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Lopes, Cecília Gonçalves. "Confluência genérica na Elegia Erótica de Ovídio ou a Elegia Erótica em elevação." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-03032010-133009/.
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No final do século I a.C., a Elegia Erótica Romana desafiou os gregos e as convenções poéticas apresentando um poeta-amante que cantava suas aventuras amorosas em primeira pessoa. Como se isso não bastasse, esse eu-elegíaco se dedicava à puella como se tal tarefa fosse uma militia, um seruitium amoris, e que exigia tempo integral. Galo, Propércio e Tibulo nos apresentaram suas dominas e se negaram a servir à pátria. Ovídio foi além: seguiu seus predecessores mas fez com que seus leitores aprendessem a entender o papel de cada uma das normas na construção desse gênero. Escreveu seu primeiro livro, Amores, e , a partir daí, começou a traçar um caminho ascendente: queria sua Elegia elevada, não apenas média. Para isso, produziu recusationes, elegias programáticas e, o mais importante, confluiu gêneros. Fez uso da Epistolografia, da Retórica, da Didática e de personas e exempla míticos para compor Heroides, Ars amatoria e Remedia amoris. Nesta dissertação, mostra-se a trajetória do poeta na elevação da Elegia Erótica de Ovídio.At the end of the 1st. century b.C., Latin Erotic Elegy challenged Greeks and poetic conventions when portrayed a man, poet and lover, talking, in the first person, about his adventures: he also dedicated himself to a puella as if it were a militia, his seruitium amoris, which was a full-time job. Gallus, Propertius and Tibullus introduced us to their dominas and did not (want to) serve their nation. Ovid did more than that: he followed his predecessors but made his readers learn the role of each of the principles of the genre. He wrote his first book, Amores, and, from then on, delineated an ascendant path: he wanted his Elegy to be high, not only something that depicted an average subject. In order to achieve it, he composed recusationes, programmatic elegies and, most important of all, he converged genres: he was able to use Epistolography, Rhetoric, Didactic and mythological personas and exempla to write Heroides, Ars amatoria and Remedia amoris. In this dissertation, we show his trajectory in the elevation of Ovids Erotic Elegy.
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Filipe, Raquel Teixeira da Rocha. "O legado clássico em Bocage: a elegia erótica latina e os sonetos amorosos bocageanos." Doctoral thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/3759.
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Doutoramento em LiteraturaO presente trabalho propõe-se analisar a influência da elegia erótica latina na produção poética de Bocage, nomeadamente nos sonetos amorosos, independentemente de se tratar de uma influência directa ou indirecta. Centra-se essencialmente em dois grandes aspectos: por um lado, na figura da mulher amada, traçando o seu retrato físico e psicológico e evidenciando a sua importância tanto na vida como na produção poética dos vates; por outro, analisam-se os tópicos do discurso amoroso, desde o momento do triunfo do amor sobre o sujeito poético até ao desejo de perpetuar esse amor para além da morte. Relativamente a estes dois aspectos, evidenciam-se semelhanças e diferenças no tratamento dos mesmos topoi. Contribuir-se-á, assim, para a valorização da formação clássica de Bocage, inúmeras vezes negligenciada pelos críticos.
This study proposes to examine the influence of Latin erotic elegy in the poetic production of Bocage, particularly in his love sonnets, regardless of whether it is a direct or indirect influence. It focuses primarily on two major aspects: firstly, the figure of the beloved woman, mapping her physical and psychological portrait and pointing out their importance both in life as well as in the production of poetic seers; secondly, we analyze the topics of the poetic discourse, from the moment of the triumph of love of the poetic subject to the desire to perpetuate this love beyond death. Regarding these two aspects, there are striking similarities and differences in the treatment of these topoi. This way, there will be a contribution to the appreciation of the classical training of Bocage, many times overlooked by the critics.
FCT; FSE
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Trevizam, Matheus. "A elegia erotica romana e a tradição didascalica como matrizes compositivas da Ars amatoria de Ovidio." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271115.
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Orientador: Paulo Sergio de VasconcellosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho pretende determinar em que medida Ovídio se apropriou de elementos poéticos/ discursivos originalmente integrantes dos universos da elegia erótica romana e da poesia didática greco-Latina para a composição de sua Ars amatoria. Como se sabe, para a feitura dessa obra, o autor procedeu a uma espécie de mescla de certos recursos originalmente integrantes das duas tradições poéticas mencionadas, "negociando" com ambas a fim de produzir um texto marcado por suas próprias opções artísticas. Ao proceder assim, devemos ressaltar que se manteve fiel a um dos princípios mais característicos de seu modo de diálogo com a tradição clássica, relacionado justamente à experimentação no desenvolvimento de formas expressivas tributárias dos autores do passado, reelaboradas, porém, por sua inventividade. Concomitantemente a tal estudo, fez-se a tradução integral (em prosa e acrescida de notas explicativas) da Ars amatoria
Abstract: The aim of this work is to determine how Ovid has employed some poetical/ discursive elements originally found in Roman erotic elegy and in the Graeco-Roman didactic poetry for the composition of his Ars amatoria. As it is recognized, the poet has in a certain way mixed the elements of both poetical traditions mentioned, using them in order to produce a text (the Ars) marked by his own artistic options. Behaving like this, we must emphasize that he remained loyal to one of his most characteristic procedures as a writer who dialogues with the Classical tradition: this procedure is exact1y related to experimentation in the development of expressive forms which own much to past authors, but were renewed by the poet's ability. Simultaneously, we have translated the whole of the Latin text (as a prose work and with explanatory notes) of the Ars amatoria
Mestrado
Letras Classicas
Mestre em Linguística
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Bazerra, Bruno Alacy Nunes. "O erotismo elegíaco nos "amores" de ovídio." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8287.
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This research has as goal to study the eroticism present in Ovid’s Amores, one of the great names of Latin Elegy of century I B.C. The main focus is to analyze the several erotic passages throughout the work, especially in our corpus, constituted by three elegies (Am. I.5, Am. II.15 and Am. III.7), which will be thoroughly analyzed in a specific chapter. Our study is supported by theorists that discuss literary and cultural aspects - History, Religion and Sociology - of the Roman thought of the time, in order to elaborate a work without anachronisms. We present operating translates os the originals texts analyzes during the research, including our complete translations of the three elegies that compose the corpus, aiming a better understanding of the text and its posterior analysis.
Esta pesquisa tem como objetivo estudar o erotismo presente nos Amores de Ovídio, um dos principais nomes da Elegia Latina do séc. I a.C. O foco principal é analisar as diversas passagens eróticas ao longo da obra, especialmente em nosso corpus, constituído por três elegias (Am. I.5, Am. II.15 e Am. III.7), que serão detalhadamente analisadas em um capítulo específico. Este estudo está apoiado em teóricos que abordam aspectos literários e culturais - história, religião, sociologia - do pensamento romano da época, com o intuito de elaborar um trabalho sem anacronismos. Apresentamos traduções operacionais dos textos originais analisados ao longo da pesquisa, incluindo nossas traduções completas das três elegias que compõem o corpus, objetivando a melhor compreensão do texto e de sua posterior análise.
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GATTI, FABIO. "OVIDIO, "TRISTIA" 4 (1-9). INTRODUZIONE, TESTO E COMMENTO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/98184.
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Il lavoro è dedicato alle prime nove elegie del quarto libro dei 'Tristia' di Ovidio, scritto durante la sua relegazione a Tomi tra il 10 e l'11 d. C. Il testo è accompagnato da un apparato critico selettivo, che si concentra sui problemi testuali più significativi, discussi nel commento per lemmi delle singole elegie, che affronta tutte le questioni contenutistiche, stilistiche, lessicali e filologiche. Il commento alle singole elegie è preceduto da un'introduzione che discute i temi portanti del singolo componimento. Apre il lavoro un'introduzione generale, che mette in luce architettura e temi più significativi del quarto libro anche in rapporto agli altri libri della raccolta, oltre a ripercorrere la storia della sua tradizione manoscritta e della sua fortuna editoriale. Chiude il lavoro un'ampia e aggiornata bibliografia.The work is dedicated to the first nine elegies of the fourth book of Ovid's 'Tristia', written during his relegation to Tomi between 10 and 11 AD. The text is accompanied by a selective critical apparatus, which focuses on the most significant textual problems. These issues are discussed in the commentary on the elegies, which addresses all the thematic, stylistic, lexical and philological issues. The commentary is preceded by an introduction that discusses the main and peculiar themes of the elegy. The work includes a general introduction, which highlights the architecture and the most significant themes of the fourth book also in link with the other books in the collection. It also examines the history of its manuscript tradition and its publishing success. An extensive and updated bibliography closes the work.
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GATTI, FABIO. "OVIDIO, "TRISTIA" 4 (1-9). INTRODUZIONE, TESTO E COMMENTO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/98184.
