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Hershkowitz, Debra. "Madness in Greek and Latin epic." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296228.
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Callaway, Cathy L. "The oath in epic poetry /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11449.
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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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Jorge, Diane. "Female characterisation in the epic poetry of P. Papinius Statius." Master's thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/18652.
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"No serious Latinist will deny the probability that Statius will again emerge from the current scholarly re-evaluation of Silver Age Epic as the great poet he seemed to the finest spirits of High Middle Ages and Renaissance, rather than as the pale imitator of Virgil he appeared to the censorious criticism of the nineteenth century, obsessed as it was with its twin heresies of originality and inevitable progress." (Tanner, R G 1986. Epic Tradition and Epigram in Statius ANRW II 32.5, 3020) Publius Papinius Statius (c.AD 40-96) is best known for his occasional poetry, the Silvae, which is in scholarly vogue at present. He also composed a monumental twelve-book epic, little known until this century, concerning the myth of the Seven Against Thebes, as well as beginning a poem, popular in the Middle Ages, intended to chronicle the full career of the hero, Achilles. Death prevented the completion of the latter work, so that there are only 1127 lines extant. I here undertake an evaluation of female characterisation in the Thebaid and Achilleid, as a positive contribution to the rehabilitation programme described in the quotation above. Because Statius' poetry properly observes the ancient literary convention of imitatio, an examination of any feature thereof necessarily first takes account of the treatment of these myths before Statius. Although there is no precise literary precedent for the Achilleid, there are various possible Greek and Roman sources for the Thebaid, among them Euripides' Phoenissae and Hypsipyle, Apollonius' Argonautica and Seneca's Phoenissae. Naturally Homer's Iliad provided many of the poetical techniques for depicting the pathos of young warriors killed in battle and the subsequent grief of their relatives. A vital consideration, given Statius' reputation as a "pale imitator of Virgil", is to identify the influence of the Aeneid on Statius' techniques of characterisation, as well as to assess his usage of Virgilian style and phraseology. An equally significant contribution to Statius' presentation of women, and one of especial importance for the Achilleid, is made by Ovidian poetry, particularly the Metamorphoses and Heroides. To a lesser extent Statius was influenced by contemporary Latin epics: Valerius Flaccus' mythological Argonautica, Lucan's politico-historical Pharsalia and Silius Italicus' Punica. In analysing the presentation of heroines and goddesses in the Thebaid, little attempt is made to divine a method or spirit of characterisation "common" to both poems. Rather, the contrast between the portrayal of female personality in the two epics emphasises the very different tone of each: the distinctly comic tone of the Achilleid is reflected in the light-hearted portrayal of the three main characters Thetis, Deidamia and Achilles; on the other hand, the tragic atmosphere of the Thebaid is reflected in the intense portrayal of the chief female characters, Argia, Antigone, Jocasta and Hypsipyle. Insofar as it is ever valid or possible to expect literature to reflect the "real" perceptions and ideals of author and audience, I make some brief attempt to set Statius' treatment of his female characters against the prevailing attitudes and socio-cultural norms of his day. Statius' portrayal of women in his Silvae is of some relevance here, though chiefly the poems are to be regarded as literary texts rather than sociological documents.
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Parkes, Ruth. "A commentary on Statius, Thebaid 4.1-308." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275753.
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McClellan, Andrew Michael. "Dead and deader : the treatment of the corpse in latin imperial epic poetry." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54458.
