to), la comparación y el paralelismo, así como los empleos del PPS que indican cambio de locutor. La segunda parte se dedica al estudio de los PPS en el desarrollo de la acción, dado que sirven para conferirle un giro que contribuirá al desenlace de la pieza. Empleados en esta función, los PPS aparecen en contextos que remiten al orden, a la implicación precisa del elocutor en una función, a la idea de acusación o de incitación y al retorno a la realidad. La tercera parte estudia los PPS en el marco de la escritura de la obra: se los emplea como un procedimiento estilistico y aparecen en pasajes con un solo personaje, así como en las entradas y salidas de la escena. Ce travail étudie les emplois des pronoms personnels-sujets (PPS) chez Plaute. La premiére partie comporte les emplois du PPS de l'identité ou de la présentation des personnages, de l'opposition, de la répartition des róles (ego vs. tu), de la comparaison et du parallélisme et, enfin, les emplois du PPS indiquant le changement de locuteur. La seconde partie est consacrée á l'étude des PPS dans le déroulement de l'action. En effet, ils servent á faire prendre l'action un autre tournant qui contribuera au dénouement de la piéce. Employés avec cette fonction, les PPS apparaissent dans des contextes renvoyant à l'ordre, á l'implication précise de l'allocutaire dans une fonction, á idée de l'accusation ou de l'encouragement, et, enfin, au retour á la réalité. Enfin, la troisiéme partie traite les PPS dans l'écriture de la piêce. Ils sont employés comme un procédé stylistique et ils figurent dans des scénes á un personnage, ou encore dans l entrée en scéne et l'adieu á la scéne. PALABRAS CLAVE: Plauto, comedia romana, pronombres personales de sujeto, estructura del discurso, desarrollo argumental, estilo. KEY WORDS: Plautus, Roman comedy, personal pronouns-as-subject, structure of the discourse, unfolding of a plot, writing. This study is limited to the use of personal pronouns-as-subject (PPS) in sentences and clauscs. Indeed, the use of personal pronoun (PP) in oblique cascs is generally justified by syntactical reasons: the personal pronoun is not, then, endowed with a particular semantic nuance. This study is based on the oppositions between the first two person (ego, tu), because the third person does not possess a specific pronoun in Latin. Such an opposition is essentially based on the difference in definitions between the first and the second person: ego means that the locutor is defincd by his own

In Part 1 of this two-part paper, I examine the evolution of the concept of madness expressed by the various forms – verbal and nominal, simple and compound – of the verbal group of µαίνομαι in the archaic and classical periods. I point out how the divine madness is contrasted to pathological madness considered as a psychic and mental disease and foreseeable by doctors as well as curable by medications. This new procedure highlights rational knowledge of the Greeks about the cause and the medical care of madness. In Greek thought, madness represents an abundant source of tragic events. In this two-part paper, we will study the terms belonging to the verbal groups of μαίνομαι and βακχεύω, as well as the noun λύσσα and its nominal and verbal derivatives, from Homer to Hippocrates. Firstly, we will single out the meaning of the various forms, verbal and nominal, simple and compound. Secondly, we will compare them in the totality of their usages in order to bring to light the similarities and dissimilarities between them. This synchronic and diachronic study of these terms is the first to be undertaken and will enlighten our understanding of the evolution of the concept of madness from the archaic to classical period.

In Part 2 of this two-part paper, I examine the evolution and the aspects of the concept of madness expressed by the various forms – verbal and nominal, simple and compound – of the verbal group of βακχεύω and the noun λύσσα, its nominal and derivatives, in the archaic and classical periods. I conclude that the verbal group of βακχεύω is apt to indicate bacchic frenzy that manifests either in the celebration of Bacchos's mysteries or in the delirium instilled by Dionysos In addition, λύσσα, its nominal and verbal derivatives, refer to either a violent and wild state of soul resulting from divine intervention or pathological madness caused by a dog's bite.