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Il lavoro è dedicato alle prime nove elegie del quarto libro dei 'Tristia' di Ovidio, scritto durante la sua relegazione a Tomi tra il 10 e l'11 d. C. Il testo è accompagnato da un apparato critico selettivo, che si concentra sui problemi testuali più significativi, discussi nel commento per lemmi delle singole elegie, che affronta tutte le questioni contenutistiche, stilistiche, lessicali e filologiche. Il commento alle singole elegie è preceduto da un'introduzione che discute i temi portanti del singolo componimento. Apre il lavoro un'introduzione generale, che mette in luce architettura e temi più significativi del quarto libro anche in rapporto agli altri libri della raccolta, oltre a ripercorrere la storia della sua tradizione manoscritta e della sua fortuna editoriale. Chiude il lavoro un'ampia e aggiornata bibliografia.The work is dedicated to the first nine elegies of the fourth book of Ovid's 'Tristia', written during his relegation to Tomi between 10 and 11 AD. The text is accompanied by a selective critical apparatus, which focuses on the most significant textual problems. These issues are discussed in the commentary on the elegies, which addresses all the thematic, stylistic, lexical and philological issues. The commentary is preceded by an introduction that discusses the main and peculiar themes of the elegy. The work includes a general introduction, which highlights the architecture and the most significant themes of the fourth book also in link with the other books in the collection. It also examines the history of its manuscript tradition and its publishing success. An extensive and updated bibliography closes the work.
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Moss, Carina M. "Elegy with Epic Consequences: Elegiac Themes in Statius’ Thebaid." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592134478208502.
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Duque, Guilherme Horst. "DO PÉ À LETRA: OS "AMORES" DE OVÍDIO EM TRADUÇÃO POÉTICA." reponame:Repositório Institucional da UFES, 2015. http://repositorio.ufes.br/handle/10/6777.
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CAPES
Partindo da premissa de que a tradução, tomada como uma tarefa que supõe o estudo e leitura atentos do material traduzido, é constituída por momento de investigação do texto seguido da sua reelaboração, planejada de modo a compartilhar com o original aspectos significativos de sua composição, entendemos, em consonância com o que escreveu Haroldo de Campos sobre tradução, que ela, nestas proporções descritas, se difere muito pouco do exercício da crítica literária. Com isto em mente, e tomando trabalhos como os de João Angelo Oliva Neto, Raimundo Carvalho, Guilherme G. Flores e João Paulo Matedi como modelo, apresentamos agora a tradução integral dos Amores de P. Ovídio Nasão acompanhada por um ensaio introdutório que, de maneira panorâmica, mostra algo da reflexão que acompanhou a tarefa de verter em português as elegias do poeta de Sulmona.
Based on the writings of Haroldo de Campos, we understand that translating differs very little from the exercise of literary criticism. As an activity that presumes the keen study and close reading of the material to be translated, translating is constituted by an analysis of the text followed by its reworking, executed in such a way as to share meaningful aspects of the original’s composition. With that in mind, and taking as point of departure the works of João Angelo Oliva Neto, Raimundo Carvalho, Guilherme G. Flores and João Paulo Matedi, I present here the full translation of the Amores from P. Ovid Naso along with an introductory essay, which exposes, in a panoramic way, part of the reflections that were developed throughout the task of converting to Portuguese the elegies of the poet of Sulmo.
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Constant-Desportes, Barbara. "Autour de L'Angelinetum et des Carmina varia de Giovanni Marrasio : étude sur la poésie latine du premier humanisme et sur le renouvellement du genre élégiaque." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL081.
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Cette thèse porte sur la renaissance de l’élégie latine à l’ère humaniste, au début du XVe siècle, à Sienne. Giovanni Marrasio compose alors le premier recueil d’élégies en langue latine de la Renaissance, l’Angelinetum, d’inspiration amoureuse, auxquels s’ajoutent de nombreux poèmes variés, ses carmina varia. Avant lui, ce genre n’avait pas retrouvé d’expression depuis plusieurs siècles. L’œuvre du poète, très variée dans ses thèmes et dans ses sujets, trouve son unité dans l’utilisation exclusive du distique élégiaque. Cela conduit à s’interroger sur la conception de l’élégie latine que Marrasio illustre : s’il se réapproprie de nombreux thèmes et de nombreuses topiques caractéristiques des élégies antiques, il intègre dans sa poésie plusieurs héritages littéraires d’époques ultérieures. Tous ces emprunts sont savamment fondus dans une poésie originale au gré d’une imitation habilement pensée. Les modalités de cette imitation sont analysées dans toute leur variété : la réminiscence littéraire s’exprime ainsi par l’allusion, la citation et la traduction. L’analyse de l’imitation marrasienne permet également d’évaluer les nouveaux apports du poète au genre élégiaque, notamment par l’intégration de thèmes pétrarquistes et par le rapprochement de l’élégie et de l’épigramme. Marrasio participe, en tant que lettré, à certains débats littéraires de son temps, tels l’inspiration ou la valeur de la poésie, qui trouvent dans ses poèmes, des illustrations inédites, repérables grâce à une pratique métapoétique de l’écriture. Marrasio se révèle à la fois un passeur et un novateur dans la renaissance du genre élégiaqueThis thesis deals with the renaissance of the Latin elegy in the humanist era, at the beginning of the 15th century, in Siena, when Giovanni Marrasio composed the first collection of elegies in Renaissance Latin, Angelinetum, with love as its inspiration, in addition to numerous diverse poems, his carmina varia. This style of expression had not been in use for several centuries prior to this. The exclusive use of the elegiac distich lends unity to the wide range of themes and subjects in the poet's work. This leads one to ponder the conception of the Latin elegy as illustrated by Marrasio : if he reappropriates many themes and topics characteristic of ancient elegies, he integrates several literary legacies from various earlier periods in his poetry. All these borrowings are skillfully combined into original poetry by means of clever purposeful imitation. The methods of this imitation are analysed in full: literary influence is thus expressed by allusion, quotation and translation. The analysis of Marrasian imitation also allows the poet's new contributions to the elegiac genre to be evaluated, in particular his use of Petrarchist themes and combination of the elegy and the epigram. As a man of letters, Marrasio took part, in certain literary debates of his time, on topics such as inspiration or the value of poetry, which find novel expression in his poems, identifiable thanks to a metapoetic writing style. Marrasio turns out to be both an imitator and an innovator in the renaissance of the elegiac genre
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Bem, Lucy Ana de 1979. "Metapoesia e confluência genérica nos Amores de Ovídio." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271128.
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Orientador: Paulo Sérgio de VasconcellosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O objetivo desta tese é demonstrar como, nos Amores, Ovídio retomou e reelaborou matéria de diversas fontes para compor sua obra. Sêneca Velho, nas suas Controuersiae (em especial, II 2, 8), revela-nos os possíveis influxos da retórica escolar na obra do poeta. Em nossa análise, demonstramos que a retórica está presente como uma forma de estruturar certas elegias (como as suasoriae) e que também é uma ferramenta útil para nos ajudar a compreender a obra (sobretudo, a relação construída entre auctor/opus/lector). Indicamos a presença de elementos típicos de diversos gêneros como a épica, a comédia, a tragédia e mesmo a poesia jâmbica: Ovídio parece deixar claro que essa "presença" é um fator constitutivo de sua obra. A confluência genérica resultante dessas relações discursivas está mais evidente em poemas programáticos, de cunho metapoético (através do topos da recusatio, por exemplo), mas também não se ausenta por completo das demais elegias. No constructum elegíaco elaborado por Ovídio nos Amores, a persona de seu poetaamante discute poesia enquanto narra as aventuras amorosas com a persona da puella, que se identifica com a própria Elegia (cf. Am. III 1). Nesse sentido, Ovídio nos mostra que, em sua obra de estreia, seu protagonista vive em um universo discursivo construído na pluralidade, no qual experimentar amores (as relações amorosas) proporciona a composição dos Amores (as elegias de temática erótica)
Abstract: The aim of this thesis is to show how, in Loves, Ovid retook and reworked material from several sources to constitute his work. Older Seneca, in his Controuersiae (specially in II 2, 8) reveals the possibility of some influxes from school rethoric on the Ovid's poetry. In our analysis, we indicated that rhetoric is present like a mean of structure some elegies (like suasoriae) and also like a useful tool that helps us to understand the whole work (mainly, the constructed relation among auctor/opus/lector). We also demonstrate the presence of tipicals elements from other genres like epic, commedy, tragedy and even iambic poetry: Ovid seems to reveal that this "presence" is a factor that openly constitute his poetic labour. The generic confluence that results from these discursives relationships is more manifest in programmatic poems, with metapoetical character (through the topos of recusatio, for exemple), but is not missing at all from the others elegies. In this discursive elegiac constructum elaborated by Ovid in the Amores, the poet-lover persona considers about poetry while tell us about his amorous adventures with the puella persona who identify herserf with Elegy (cf. Am. III 1). In this sense, Ovid show us that, in his first work, his protagonist lives in a discursive world based on plurality, in wich experiences in loves (relationships) provides the composition of The Loves (Latin erotic elegy)
Doutorado
Linguistica
Doutor em Linguística
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Ruhl, Maria. "Die Darstellung von Gefühlsentwicklungen in den Elegien des Properz." Göttingen : Cuvillier, 2001. http://catalog.hathitrust.org/api/volumes/oclc/49924799.html.
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Ollivere, Nicholas Anthony Joseph. "The 'existential' subject of Latin love elegy." Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549586.
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Goetting, Cody Walter. "The Voices of Women in Latin Elegy." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1573211149853858.