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This dissertation examines the maltreatment of dead bodies in the epic poems of Lucan (Bellum Ciuile), Statius (Thebaid), and Silius Italicus (Punica). I focus on the depiction of corpses, their varied functions in each epic, and the literary engagement these authors have with the treatment of corpses in epics past, particularly Homer’s Iliad and Virgil’s Aeneid. I demonstrate the ingenuity with which these poets deploy corpses in their works by emphasizing the interplay and intertextuality between these authors, how they strive to be different from their epic predecessors and each other through their skillful elaborations on a major epic motif. The two main categories of maltreatment I analyze include the physical abuse directed at an enemy corpse and, similarly, the withholding or perversion of burial rites. In my Introduction I identify a major gap in scholarship concerning the treatment of corpses in Roman Imperial epic that my dissertation aims to fill. My project begins from a number of studies on corpse treatment in the Iliad, and my desire to provide a similar analysis of this theme for the Roman epics. Chapter 2 sets a baseline for epic corpse treatment by looking in detail at the Iliad and Aeneid, with the intention of establishing a normative framework which proves valuable for highlighting deviations from the norm in the treatment of corpses in Imperial epic. Chapter 3 analyzes decapitation in Lucan, Statius, and Silius, scenes which directly target and exploit less explicit constructions in Homer and Virgil. Chapter 4 looks at the wide array of burial perversions and abuses in Lucan, with a focus on Pompey’s fragmented burial rites. Chapters 5 and 6 analyze burial perversions in Statius and Silius, respectively, structured around Creon’s burial denial edict in the Thebaid and Hannibal’s warped funerals for Roman generals in the Punica. A brief Conclusion summarizes my findings, and looks ahead to further research on this topic. My project shows that encapsulated in the corpses and their treatment, these epics reveal a deep concern with violence, horror, life, and death, that reflects the larger disturbed functioning of each poet’s epic universe.Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
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McIntyre, James Stuart. "Written into the landscape : Latin epic and the landmarks of literary reception /." St Andrews, 2008. http://hdl.handle.net/10023/543.
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Platt, Mary Hartley. "Epic reduction : receptions of Homer and Virgil in modern American poetry." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9d1045f5-3134-432b-8654-868c3ef9b7de.
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The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.
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Piccolo, Alexandre Prudente 1978. "O arco e a lira : modulações da épica homérica nas Odes de Horácio." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271113.
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Orientador: Paulo Sergio de VasconcellosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-26T16:17:45Z (GMT). No. of bitstreams: 1 Piccolo_AlexandrePrudente_D.pdf: 2779565 bytes, checksum: 0f3f5e04731996d36193d0822473c58d (MD5) Previous issue date: 2015
Resumo: A partir das Odes de Horácio, esta tese investiga a presença de elementos épicos, sobretudo homéricos, e como o poeta latino os ajusta em sua obra lírica ¿ processo mais bem definido como "modulação." Antes de tratar de algumas odes específicas, um breve panorama pelos textos horacianos destaca diversas alusões às epopeias de Homero. Então, teorias intertextuais ajudam a analisar tanto poemas que aparentemente rejeitam a épica ou outros padrões elevados (como os Carmina 4.15, 4.2, 2.1, 2.12, 1.6 e 3.3), quanto aqueles que incorporam, de modo patente ou latente, diferentes passagens, versos, fórmulas e palavras das epopeias de Homero. Essas odes são agrupadas em três grandes conjuntos: o conflito entre amor e guerra (C 1.15, 1.17, 2.4, 3.7 e 3.20); a passagem pelos infernos (C 2.13 e 2.14); a poesia da memória e da eternidade, disfarçada em poemas laudatórios (C 4.6, 4.8 e 4.9). Como um anexo final, uma tabela apresenta mais de quinhentas referências nas Odes à Ilíada e à Odisseia de Homero, coletadas ao longo da pesquisa
Abstract: Starting from Horace¿s Odes, this dissertation investigates the presence of epic features, mainly Homeric ones, and how the Latin poet adjusts them to his lyric work ¿ a process better defined as `modulation.¿ Before dealing with a selection of odes, a quick survey of Horace¿s texts highlights several allusions to Homer¿s epics. Then, theories of intertextuality help to analyse both poems that apparently refuse an epic or elevated standard (like Carmina 4.15, 4.2, 2.1, 2.12, 1.6, and 3.3), and those that frankly or evasively incorporate different passages, lines, formulas or words from Homer. These odes are divided into three main groups: the conflict of love and war (such as C 1.15, 1.17, 2.4, 3.7, and 3.20); the passage through the underworld (C 2.13 and 2.14); the poetry of memory and eternity, disguised as laudatory poems (C 4.6, 4.8, and 4.9). As a final appendix, a table presents more than five hundred references in the Odes to Homer¿s Iliad and Odyssey, gathered throughout the research
Doutorado
Linguistica
Doutor em Linguística
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Collier, David Andrew. "Nam mihi Carment erit Christi vitalia gesta the Evangeliorum libri iv of Juvencus and the evolution of Latin epic in late antiquity /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5784.
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Thesis (M.A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 28, 2008) Vita. Includes bibliographical references.