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Fonseca, Ariza Juan. "Ramírez, Luz Elena. British Representations of Latin America." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/121565.
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Chandler, Clive. "Luxury as a theme in Latin love elegy." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/22121.
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Bibliography: pages 170-180.The territorial expansion of Rome in the second and first centuries B.C. was accompanied by an influx of foreign luxuries and fashions into Italy. Roman,society and literature responded to this influx ambiguously, but the overall tone was one of disapproval. The association of luxury with women, attested dramatically at the rescinding of the lex Oppia, was firmly established in erotic literature by the latter part of the first century B.C. Latin Love Elegy provides an opportunity for studying the response of a particular genre to the phenomenon of luxury in an erotic context. After a general introduction to the role of luxury in the economic life of Republican Rome, the literary response to luxury is investigated with special emphasis on erotic literature. Following this, the elegies of Propertius, Tibullus, and Ovid are analysed sequentially and in detail with respect to how these poems treat luxury. It is found that luxury in Latin Love Elegy retains the ambiguity associated with it outside erotic literature, and functions as a rhetorical tool in the process of seduction. ,The attitude of the elegiac persona to luxury sheds light on the fictional lover, and demonstrates how the elegists accommodate in their poetry traditional and contemporary views of a real phenomenon.
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Lima, Ricardo da Cunha. "A presença clássica na poesia neolatina do humanista português Antônio de Gouveia." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-06122007-113357/.
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Esta tese trata da obra poética neolatina publicada em Lyon, França, nos anos de 1539 e 1540, pelo humanista português Antônio de Gouveia, consistindo em duas centenas de epigramas e mais quatro cartas de amor em versos. Foram feitos o estabelecimento do texto latino, com o cotejo de diferentes edições, e a tradução para o português, acrescida de notas e comentários. Foram feitas diversas análises, de cunho poético, para examinar os procedimentos estilísticos de composição da obra e para verificar a presença da literatura clássica no texto renascentista. A existência de duas diferentes edições da poesia epigramática propiciou o exame e a interpretação de algumas das alterações introduzidas pelo poeta lusitano. Inclui-se, ainda, um capítulo sobre a vida de Antônio de Gouveia, enfocando, principalmente, sua formação humanística e sua circulação nos meios artísticos e acadêmicos da Renascença européia.This thesis deals with the Neo-Latin poetic work published by Antônio de Gouveia, Portuguese humanist, in Lyon, France, in the years 1539 and 1540, consisting of two hundred epigrams and four love letters in verse. The thesis includes the comparative edition of the Latin text, with critical apparatus, and the translation of it into Portuguese, with notes and comments. It also includes a poetic analysis, in order to examine the stylistic procedures of the composition of the work, and to verify the influence of classical literature on this Renaissance text. The existence of two different editions of the epigrammatic poetry permitted the examination and interpretation of some changes made by the Portuguese poet. The thesis also has a chapter about the life of Antônio de Gouveia, focusing his humanistic education and his movement in the artistic and academic circles of European Renaissance.
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MONELLA, Paolino Onofrio. "Longa via. Rappresentazioni delle simbologie spaziali nell'elegia augustea." Doctoral thesis, Università degli Studi di Palermo, 2006. http://hdl.handle.net/10447/224811.
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My PhD Thesis scrutinized with the symbolic aspects of space in Latin Augustan love elegy and particularly with two main topics: urban space, related with 'urbanitas' as a cultural and literary model, and travel, often related to warfare and greed for money.
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Martins, Maria Helena Aguiar. "A elocução do amor em Tibulo." reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/19720.
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MARTINS, Maria Helena Aguiar. A elocução do amor em Tibulo. 2016. 98f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2016.Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-09-23T15:52:49Z No. of bitstreams: 1 2016_dis_mhamartins.pdf: 841895 bytes, checksum: 186a2ed60552b4b83f31c9b60604c867 (MD5)
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This dissertation investigates the elocution of eleven poems from Albius Tibullus (c. 55-19 BC) work: poems 1.1-6, 1.8-9, 2.3-4 and 2.6. The demilitation of this corpus of analysis is based on the erotic subject and it is also based on the characters to which the poems are addressed: Delia, Marathus and Nemesis; the formal investigation of the elocution sustains the discussion about some aspects from this subject; therefore, we divided the poems analyzed in three cycles; the elocution of those cycles is going to be analyzed separately and compared to each other. In order to develop this research, as theoretical foundation we use research and commentaries on the work of Tibullus, rhetorical texts from Greco-Roman Antiquity, and researches about rhetoric, especially those woks that develop the elocution. The analysis is based mainly on Ad Herennium and also on Manual de Retórica Literária, from Lausberg. A further discussion of Latin poetry requires an examination of the elocution, since the Latin poets had rhetoric as their foundation. It is noticeable, that Tibullus selection and arrangement of the words in his verses utilizes figures of speech in order to mimic their content; moreover the disposition rise up the erotic content of the poems.
A presente dissertação investiga a elocução de onze poemas da obra atribuída ao poeta latino Álbio Tibulo (c. 55-19 a.C.): os poemas 1.1-6, 1.8-9, 2.3-4 e 2.6. A delimitação desse corpus de análise baseia-se na temática erótica e nos personagens aos quais os poemas são direcionados, Délia, Márato e Nêmesis; a investigação formal da elocução ampara a discussão de aspectos dessa temática; em função disso, dividimos em três ciclos os poemas a serem analisados; a elocução de cada ciclo será examinada em separado e depois comparada com a dos demais. Para desenvolver esta pesquisa, utilizamos como fundamentação teórica estudos e comentários da obra de Tibulo, textos de retórica da Antiguidade greco-latina e estudos de retórica, especialmente os que abordam a elocução. A análise dos poemas foi fundamentada principalmente na Retórica a Herênio e no Manual de Retórica Literária, de Lausberg. Uma discussão mais aprofundada de poesia latina requer um exame da elocução, pois os poetas latinos tinham o estudo da retórica como formação básica. Na obra de Tibulo, é perceptível que a seleção e a disposição de palavras nos versos servem-se de figuras de linguagem em consonância com o conteúdo e ainda sublevam o teor erótico dos poemas.
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Burkowski, Jane M. C. "The symbolism and rhetoric of hair in Latin elegy." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:44e36b32-8c44-4dd0-8241-3206e40e67f9.
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This thesis examines the hair imagery that runs through the works of Propertius, Tibullus, and Ovid. Comparative analysis of the elegists’ approaches to the motif, with particular emphasis on determining where and how each deviates from the cultural assumptions and literary tradition attached to each image, sheds light on the character and purposes of elegy as a genre, as well as on the individual aims and innovations of each poet. The Introduction provides some background on sociological approaches to the study of hair, and considers the reasons why hair imagery should have such a prominent presence in elegy. Chapter 1 focuses on the elegists’ engagement with the idea of cultus (‘cultivation’), and their manipulation of the connotations traditionally attached to elaborate hairstyles, of sophistication on the one hand, and immorality on the other, to suit an elegiac context. Chapter 2 looks at how the complexities of the power relationship between the lover and his mistress play out in references to violent hair-pulling. Chapter 3 focuses on the sometimes positively and sometimes negatively spun image of grey-haired lovers, as a reflection of the lover-poet’s own contradictory wishes for his relationship with his mistress; it also considers grey hair as a symbol of physical mortality, as contrasted with poetic immortality. Chapter 4 examines the use of images of loose hair (especially images of dishevelled mourning) to suggest connotations ranging from the erotic to the pathetic, and focuses on the effects the elegists achieve by using a single image to communicate multiple implications. The Conclusion considers the ‘afterlife’ of elegiac hair imagery: the influence that their approaches had on later authors’ handling of similar images.
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Durham, Alexandra. "Capies, tu modo tende plagas repetition and inversion of the hunting metaphor in Roman love elegy /." Diss., Connect to the thesis, 1999. http://hdl.handle.net/10066/1478.
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Houghton, L. B. T. "Death and the elegist : Latin love poetry and the culture of the grave." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604255.
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This thesis examines the treatment of death ritual, burial practice and the afterlife in the corpus of Latin elegy, in the light of what can be provisionally reconstructed of contemporary Roman customs and attitudes regarding death and commemoration. Through close readings of particular passages from Propertius, Tibullus, Ovid and ‘Lygdamus’, certain general tendencies in the elegists’ descriptions of their own and other characters’ demises are identified and set within the context of the genre’s overall development. In this way, the poets’ use of material relating to death, burial and beyond is shown to be an indispensable vehicle for their literary, social and political self-definition. After an introduction reflecting on previous scholarly approaches to the subject and discussing some possible explanations for the popularity of the death motif in elegy, the first main chapter deals with elegiac explorations of the afterlife, setting the elegists’ accounts of their own and others’ posthumous activity in the underworld against ways of visualising the hereafter current at the time. Beginning with Tibullus’ influential and innovatory diptych at 1.3.57-82, we see visions of the next world used programmatically to define and reinforce the earthy ‘life of love’. The next chapter considers the theme of the funeral, in which the elegists’ presentations of their preferred pompae are read as a distillation of their distinctive themes and terminology; in many cases, the details of a character’s funeral reflect and reward his or her performance on the stage of elegy. The final section, devoted to elegiac tombs, analyses the site, form and treatment desired by the poets’ personae for their monuments (and those of other characters), comparing evidence from surviving Roman memorials and inscriptions. Points of particular interest include scenes of shipwreck and the notion of the sea as tomb, and elegiac epitaphs, which crystallise the essential elements of the lover-poet’s experience into memorable lapidary formulae. A brief epilogue summarises the study’s wider implications for the process of elegiac self-fashioning.