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McIntyre, James Stuart. "Written Into the landscape : Latin epic and the landmarks of literary reception." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/543.
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Landscape in Roman literature is manifest with symbolic potential: in particular, Vergil and Ovid respond to ideologically loaded representations of abundance in nature that signal the dawn of the Augustan golden age. Vergil's Eclogues foreground a locus amoenus landscape which articulates both the hopes of the new age as well as the political upheaval that accompanied the new political regime; Ovid uses the same topography in order to suggest the arbitrary and capricious use of power within a deceptively idyllic landscape. Moreover, for Latin poets, depictions of landscape are themselves sites for poetic reflection as evidenced by the discussion of landscape ecphrases in Horace's Ars Poetica. My thesis focuses upon the depiction and refiguration of the locus amoenus landscape in the post-Augustan epics of the first century AD: Lucan's Bellum Civile, Valerius Flaccus' Argonautica, Statius' Thebaid and Silius Italicus' Punica. Landscape in these poems retains the moral, political and metapoetic force evident in the Augustan archetypes. However, I suggest that Lucan's Neronian Bellum Civile fundamentally refigures the landscapes of Latin epic poetry, inscribing the locus amoenus with the nefas of civil war in such a manner that it redefines the perception of landscape in the succeeding Flavian poets. Lucan perverts the landscape, making the locus horridus, a landscape of horror, fear and disgust, the predominant landscape of Latin epic; consequently, the poems of Valerius, Statius and Silius engage with Lucan's refiguration of landscape as a means of expressing the horror of civil war. In the first part of my thesis I examine archetypal landscapes, including those of the Augustan poets and Lucan's Bellum Civile. Taking an approach which engages with literary reception theory and the concept of the â horizon of expectationâ as a framework within which literary topographies can be understood as articulating a response to the thematics of civil war, in the second part of my thesis I demonstrate the manner in which landscapes represent a coherent and paradigmatic response to Lucan's imposition of his civil war narrative within the literary landscape of Roman literature.
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Anzinger, Silke. "Schweigen im römischen Epos : zur Dramaturgie der Kommunikation bei Vergil, Lucan, Valerius Flaccus und Statius /." Berlin [u.a.] : de Gruyter, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945407&prov=M&dokv̲ar=1&doke̲xt=htm.
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Masters, Jamie. "Poetry and civil war in Lucan's "Bellum civile"." Cambridge (GB) : Cambridge university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35569689k.
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Flint, Angela. "The influence of contemporary events and circumstances on Virgil's characterization of Aeneas." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019/1540.
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Kendal, Gordon McGregor. "Translation as creative retelling : constituents, patterning and shift in Gavin Douglas' 'Eneados' /." St Andrews, 2008. http://hdl.handle.net/10023/554.
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Muniz, Liebert de Abreu. "Estudo de gÃnero em As GeÃrgicas, de VirgÃlio." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=8206.
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FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgicoPara a cultura clÃssica antiga, o gÃnero Ãpico parecia apresentar diferentes formas e possibilidades. à provÃvel que, para os antigos, o metro tenha sido o principal recurso para classificar os gÃneros literÃrios. Assim, um poema vertido em versos hexamÃtricos poderia ser de imediato identificado como um Ãpico. HÃ, contudo, diferenÃas entre os Ãpicos homÃricos e os hesiÃdicos, o que parece reforÃar a hipÃtese de o gÃnero Ãpico poder apresentar manifestaÃÃes distintas. Enquanto os Ãpicos homÃricos sÃo longos quanto à extensÃo e cantam feitos bÃlicos, os hesÃodicos sÃo breves e tÃm a preocupaÃÃo de transmitir um conhecimento. As GeÃrgicas, de VirgÃlio, filiam-se à composiÃÃo de tipo hesÃodico. Ainda que uma influÃncia helenÃstica seja percebida, o poema virgiliano segue caracterÃsticas de estrutura, forma e conteÃdo do Ãpico hesÃodico (que tambÃm pode ser chamado de Ãpos didÃtico); no entanto, em diversos passos parece exceder essas caracterÃsticas, deixando a impressÃo de que tambÃm manteria vÃnculos com a Ãpica homÃrica (ou com o chamado Ãpos heroico). Essa discussÃo sugere que a leitura do poema como didÃtico nÃo parece ser suficiente para sua classificaÃÃo de gÃnero, sugere tambÃm que o poema se insere numa espÃcie de progressÃo poÃtica que perfaz duas formas de Ãpos, o didÃtico e o heroico.