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Mateo, Decabo Eva Maria. "Politik der kleinen Form." Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/19931.
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Im Mittelpunkt der Dissertation „Politik der kleinen Form“ steht die Frage nach der Politizität ‚kleiner‘ Formen in augusteischer Zeit: also der sogenannten Liebeselegie des Properz, Tibull und Ovid sowie der erotischen Dichtung des Horaz. Auf der Grundlage einer Analyse der Gattungs- und Formpolitik ihrer Paraklausithyra und Recusationes wird eine neue Interpretation aufgezeigt. Jenseits von inhaltszentrierten Lesarten, die immer nur den Subversions- oder Affirmationscharakter von Literatur herausarbeiten, schlägt diese Dissertation einen dritten Weg vor: den der Ambivalenz und des Paradoxons.At the centre of the dissertation „The Politics of Small Forms“ is the question of the politicity of ‘small forms’ in Augustan times: of the so-called love elegy of Propertius, Tibullus and Ovid as well as of the erotic poetry of Horace. On the basis of an analysis of the genre and form politics of their paraclausithyra and recusationes a new interpretation is pointed out. Beyond content-centered readings, which work out either the subversive or the affirmative character of literature, this dissertation suggests a third way: that of ambivalence and paradox.
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PLICHON, MAUGER BRIGITTE. "Presentation, edition, traduction et commentaire des elegies de maximianus." Paris 3, 1996. http://www.theses.fr/1997PA030019.
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Le poete elegiaque maximianus, un temps confondu avec gallus, serait bien un poete du sixieme siecle ap. J. C. , en raison de l'allusion a boece et de l'apport de la tradition manuscrite. L'etude de ce recueil de six elegies met en evidence l'existence d'une structure formelle s'organisant autour de la peinture des echecs amoureux d'un narrateur qui, au soir de sa vie, en appelle a la mort. L'edition de ce recueil, dont la tradition manuscrite est extremement complexe, repose sur un choix eclectique au sein de cette tradition, en conservant le plus possible le texte des manuscrits. Elle comporte un apparat critique positifle texte retenu etant justifie par un commentaire critique-ainsi qu'une traduction en francais des elegiesThe elegiac poet maximianus, for a period mistaken for gallus, might well be a sixth ad century poet, owing to the reference to boethius and the contribution of the manuscript tradition. The study of this collection of six elegies underlines the existence of a formal structure centered around the descripti on of the unhappy love experiences of a narrator who, on the eve of his life, calls for death. The edition of this collection, related to the very complex tradition of manuscript writing, is based on an eclectic choice in this tradition, retaining as much as possible of the original manuscript texts. It contains a positive apparatus criticus choice of the text being justified by a critical commentary and also a french translation of the elegies
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Hjelm, Ruth. "La violencia en cuatro obras de Elena Poniatowska." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/289104.
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This dissertation deals with the theme of violence in four works by Elena Poniatowska: Tinisima, La noche de Tlatelolco, Fuerte es el silencio, and Hasta no verte Jesus mio . It consists of an analysis on the way in which violence is to be found in the four narratives by Poniatowska, as applies the theory of effect of Hans Robert Jauss in the principal area of analysis. The method of analysis is carried out in pairs: Hasta no verte Jesus mio and Tinisima, due to the fact that both of these works are novels in which the protagonists are of female gender, as opposed to: La noche de Tlatelolco and Fuerte es el silencio which are testimonial works in which the theme of violence is of an intensive political nature throughout the whole book. Because of the magnitude and complexity of violence, the nature of violence is explained with an interdisciplinary approach in order to cover its multidimensional framework within the four works. There is an emphasis on the way that violence perpetrates the lives of the female characters, even though the study includes the presence of violence in the lives of the male characters with whom they interact, as well as in the political environment in which they exist. The major contribution of this dissertation is the fact that it is the first so far, to study violence as the main theme in four works by Elena Poniatowska, and which with an interdisciplinary approach to the explanation of violence, promotes the interaction of literature with other areas of study to bring about a more complete analysis and understanding of social issues in literature, such as the study of violence. In the four works by Poniatowska studied in this dissertation we may also take into consideration the fact that the author deals with violence in historical events, and that the main characters are real life characters whose lives are written in the midst of a hostile and volatile environments.
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Rojas-Trempe, Lady. "Estructura, ideología y exilio en los cuentos Andamos hyendo Lola de Elena Garro." Thesis, University of Ottawa (Canada), 1985. http://hdl.handle.net/10393/4927.
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Fielding, Ian. "Later Latin elegy : a study of Ovid’s successors in the fifth and sixth centuries." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/35236/.
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This study provides a synoptic account of the development of Latin elegiac poetry from the first century BC to late antiquity. It focuses primarily on a group of texts from the fifth and sixth centuries AD in which elegy once again becomes a medium for sustained poetic lamentation, four hundred years after the death of Ovid, its most famous exponent. These texts are Rutilius Namatianus, De Reditu; Orientius, Commonitorium; Dracontius, Satisfactio; and the elegiac collection of Maximianus. Each work is interpreted in the context of the radical historical changes that were taking place in this period. The study makes particular reference to the influence of Ovid, as it analyses the distinctive formal and narrative modalities by which these poets present a variety of subject matter. It advances the hypothesis that each of the four elegies presents the experience of a traumatic loss or break. As well as providing detailed examination of these important primary texts, this study also invites re-evaluation of the elegiac works of the Augustan period, which have long been canonical in Classics. In so doing, it indicates the potential for a highly developed criticism of previously neglected works of Latin poetry.
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Purton, Jeremy Stephen. "Visualisation and description in the elegies of Propertius and Tibullus." Thesis, University of Canterbury. Classics, 2011. http://hdl.handle.net/10092/5659.
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Franklinos, Tristan Emil. "Me iuaat in gremio doctae legisse puellae : mindful reading in the elegies of Propertius." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:b4ce7524-b6a8-42f0-9a67-b42c5df0285b.
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In a critical climate that privileges the hermeneutic position of a reader of a text over the irretrievable intentions of its author, this thesis challenges the status quo by considering the elegist Propertius as his own first reader. Through an exploration of what I have called 'mindful reading' - how Propertius appears to engage intratextually with his own poetic material, recasting parts of it lexically and thematically - alongside his interaction with the works of his peers and predecessors and wider cultural discourses, we, as readers, are able to appreciate how he may have understood aspects of his own poetry at a given moment. This particular mode of reading is encouraged, in part, by the repeated treatment of certain themes and ideas by Propertius, and, most conspicuously, by the inherently repetitive nature of the amorous discourse in which he is implicated with Cynthia. There are seven chapters. (1) A rhythm of intratextual reading is established in the generically important funerary elegies of Book I, setting this against the poet's amatory discourse. An analysis of II.i shows that mindful reading is a phenomenon that occurs between, as well as within, books. (2) Consideration is given to editorial division of the canonically named 'Book II', and the ordering of poems; the latter part of the chapter considers the important programmatic elegy, II.xiii. (3) A close reading of III.i and III.ii, and their response to Propertius' predecessors and contemporaries is considered, particularly through a (re)reading of II.xxxiv. (4) Poems treating lovers' brawls and lucubratio are discussed. (5) Propertius' engagement with Maecenas, and his continued adherence to his poetic creed are explored in III.ix and III.x. (6) The notion that Propertius appears to 'un-write' his amatory discourse with Cynthia through mindful reading in the closing cycle of Book III is treated. (7) The place of Cynthia within Book IV, and the elegist's generic explorations are explored through mindful reading.
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Pérez, Haristoy Ricardo. "Lecturas sobre Propercio: una encrucijada de panoramas romanos." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/108612.
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Sumergirse en la profundidad histórica de una obra poética es el desafío de esta investigación. Surgió por una inquietud de descubrir las relaciones que podían existir entre el desvelamiento de un mundo interior, centrado en la expresión lírica del amor ante un espacio público, en el que la lectura obtenía una amplia receptividad social. El personaje escogido fue Propercio y su obra Elegías la fuente principal, donde la temática amorosa aparece como el núcleo central, y propone paralelamente la posibilidad de reconstruir otros parajes históricos desprendidos del eje de este relato. Preguntarse por la existencia de estos textos -los cuales son obras artísticas-, nos sitúa en la problemática de lograr responder por los motivos de su inspiración, su construcción, su entorno, sus interpretaciones y su trascendencia, y nos enfrenta a la difícil posición de tantear posibilidades de afirmación. La primera incógnita que nos supuso la lectura de las Elegías, fue su fuerte motivación amorosa, que expresaba un alto grado de idealización hacia la mujer. Incontables veces había leído en los amantes y defensores de la Edad Media, que el amor había nacido con las novelas de caballería: el amor cortes era un descubrimiento feudal y que desde ese hecho literario comenzaba este sentimiento en Occidente. Me pareció observar en la elegía un arte mucho más sofisticado y un reflejo de una concepción trabajada de lo que llamaban Eros. ¿qué había de realidad en los lamentos de Propercio?, ¿y cuál era el sustento ideológico en que descansaba este sentimiento del mundo pagano? Las Elegías de Propercio son consideradas tan refinadas, con una descripción tan cotidiana y común a los sentimientos dramáticos del amor, que mi primera lectura fue plenamente emotiva. Desde este lugar pensamos que sería interesante proponerse reconstruir algunos fragmentos de ese mundo en el cual la elegía surgió como obra literaria, dentro de un círculo de selectos personajes. La idea era captar la realidad del pasado imperial bajo el prisma de este autor, que los libros nos sugieren como esplendoroso, dado el encandilamiento sistemático del cual se ha hecho el siglo de Augusto. Esto significaba lo mismo que representa la imagen de un puzzle desecho, sin un modelo de referencia y con las piezas en desorden.