For the ancient classical culture, the epic genre seemed to have different shapes and possibilities. It is likely that, for the ancients, the meter has been the main resource for classifying literary genres. Thus, a poem composed into hexameter lines could be readily identified as an epic. However, there are differences between the Homeric and the Hesiodic epics which seem to reinforce the assumption that the epic genre could have different manifestations. While the Homeric epics are long as for the extent and sing the martial feats,the Hesiodic epics are brief and have the intent of transferring knowledge. The Virgilâs Georgics affiliated to the composition of Hesiodic type. Although a Hellenistic influence is perceived, the Virgilian poem follows characteristics of structure, shape and contents of the Hesiodic epic (which can also be called didactic epos). However, in several passages, the poem seems to exceed these characteristics, leaving the impression that also could maintain bonds to the Homeric epic (or the so-called heroic epos). This discussion suggests that the reading of the poem as didactic does not seem to be sufficient for the classification of genre, it also suggests that the poem is part of a kind of poetic progression that to goes through two forms of epos, heroic and didactic.
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Feile, Tomes Maya Caterina. "Neo-Latin America : the poetics of the "New World" in early modern epic : studies in José Manuel Peramás's 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza 1777)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273742.
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This is an investigation of the epic poetry produced in and about the Ibero-American world during the early modern period (sixteenth to eighteenth centuries) in trilingual perspective: in addition to the more familiar Spanish- and Portuguese-language texts, consideration is also––and, for the purposes of the thesis, above all––given to material in Latin. Latin was the third of the international literary languages of the Iberian imperial world; it is also by far the most neglected, having fallen between the cracks of modern disciplinary boundaries in their current configurations. The thesis seeks to rehabilitate the Latin-language component as a fully-fledged member of the Ibero-American epic tradition, arguing that it demands to be analysed with reference not only to the classical and classicising traditions but to those same themes and concerns––in this case, the centre|periphery binary––as are investigated for counterparts when in Spanish or Portuguese. The crucial difference is that––while the ends may be the same––the means of thematising these issues derive in form and signifying power from interactions with the conceptual vocabularies and frameworks of the Greco-Roman epic tradition. How is America represented and New World space figured––even produced––in a poetic idiom first developed by ancient Mediterranean cultures with no conception whatsoever of the continent of the western hemisphere? At the core is one such long neglected Ibero-American Latin-language epic by a figure who lived across the Iberian imperial world: the 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza, 1777) by Catalan-born Jesuit José Manuel Peramás. Peramás’s epic––which has never been the subject of a literary-critical study before––is offered as a test case: an exercise in analysing a Latin-language Hispanic epic qua Hispanic epic and setting it into Ibero-American literary-cultural context. This is to be understood in relation to the field of so-called ‘New World poetics’: an at present emergent zone of inquiry within Iberian colonial studies which until now has been developing almost completely without reference to the Latin-language portion of the corpus.
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Baertschi, Annette Martine. "Nekyiai." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2013. http://dx.doi.org/10.18452/16740.