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Karidis, Electra. "Towards an interpretation of reading : Elena Garro's short stories as theories of themselves." Thesis, University of Birmingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369084.
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Grant, Linda. "'Turning others' leaves' : imitatio and intertextuality in sixteenth-century English receptions of classical Latin love elegy." Thesis, Birkbeck (University of London), 2014. http://bbktheses.da.ulcc.ac.uk/74/.
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This thesis situates itself within the field of classical reception, and explores the appropriation and imitation of Latin erotic elegy (Catullus, Propertius, Ovid, Sulpicia) in the love poetry of sixteenth-century England. It shows imitatio to be a dynamic, rich and sophisticated practice, one which may be productively read as both a form of intertextuality and reception, terms which capture its contingent and active nature. The readings here re-calibrate Petrarch’s canzoniere suggesting that this influential sequence of love sonnets is itself a moralised re-writing of Roman erotic elegy. By re-framing the ‘Petrarchan’ love poetry of Thomas Wyatt, Philip Sidney, John Donne and Mary Sidney as elegiac receptions, the readings here re-open these familiar texts and offer fresh interpretations of how they can be made to mean. The introduction traces the presence of Latin love elegy in the early modern period, and shows that a modern scholarly over-reliance on Petrarch and Ovid has obscured the way Renaissance love poetry is also shaped by and through its relationships to the texts of Catullus, Propertius and Sulpicia. The four chapters which follow trace these intertextual relationships in detail through readings of a small number of poems: those of Catullus and Wyatt, Propertius and Sidney, Ovid and Donne, and Sulpicia and Mary Sidney. The interventions which this project makes are two-fold: firstly it applies modern theories of reception and intertextuality to Renaissance love poetry, and refreshes the way imitatio may be read. Secondly, it re-frames ‘Petrarchan’ love poetry of sixteenth-century England and reveals it to be a complex, subtle and sometimes revisionary re-writing of Latin love elegy. By reading the multiple concerns of elegy and its sometimes problematic uses of love, gender and erotic desire into the selected English texts, this project offers fresh interpretations of both bodies of poetry, and demonstrates that Roman elegy has a vital and complex presence in the poetics of sixteenth-century England.
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Giannaki, Maria. "Le traitement littéraire des sources grecques chez Tibulle et Properce : recherches sur l’écriture élégiaque latine." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040037.
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L’histoire des genres et des idées littéraires, la sémiotique, la stylistique, la métrique et la littérature en général sont au cœur de notre recherche. Aussi, avons-nous appliqué les théories de l’intertextualité en étudiant les élégies de Tibulle et de Properce, afin de mettre en évidence les processus différenciés qui permettent de maintenir une continuité, et qui font la richesse du genre élégiaque érotique romain. Elles ont mis en évidence les principes d'intertexte et d'allusion, voire de métapoésie, autant que de genre et de généricité, en une hybridité d'écriture très conforme avec une esthétique augustéenne de l'hétérogène. Le résultat en est une réécriture, certes en reconnaissance acquise (fût-elle « allusive » et « réflexive »), mais riche d'auctorialité, pour de nouveaux pactes d'écriture et de lecture, laissant place à un « fait littéraire proprement latin », dans une perspective de recherche tout à la fois diachronique, littéraire, (intertextualité, genre et généricité) et idéologiqueThe history of literary genders and ideas, the semiology, the style, the metric and the literature in general are in the very centre of our research, but the greatest interest of this work lies in making apparent the evidence of continuity according to the different processes that enrich the Latin love elegy genders. Furthermore, it is noted that the principals of intertext and allusion, and hence of the metapoetry, along with the genders and genericity, appear in a hybrid writing manner very appropriate with the Augustan aesthetics of heterogeneity. As a result it is shown that the Latin love elegy is a rewriting which is based on already acquired knowledge, rich in auctorial, for new pacts of writing and lecture, therefore leaving space for a “proper Latin literary fact”. The perspective of this research is diachronic, literary (intertextuality, gender, genericity) and, at the same time, ideological
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Vimos, Victor. "La lengua liminal: acercamiento poetico y ritual a La noche de Jaime Saenz, Las armas molidas de Juan Ramirez Ruiz, y “Boletin y elegia de las mitas” de Cesar Davila Andrade." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin162325079450489.
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Lichem, Maria Teresa. "Reading the feminine voice in Latin American women's fiction, from Teresa De La Parra to Elena Poniatowska and Luisa Valenzuela." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0004/NQ42799.pdf.
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Medeiros-Lichem, María Teresa. "Reading the feminine voice in Latin American women's fiction : from Teresa de la Parra to Elena Poniatowska and Luisa Valenzuela /." New York [u.a.] : Lang, 2002. http://www.gbv.de/dms/sub-hamburg/327652489.pdf.
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Brewster, Claire. "Political writing in times of crisis : the work of Octavio Paz, Carlos Fuentes, Carlos Monsivais and Elena Poniatowska, Mexico, 1968-1995." Thesis, University of Warwick, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390807.
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Parra, Ericka Helena. "Discursos neofeministas en los testimonios de Elvia Alvarado, María Elena Moyano, Domitila Barrios de Chungara y María Teresa Tula, 1975-1995." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013730.
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Bilodeau, Annik. "The Politics of Cosmopolitanism in Contemporary Spanish American Literature: Elena Poniatowska, Mario Vargas Llosa, and Jorge Volpi Within a Disputed Tradition." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35573.
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This dissertation asserts that the tortuous relationship Spanish American literature had with cosmopolitanism since the Wars of Independence reached a turning point towards the end of the second half of the twentieth century. While the literary production of the nineteenth and most of the twentieth century was centred on the Spanish American nation and the continent, contemporary literature has become increasingly deterritorialized, and has begun to present narrative worlds and discuss issues that transcend this circumscribed universe. The discerning of this articulation of global issues in contemporary literature – which I contend is predicated on the concept of cosmopolitanism – is the primary objective of this investigation.
The five novels examined here are Elena Poniatowska’s La “Flor de Lis” (1988), Mario Vargas Llosa’s El Paraíso en la otra esquina (2003) and El sueño del celta (2010), and Jorge Volpi’s El fin de la locura (2003) and No será la Tierra (2006). This study aims to describe and assess an evolving perspective on the treatment of cosmopolitanism in Spanish America. I trace the shift from the previous generations’ main preoccupation with aesthetic cosmopolitanism, which sought to engage Latin American literary discourse with the Western canon, to what I identify as the current political implication of the concept. To this end, I show that whereas mid-twentieth century authors displaced cosmopolitanism in favour of more politically expedient concepts, authors now plot it in their novels as a means of discussing issues of identity and citizenship in an increasingly globalized world.
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Descoings, Karine. "Sed desiderium superest : poétique de la nostalgie dans les élégies d’exil d’Ovide et dans les Elegiae de Petrus Lotichius Secundus (1528-1560)." Paris 4, 2007. http://www.theses.fr/2007PA040293.
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Ce doctorat est consacré à la poétique de deux auteurs élégiaques dont l’oeuvre latine fut inspirée par l’expérience de l’exil. Ovide composa les Tristes et les Pontiques au Ier siècle après J. -C. , au bord de la mer Noire, tandis que le poète allemand Petrus Lotichius Secundus rédigea ses Elegiae entre 1551 et 1560 en Allemagne, en France et en Italie. Après l’analyse minutieuse des jeux intertextuels, nous avons cherché, derrière la disparité des circonstances qui entourèrent la genèse de ces ouvrages, dans quel principe s’enracine la parenté profonde sensible à la lecture de ces vers antiques et humanistes. Les recueils d’Ovide, variation novatrice sur la thématique et l’axiologie de l’élégie romaine traditionnelle, sont construits autour de la notion ambiguë de desiderium (désir nostalgique). Ils devinrent le creuset de l’écriture de nombreux poètes. Dans cette oeuvre matrice, nous avons étudié les formes et les objets du desiderium : la patrie du poète, son épouse, sa poésie et ses amis. Nous voulions cerner la spécificité de ce sentiment, qui, en revêtant plusieurs masques, s’étend sur une large partie du spectre des affects, de l’ethos au pathos, pour dégager la singularité des vers d’exil dans le vaste paysage de l’élégie romaine. La douleur de l’éloignement et de la séparation, le regret d’un espace et d’un temps perdus forment aussi le noyau thématique des vers de Lotichius. En dialoguant avec le modèle ovidien, dans des circonstances politiques et idéologiques hostiles dont l’exil est une métaphore parfaite, il élabora une personnalité littéraire et une poétique singulières. Il cherchait à prolonger la tradition de l’élégie antique, tout en restant en adéquation avec son époqueThe present thesis studies the poetics of two Latin Elegiac authors, whose works were influenced by exile. Ovid composed his Tristia and Epistulae ex Ponto on the shores of the Black Sea in the first century A. D. The German poet Petrus Lotichius Secundus penned his Elegiae between 1551 and 1560 in Germany, France and Italy. The thesis initially undertakes a detailed study of intertextual relations. It then seeks to display, beyond the disparity of circumstances surrounding the genesis of these corpora, the guiding principle that indelibly links these ancient and humanist verses for the reader. Ovid’s books, an innovative variation upon the themes and the axiology proper to traditional Roman Elegy, are constructed around the ambiguous notion of desiderium (nostalgic desire). They became a source for many poets. I examined the forms and objects of desiderium in this seminal work : the poet’s country, his wife, his poetry and his friends. I wanted to describe the specific quality of this sentiment, as it takes on a variety of guises and extends itself over a large part of the spectrum of affect (ethos and pathos). Close analysis reveals the singularity of Ovid’s late books in the landscape of Roman Elegy. The pain caused by distance and separation, the nostalgic longing for an irretrievable place and time, also reside at the thematic heart of Lotichius’ writing. In his dialogue with the Ovidian model, amidst unforgiving political and ideological circumstances of which exile constitutes the perfect metaphor, Lotichius elaborated a literary personality and a poetics that were truly his own. He sought to prolong the ancient Elegiac tradition, all the while remaining a man of his time
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Tyson, Margaret. "The first elegy of Maximianus, a translation and commentary based on an analysis of possible earlier latin influences found by a computer search on the PHI CD-ROM disk." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq20957.pdf.
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Chávez, Díaz Liliana Guadalupe. "Based on true stories : representing the self and the other in Latin American documentary narratives." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/267817.
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This doctoral thesis studies the relationship between journalism and literature in contexts in which freedom of speech is at risk. It takes as primary sources a variety of nonfiction, crónicas, literary journalism and testimonial novels published by Latin American authors in Spanish, from the 1950s to the 2000s. I propose the concept ‘documentary narratives’ to refer to all literary modes of discourse which are related, in diverse degrees, to a journalistic representation of reality. My corpus covers a wide range of topics such as social protests, dictatorships, civil wars, natural disaster, crime and migration. While scholars have focused on the rhetoric and history of this kind of narratives, my reading considers the real, face-to-face encounter between the journalist and others. I argue that the representation of these encounters influences the pact with the reader and challenges the notion of truthfulness. I contend that documentary narratives can serve as a tool for the transmission of knowledge and the production of public debate in societies marked by political and social instability. In a world overwhelmed by data production and immersed in violent acts against those to be considered ‘Others’, I argue that storytelling is still an essential form of communication among individuals, classes and cultures. Contrary to the authors’s intentions of documenting others’ lives, I conclude that these stories offer an (interrupted) account of oneself, that is, the account of a contemporary storyteller pursuing a rarely fulfilled desire of getting to know the Other truly. The thesis has two appendices. Appendix 1 showcases archival material that support some of my arguments. Appendix 2 includes the transcripts of the interviews that I conducted with eight Latin American authors: Elena Poniatowska, Leila Guerriero, Cristian Alarcón, Arturo Fontaine, Santiago Roncagliolo, Francisco Goldman, Martín Caparrós, and Juan Villoro.
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Hubert, Gwenaelle. "L’acte de commencer : étude comparée de débuts d’œuvre dans plusieurs genres poétiques de la période augustéenne." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040211.
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Cette thèse s'inscrit dans une démarche de comparaison – encore peu entreprise malgré l'intérêt que suscitent les débuts d’œuvre – entre des œuvres des genres épique, didactique et élégiaque de la période augustéenne. Nous cherchons à saisir les principes guidant la composition des débuts d’œuvre en poésie et à expliquer les variations apparaissant dans la pratique. En resituant les œuvres augustéennes dans une tradition, nous établissons qu’il existe à cette époque des rituels de début différenciés entre les proèmes épiques et didactiques, à tel point qu’ils contribuent à l’inscription des œuvres dans deux genres distincts. Puis en mobilisant les éléments que les comparaisons font apparaître comme marqueurs de début en raison de leur récurrence, mais aussi les outils de la pragmatique et le concept de paratexte, nous mettons en évidence les caractères qui, au-delà d’une représentativité programmatique, qualifient les pièces liminaires des recueils élégiaques pour ouvrir l’œuvre. Il apparaît alors que seul Ovide se positionne par rapport à l’épopée en jouant avec les codes de début de celle-ci, parce qu’il écrit à un moment où le genre élégiaque a gagné en maturité et où le proème de l’Énéide a établi un modèle de début épique de référence en latin. Mais au stade du premier livre de Properce et de Tibulle, aucun rituel de début d’œuvre spécifiquement élégiaque n’est institué, le positionnement de l’élégie par rapport à l’épopée ne se traduit pas dans la forme du début d’œuvre, et il ne sera formulé plus explicitement en termes méta-littéraires que dans les livres suivants. D’une manière générale, le premier début est moins réflexif que les débuts de livres intermédiairesThis thesis aims at comparing different epic, didactic and elegiac writings from the Augustan period. Although the beginnings of literary works have been extensively studied, comparisons are still needed. We try to understand the principles at work in the beginning of poetry writings. We also explain the variations observed between them.By placing Augustan texts in a tradition, we notice that there are characteristic differences between the rites of epic and didactic proems. These differences are so important that they contribute to the identification of a work's genre.Then mobilizing elements that comparisons reveal as markers for their recurrence, but also the tools of pragmatics and the concept of paratext, we highlight the characters which, beyond programmatic representativity, qualify the poems opening elegiac collections as beginnings.It appears that only Ovid describes his position in relation to epic, by playing with beginning codes of that genre, because he wrote at a time when the elegiac genre had matured and when the proem of the Aeneid had established a Latin model for epic proems. But at the time of the first book of Propertius and Tibullus, no specific ritual of beginning is established for elegiacs. Elegy's relationships to epic do not appear in the form of the beginning and they will be described more explicitly in metaliterary terms in the following books. Generally speaking, the first beginning is less metapoetic than the beginnings of intermediate books
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Demerliac, Oriane. "Le locus de la mer chez les poètes augustéens : miroir et creuset des mutations poétiques, politiques et morales du début du Principat." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN066.
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Pour montrer la richesse des représentations poétiques de la mer, l’époque augustéenne constitue un moment clef. Avec la bataille d’Actium, la mer occupe une place nouvelle à Rome et devient un enjeu majeur, lieu de victoires et de pouvoir dans le discours d’Auguste et dans l’imaginaire romain, à un moment de refondation aussi bien politique que morale de la cité après les guerres civiles. C’est la manière dont cet objet s’est constitué en tant que catalyseur de toutes les grandes mutations de l’époque augustéenne qui retient notre attention. Nous étudions la mer comme locus, c’est-à-dire comme un objet poétique susceptible de refléter ou de modifier le lieu réel où l’activité humaine se déploie durant l’histoire grecque et romaine, mais aussi les représentations socioculturelles. Dans notre première partie, nous entreprenons une comparaison des rapports à la mer chez les Grecs et les Romains, dans leur histoire, leurs mentalités et leur littérature. Il apparaît que d’un point de vue axiologique, si la mer des poètes augustéens reçoit un traitement négatif en grande partie influencé par la poésie grecque, ce motif est enrichi d’un élément inédit : la condamnation de la navigation. Reliée aux guerres et à la luxuria, elle s’inspire chez les poètes augustéens d’une synthèse entre les influences de la philosophie grecque et de la morale traditionnelle : elle devient le lieu d’expression des passions humaines, depuis la cupidité jusqu’à la colère du Prince. Mais les poètes augustéens ont aussi été sensibles à l’héritage grec du motif épique de la mer : Virgile, dans l’Énéide, élabore à partir des modèles grecs un héroïsme nouveau, adapté à l’arrière-plan culturel romain, où prime la pietas, dans des errances où les épreuves maritimes sont systématiquement désamorcées. Ovide, dans ses Métamorphoses, relit Virgile pour déconstruire cette mer de la fabrique des héros et proposer une nouvelle représentation de la mer, miroir de la Pax Augusta. Pourtant, c’est l’élégie qui, en transférant toute ses ambiguïtés au locus marin, en fait le mieux le miroir troublant des changements politiques et des mutations morales que connaît Rome au début du Principat : la réélaboration élégiaque du motif épique de la mer est l’occasion du questionnement et de la réaffirmation des valeurs du mos maiorum, d’expérimentations génériques et surtout de la construction d’un nouvel héroïsme en mer, celui d’Auguste à ActiumTo show the richness of the poetic representations of the sea, the Augustan epoch is considered a key period. With the battle of Actium, the sea holds a new place in Rome and becomes a major stake, place of victories and power in the speech of Augustus and in the Roman imagination, during a political and moral city rebuilding after the civil wars. It is the way this object was established as a catalyst of all the great changes of the Augustan period that holds our attention. We study the sea as locus, that is to say as a poetic object likely to reflect or modify the real place where the human activity spreads out during the Greek and Roman history, but also the socio-cultural representations. In our first part, we undertake a comparison of the relationships with the sea for Greeks and Romans, in their history, their mentalities and their literature. It appears that from an axiological point of view, if the sea of Augustan poets receives a negative treatment as in Greek poetry, this pattern is enriched by a previously unseen element: the navigation condemnation. Linked with war and luxuria, it is inspired for the Augustan poets by a synthesis between the influences of Greek philosophy and traditional morality: it becomes the place of expression of the human passions, from greed to anger of the Prince. But the Augustan poets have also carried the Greek heritage of the epic motif of the sea Virgil, in the Aeneid, develops from the Greek models a new heroism, adapted to the Roman cultural background, where the pietas takes the central part through wanderings where sea trials are systematically undone. Ovid, in his Metamorphoses, rereads Virgil to deconstruct this sea of heroes and to build a new representation of the sea, mirror of the Pax Augusta. However, the elegy, as the most ambiguous genre, introduces the most original and complex vision of the marine locus. Elegiac poets makes it the most disturbing mirror of the political changes and moral mutations that Rome experienced at the beginning of the Principate: the elegiacre-elaboration of the epic motif of the sea is an opportunity to question and reaffirm the values of the mos maiorum, generic experiments and especially the construction of a new heroism at sea, that of Augustus to Actium
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Cassella, Dean Marcel. "Culture and Self-Representation in the Este Court: Ercole Strozzi's Funeral Elegy of Eleonora of Aragon, a Text, Translation, and Commentary." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33223/.