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Begegnungen mit der Unterwelt stellen ein konstitutives Element antiker, vor allem epischer Poesie dar. Besonderer Popularität erfreute sich das Thema in der neronisch-flavischen Epik, die an die von Homer begründete und von Vergil weitergeführte Tradition anknüpfte, diese jedoch in innovativer Weise umgestaltete. In der vorliegenden Arbeit wird gezeigt, dass die Nekyiai der kaiserzeitlichen Dichter, wiewohl in der Forschung oft negativ beurteilt, originelle Variationen des für das Genre zentralen Motivkomplexes darstellen und eine wichtige Etappe in der Geschichte des Topos bilden. Insbesondere wird mit Hilfe eines stärker die dynamische Wechselwirkung zwischen Prä- und Posttext berücksichtigenden sowie neben der diachronen auch die synchrone Ebene von Sinnkonstitution einbeziehenden Interpretationsansatzes die vielschichtige intertextuelle Dimension der neronisch-flavischen Unterweltsszenen erhellt, die sich durch den kontaminierenden Rekurs auf eine Reihe literarischer Vorlagen ergibt. Es wird dargelegt, dass die Jenseitsepisoden der nachaugusteischen Epiker eine wichtige poetologische Bedeutung haben, indem sie den bevorzugten Ort für die literarische Selbstpositionierung und -legitimierung des Verfassers bilden. Darüber hinaus wird der Einfluss der veränderten politischen, sozialen, ideologischen und ästhetischen Bedingungen im 1. Jahrhundert n. Chr. auf die Neukonzeption der Unterwelt im neronisch-flavischen Epos untersucht.Encounters with the underworld are a constitutive element of ancient, especially epic poetry. The topic was particularly popular among Neronian and Flavian poets who closely engage the literary tradition established by Homer and further developed by Vergil, yet refashion it in an innovative way. In this thesis, I shall argue that the necyia scenes of the imperial poets, although often criticized by scholars, are original variations of the motif, which is of essential significance for the genre, and mark an important stage in the history of the theme. Using an interpretive approach which focuses more strongly on the dynamic interaction between hypo- and hypertext and also considers the synchronic level of creating meaning in addition to the diachronic one, I shall demonstrate in particular the complex intertextual dimension of the Neronian-Flavian underworld scenes, which is based on their combined reference to multiple literary models. In addition, I will show that the necyia episodes of the post-Augustan epicists have an important poetological meaning, providing a privileged venue for the author to position himself within the literary tradition and to legitimize his own work. Finally, I will examine the impact of the political, social, ideological, and aesthetic changes in the first century CE on the shift in representation of the underworld in Neronian-Flavian epic.
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Brammall, Sheldon. "Translating the Prince of Poets : the politics of the English translations of the Aeneid, 1558-1632." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283905.
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Criado, Cecilia. "La teología de la Tebaida Estaciana el anti-virgilianismo de un clasicista /." Hildesheim : Georg Olms Verlag, 2000. http://catalog.hathitrust.org/api/volumes/oclc/43944306.html.
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Backhouse, George. "References to swords in the death scenes of Dido and Turnus in the Aeneid." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71764.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This thesis investigates the references to swords in key scenes in the Aeneid – particularly the scenes of Dido’s and Turnus’ death – in order to add new perspectives on these scenes and on the way in which they impact on the presentation of Aeneas’ Roman mission in the epic. In Chapter Two I attempt to provide an outline of the mission of Aeneas. I also investigate the manner in which Dido and Turnus may be considered to be opponents of Aeneas’ mission. In Chapter Three I investigate references to swords in select scenes in book four of the Aeneid. I highlight an ambiguity in the interpretation of the sword that Dido uses to commit suicide and I also provide a description of the sword as a weapon and its place in the epic. In Chapter Four I provide an analysis of the references to swords in Dido’s and Turnus’ death scenes alongside a number of other important scenes involving mention of swords. I preface my analyses of the references to swords that play a role in interpreting Dido and Turnus’ deaths with an outline of the reasons for the deaths of each of these figures. The additional references to swords that I use in this chapter are the references to the sword in the scene of Deiphobus’ death in book six and to the sword and Priam’s act of arming himself on the night on which Troy is destroyed. At the end of Chapter Four I look at parallels between Dido and Turnus and their relationship to the mission of Aeneas. At the end of this thesis I am able to conclude that an investigation and analysis of the references to swords in select scenes in the Aeneid adds to existing scholarship in Dido’s and Turnus’ death in the following way: a more detailed investigation of the role of swords in the interpretation of Dido’s death from an erotic perspective strengthens the existing notion in scholarship that Dido is an obstacle to the mission of Aeneas.