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This dissertation presents a previously unedited text by one of the most distinguished- yet neglected-Latin writers of the Italian Renaissance, Ercole Strozzi (1471-1508), a poet and administrator in the court of Ferrara. Under the Este Dukes, Ferrara became a major center of literary and artistic patronage. The Latin literary output of the court, however, has received insufficient scholarly scrutiny. The text is a verse funeral elegy of Eleonora of Aragon (1450-1493), the first Duchess of Ferrara. Eleonora was a remarkable woman whose talents and indefatigable efforts on behalf of her husband, her children, and her state, won her accolades both at home and abroad. She also served as a prototype for the remarkable careers of her two daughters, Isabella d'Este, and Beatrice d'Este, who are celebrated for their erudition and patronage of arts and letters. The text is a mirror of the Estense court and reveals to us how its members no doubt saw themselves, at the very peak of its temporal power and the height of its prestige as a center of cultural creativity. It is also important for the striking portrait it presents of Eleonora. Ercole Strozzi chose to call his poem an epicedium, an ancient minor literary genre that had received attention in the two decades prior to its composition, due to the discovery and printing of the silver age Roman poet Statius, whose text includes several epicedia. Strozzi deftly adapts and transcends both his ancient and contemporary models (especially Poliziano), and in the process, creates a new Latin literary genre, the Renaissance epicedium. It is a fine poem, full of both erudition and creativity, and as such is the first fruits of what would be Ercole Strozzi's illustrious poetic career. The work is genuinely worthy of study on both esthetic and historical grounds.
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Subias-Konofal, Virginie. "Ecritures du rituel et poétique de la prière dans les œuvres d’Ovide." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040180.
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De ses œuvres de jeunesse jusqu’aux poèmes de l’exil, Ovide a progressivement construit une langue poétique propre, qui entremêle des stylèmes religieux appartenant à la langue liturgique de l’époque augustéenne, et des stylèmes purement poétiques, tantôt repris à la tradition littéraire, tantôt originaux : il joue ainsi de la frontière qui sépare le carmen religieux et le carmen poétique en faisant s’élever un chant nouveau, total, par lequel il sacralise la poésie, qui est bien alors la musique du monde, la musique créatrice, proprement poïétique, dont le souffle donne son sens, sa forme et sa beauté (forma) au monde. Le discours élégiaque est alors bien plus qu’un simple propos érotique, ou même métapoétique. Si Ovide nous parle d’amour, il nous parle aussi de poésie, mais pas seulement d’une poésie narcissique qui serait sa propre fin et son objet : ce qui se reflète au miroir de la poésie ovidienne, telle qu’elle se met en jeu dans les énoncés de prière, c’est une perspective, une perspective transcendante par laquelle le poète tente de contempler le Verbe divin, la Musique totale qui organise l’univers. Loin de jouer de manière parodique avec le discours sacré, qu’il subvertirait à des fins érotiques et humoristiques, comme l’ont écrit les partisans d’une élégie immanente, Ovide nous semble sublimer par un souffle sacré, et par l’apport de stylèmes religieux, la poésie élégiaque de manière à en faire le chant qui rejoue la création du monde en même temps qu’il la ditFrom his early works to the poems of exile, Ovid progressively constructed a personal poetic language, mixing religious stylemes belonging to the liturgical language of the Augustan age with purely poetic stylemes, some taken from literary tradition, others quite original: he thus plays on the borderline separating the religious carmen from the poetic carmen, giving birth to a new, total song endowing poetry with a sacred status, making it music of the world, the properly poietic music of creation whose breath gives the world its meaning, its form and its beauty (forma). Elegiac discourse is then more than a simple erotic, or even metapoetic statement. If Ovid speaks to us of love, he also speaks to us of poetry, but not just a narcissistic poetry taken as its own end and object. What is reflected in the mirror of Ovidian verse as it takes shape in the utterance of prayer is a perspective – a transcendental perspective through which the poet attempts to contemplate the divine Word, the total Music which organizes the universe. Far from playing on sacred discourse in an ironic mode, subverting it to erotic or humorous ends as partisans of an immanent elegy have written, Ovid seems to us to be sublimating elegiac poetry by instilling it with a sacred breath and importing religious stylemes into it, in such a way as to make of it the Song which replays the creation of the world at the same time as telling it
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Roux, Magalie. "Poétique au féminin dans les épopées flaviennes : évolution esthétique et idéologique d’un genre." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040220.
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La figure de l’épouse fait partie intégrante du genre épique, dont les œuvres homériques ont élaboré le modèle pour la littérature gréco-romaine. L’importance accordée à l’eros féminin, et particulièrement conjugal, est l’un des aspects sur lesquels repose l’évolution de la généricité épique, d’œuvre en œuvre. À l’époque flavienne, Valérius Flaccus et Stace confèrent un rôle déterminant à deux figures féminines, celle de Médée dans les Argonautiques et celle d’Argie dans la Thébaïde, et présentent, tous deux, d’autres facettes de l’eros conjugal dans leur épisode lemnien, dont Hypsipyle est l’héroïne centrale. Cette présence accentuée du féminin peut être rapprochée de la réflexion contemporaine sur l’éthique conjugale menée dans le domaine philosophique, notamment par Musonius Rufus. Sur le plan littéraire, dans le contexte de la latinité d’argent, elle manifeste un questionnement des normes du genre, qui se traduit par une représentation de l’épouse selon des modèles autres qu’épiques : celui du genre tragique et de l’élégie romaine, particulièrement des Héroïdes d’Ovide. À la confluence de trois traditions littéraires, épique, tragique et élégiaque, le rôle des figures féminines témoigne d’un renouvellement de l’épopée, dont l’élaboration de critères d’analyse portant sur les notions de genre, de généricité et d’intergénéricité permet de donner l’entière mesureThe character of the wife is a central feature of the epic genre, for which Homer's poems stand as a model in Greek and Latin literature. The major role the feminine eros, especially towards a husband, plays in those works is one of the aspects on which the evolution of epic genericity relies, evolving from one poem to another. During the Flavian Age, Valerius Flaccus and Statius gave two feminine characters a major part in their poems : one is Medea in The Argonautics, the other Argia in Statius' Thebaid. Besides, both poets also illustrate other aspects of husband and wife eros in the Lemnian episode, which stages Hypsipyle as its heroine. From a philosophical point of view, we can see how this emphasized presence of feminine characters matches contemporary philosophers' theories on ethics within marriage, such as Musonius Rufus' thoughts. From the point de view of literature however, considering its setting in the Age of Silver latinity, we can consider this presence as a questioning of epic generic codes, which shows in the way wives are represented, according to the patterns of tragedy and of the Roman elegy, particularly of Ovid's Heroids. Therefore in the wake of three literary traditions - epic, tragedy, elegy -, the role of feminine characters shows the renewal of the epic, which we can fully study by creating criteria of analysis bearing on the notions of genre, genericity and intergenericity
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Gazeau, Matthieu. "Le tombeau de Cynthia : mythes, fictions et ironie dans le livre IV des Elégies de Properce." Paris 3, 2008. https://eu03.alma.exlibrisgroup.com/view/uresolver/33UFC_INST/openurl?u.ignore_date_coverage=true&portfolio_pid=53188741650006657&Force_direct=true.
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En inscrivant au cœur du livre IV et de la Rome virgilienne le tombeau de Cynthia, Properce détourne, au profit d’une femme légère, le motif traditionnel de l’immortalisation par la poésie et renverse la dialectique romaine du poète et du grand homme. Le recueil est l’épilogue d’une œuvre qui repose sur une poétique de la recusatio, refus dramatisé du grand genre, et affirme la légitimité de la subjectivité littéraire, incarnée par Cynthia. Dénouement emblématique de cette recusatio, l’apothéose de Cynthia est l’ultime fragment d’une déclaration amoureuse qui est authentique sans être sincère : elle n’obéit pas au code moderne de l’effusion spontanée d’une subjectivité idéalement transparente mais, dans un rapport dramatisé à une réalité problématique, est l’expression d’un sujet qui s’avance masqué derrière les formes et les rôles littéraires stéréotypés que sont la recusatio, le paraclausithyron, le fallax seruus de la comédie ou l’épigramme - dont le genre élégiaque est une mise en scène. Au terme de cette épopée paradoxale du poète amoureux qui doit se battre pour défendre la légitimité de son amour et de sa poésie, le drame est projeté dans la mémoire fantasmée de Rome : les variations étiologiques révèlent la contingence du récit fondateur, légataire d’une histoire produite par l’action héroïque de quelques uns, et la relativité des normes éthiques, gage de l’ironie de l’Histoire et des dieux. Le livre IV, cimetière symbolique où se côtoient la tombe de Cynthia et celle de Mamurius, l’artiste exilé pour avoir sculpté l’œuvre dangereusement équivoque qu’on lui avait commandée, est la réponse du poeta caelator au Vates horatien utile à la Ville et à ses PrincesBy placing Cynthia’s tomb at the centre of book IV and of Virgilian Rome, Propertius perverts, for a woman of small virtue, the traditional motif of immortalisation through poetry, and turns the Roman dialectics of the poet and great man upside down. The collection of poems comes as the epilogue to a work based on the poetics of recusatio, the marked refusal of the lofty style, and asserts the legitimacy of literary subjectivity embodied by Cynthia. Emblematical outcome of this recusatio, Cynthia’s apotheosis is the last fragment of a declaration of love which is authentic without being sincere. It does not follow the modern code of a spontaneous emotional demonstration poured forth from ideally transparent subjectivity. It is rather, in a staged reaction to a problematical reality, the expression of a subjectivity sheltered behind the persona of stereotyped literary forms and parts such as the recusatio, the paraclausithyron and the fallax seruus of the Comedy or epigrams, staged in the elegiac genre. At the end of this paradoxical epic written by an amorous poet who must fight to assert the legitimacy of his love and poetry, the drama is projected into the fantazied memory of Rome. The etiological explanations reveal the founding tale’s contingency, heir to a history created by the heroic acts of a few, and also the relativity of ethical norms, proof of the irony of History and the Gods. Book IV, the symbolical churchyard where the tombs of Cynthia and Mamurius, the artist who had been exiled for sculpting a dangerously equivocal work of art, stand side by side, is the response of the poeta caelator to the horatian Vates, useful to Rome and its princes
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Marques, Rute Andreia Ferreira. "A elegia latina em Diogo Bernardes." Master's thesis, 2011. http://hdl.handle.net/10451/6806.
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Tese de mestrado, Estudos Clássicos, Universidade de Lisboa, Faculdade de Letras, 2011Quando pensamos no renascimento português lembramo-nos, quase automaticamente, de alguns poetas que ergueram a poesia portuguesa, como foi o caso de Sá de Miranda e de Camões. Mas muitos outros nomes existiram no nosso renascimento, que por vezes ficam esquecidos. Um desses nomes foi Diogo Bernardes, poeta contemporâneo de Sá de Miranda, que compôs inúmeras composições poéticas que nos remetem para obras clássicas. Apesar de não ter alcançado o mesmo patamar de Camões, Bernardes contribuiu para a poesia portuguesa como poucos outros, recheando-a de vários estilos poéticos, como sonetos, vilancetes, geórgicas e elegias. É este último género que iremos abordar ao longo do trabalho, as Elegias de Diogo Bernardes. Apesar das imensas dúvidas que subsistem em relação a obra deste poeta portugues, as elegias nao demonstram possuir outro autor, muito pelo contrário, visto Diogo Bernardes ter escritos acerca de Sílvia (a sua mulher amada) em diferentes géneros literários. Como veremos ao longo do trabalho, este irá focar-se em uma das obras do poeta, Rimas Várias Flores do Lima. Através das elegias iremos vislumbrar um poeta que ama mas não é correspondido, encontrando-se por isso sozinho, infeliz, amargurado e desiludido. Tentaremos, também, comprovar como as suas elegias foram, grandemente, influenciadas pelas elegias latinas, apresentando pontos em comum entre ambas.
Abstract: When we think about the Portuguese Renaissance, we almost automatically remember a few poets who raised the Portuguese Literature, just like Sá de Miranda and Camões did. However, there are many other names in our Renaissance that sometimes seem to be forgotten. One of these names was precisely Diogo Bernardes, a contemporary of Sá de Miranda, who wrote several poetic compositions that refer to other classical works. Despite the fact that Bernardes has not reached Camões‟ poetic level, he surely has contributed with his poetic in Portuguese Literature like few others have done, providing different poetic styles like sonnets, villancicos, georgics and elegies to Portuguese Literature. Elegy‟s genre is precisely the one that we are going to approach throughout this work – Diogo Bernardes‟ elegies. Although a set of several doubts seem to remain about this poet‟s poetic compositions, it doesn‟t seem plausible that these elegies were written by any other poet - a fact that seems to prove Bernardes‟ authorship of these elegies, is his different writings and approaches to Silvia (his beloved woman). As we will see thought this work, this work will mainly focus on one of Bernardes‟ poetic works, Rimas Várias Flores do Lima. As it is, through these elegies we will be able to see a poet alone, unhappy, bitter and disillusioned who loves in a context of one non reciprocated love. We will also try to explore and prove how these elegies were hugely influenced by Latin elegies, a connection made due to their strong similarities
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Leidi, Giulia. "Tibullo nella poesia e negli studi degli Umanisti sull’elegia antica." Doctoral thesis, 2022. http://hdl.handle.net/2158/1265284.
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Oggetto di studio è la ricezione di Tibullo in età umanistica. La Parte prima affronta la delicata questione della trasmissione del Corpus Tibullianum, diretta ed indiretta, includendo una disamina del più antico codice integro superstite (il ms. Milano, Biblioteca Ambrosiana, R 26 sup.) ed un focus sulla circolazione a stampa dell’opera nel XV sec. Nella Parte seconda, dopo una ridefinizione delle peculiarità della poesia di Tibullo e dei tratti che accomunano la lettura umanistica dei classici, si prendono in esame varie tipologie di commento alla silloge, considerando un’applicazione esegetica quasi del tutto inedita. Questi gli studi esaminati: le postille di Antonio Panormita al ms. Vat. Lat. 3270; le annotazioni al ms. Riccardiano 606, autografo di Cristoforo Landino; i segni di lettura di Tito Strozzi sul ms. Firenze, Biblioteca Nazionale Centrale, Magl. VII 1053; il commento di Giovanni Pontano, trasmesso dal ms. Wolfenbüttel, Herzog-August Bibliothek, Aug. Fol. 82.6, interamente autografo dell’umanista; le postille del Poliziano annotate sui margini di una copia dell’editio princeps della raccolta (oggi l’incunabolo corsiniano 50.F.37). Infine, si prende in considerazione il commentario di Bernardino Cillenio, accluso nell’edizione tibulliana del 1475 (Roma, G. Lauer). La Parte terza è incentrata sulla rilettura in chiave tibulliana della maggiore produzione poetica quattrocentesca in lingua latina, prediligendo la poesia di quegli umanisti dei quali è stata esaminata l’applicazione allo studio di Tibullo. L’attenzione verte sui seguenti autori: Antonio Panormita; Enea Silvio Piccolomini; Giovanni Marrasio; Cristoforo Landino; Angelo Poliziano; Tito Strozzi; Giovanni Pontano. Nella Parte quarta si offre un bilancio conclusivo della ricerca e si indicano le possibili prospettive future di questa indagine.
The aim of this work is to investigate the reception of Tibullus during the Italian Quattrocento. The first part treats the transmission of the Corpus Tibullianum, including an analysis of the ms. Milan, Biblioteca Ambrosiana, R 26 sup., which is the most ancient manuscript of the collection. The second part, after a redefinition of Tibullus’ style, looks at the humanist studies of the Corpus, a material for the most part still unpublished: the annotations of Antonio Panormita, Cristoforo Landino, Tito Strozzi, Giovanni Pontano and Angelo Poliziano have been taken into consideration. Then we examined Bernardino Cillenio’s commentary, published in Rome in 1475 by G. Lauer. The third part considers the poetic reception of the Corpus, preferring those authors that have also annotated Tibullus’ poems: Antonio Panormita, Enea Silvio Piccolomini, Giovanni Marrasio, Landino, Poliziano, Tito Strozzi and Pontano. The last part includes also some considerations about future perspectives of our research.
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Caston, Ruth Rothaus. "Elegiac passion a study of jealousy in Roman love elegy /." 2000. http://books.google.com/books?id=-2liAAAAMAAJ.
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