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die verwysings na swaarde in kerntonele in die Aeneïs – hoofsaaklik die sterftonele van Dido en Turnus – met die oog daarop om addisionele perspektiewe te verskaf op hierdie tonele en die impak wat hulle het op die voorstelling van Aeneas se Romeinse missie in die epos. In hoofstuk twee poog ek om ’n oorsig te bied van Aeneas se Romeinse missie. Ek stel ook ondersoek in na die mate waartoe Dido en Turnus as teenstanders van Aeneas se Romeinse missie beskou kan word. In Hoofstuk Drie ondersoek ek die verwysings na swaarde in spesifieke tonele van boek vier van die Aeneïs. Ek verwys na ’n dubbelsinnigheid in die interpretasie van die swaard wat Dido gebruik om selfmoord te pleeg en verskaf ook ’n beskrywing van die swaard as ’n wapen en die gebruik daarvan in die epos. In Hoofstuk Vier verskaf ek ‘n ontleding van die verwysings na swaarde in Dido en Turnus se sterftonele saam met ’n aantal ander belangrike tonele met verwysings na swaarde. Ek lei my ontleding van die beskrywings van die swaarde wat ’n rol speel in die interpretasie van Dido en Turnus se sterftes in met ’n uiteensetting van die redes vir die dood van elk van hierdie figure. Die addisionele verwysings na swaarde wat ek in hierdie hoofstuk ontleed, is die verwysing na die swaard in die toneel van Deiphobus se dood in boek ses en die verwysing na die swaard in die toneel waar Priamus sy wapenrusting aantrek op Troje se laaste aand. Aan die einde van Hoofstuk Vier ondersoek ek die parallele tussen Dido en Turnus en hulle verhouding tot Aeneas se Romeinse missie. Hierdie tesis ondersoek die verwysings na swaarde in kerntonele in die Aeneïs – hoofsaaklik die sterftonele van Dido en Turnus – met die oog daarop om addisionele perspektiewe te verskaf op hierdie tonele en die impak wat hulle het op die voorstelling van Aeneas se Romeinse missie in die epos. In hoofstuk twee poog ek om ’n oorsig te bied van Aeneas se Romeinse missie. Ek stel ook ondersoek in na die mate waartoe Dido en Turnus as teenstanders van Aeneas se Romeinse missie beskou kan word. In Hoofstuk Drie ondersoek ek die verwysings na swaarde in spesifieke tonele van boek vier van die Aeneïs. Ek verwys na ’n dubbelsinnigheid in die interpretasie van die swaard wat Dido gebruik om selfmoord te pleeg en verskaf ook ’n beskrywing van die swaard as ’n wapen en die gebruik daarvan in die epos. In Hoofstuk Vier verskaf ek ‘n ontleding van die verwysings na swaarde in Dido en Turnus se sterftonele saam met ’n aantal ander belangrike tonele met verwysings na swaarde. Ek lei my ontleding van die beskrywings van die swaarde wat ’n rol speel in die interpretasie van Dido en Turnus se sterftes in met ’n uiteensetting van die redes vir die dood van elk van hierdie figure. Die addisionele verwysings na swaarde wat ek in hierdie hoofstuk ontleed, is die verwysing na die swaard in die toneel van Deiphobus se dood in boek ses en die verwysing na die swaard in die toneel waar Priamus sy wapenrusting aantrek op Troje se laaste aand. Aan die einde van Hoofstuk Vier ondersoek ek die parallele tussen Dido en Turnus en hulle verhouding tot Aeneas se Romeinse missie.
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Loupiac, Annie. "La poétique des éléments dans "La Pharsale" de Lucain." Bruxelles : Latomus Revue d'études latines, 1998. http://catalogue.bnf.fr/ark:/12148/cb372098529.
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Kendal, Gordon. "Translation as creative retelling : constituents, patterning and shift in Gavin Douglas' Eneados." Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/554.
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The Thesis analyses and evaluates how Gavin Douglas (Eneados, 1513) has refocused Virgil's Aeneid, principally by giving more emphasis to the serial particularity inherent in the story, loosening the narrative structure and involving the reader in its retelling. Chapter I pieces together (from the evidence not merely of what Douglas explicitly says, but of what his words imply) what for him a "text" in general is, and what accordingly it means for a translator or a reader to be engaged with it. This sets the scene for what follows. The next four Chapters look in turn at how he re-expresses important (metaphysical) characteristics of the story. In Chapter II his handling of time is discussed, and compared with Virgil's: the Chapter sets out in detail how Douglas consistently refocuses temporal predicates, foregrounding their disjunctiveness and making them differently felt. In Chapter III spatial position and distance are analysed, and Douglas' way of dealing with space is found to display parallels with his treatment of time: networks are loosened and nodal points are accentuated. In Chapter IV the way in which he presents individuals is compared with Virgil's, and a similar repatterning and shift reveals itself: Douglas provides his persons with firmer boundaries. Chapter V deals with fate, where Douglas encounters special difficulties but maintains his characteristic way of handling the story. The aim of these four Chapters is to characterise formally how Douglas concretises and vivifies the tale of Aeneas, engaging his readers throughout in the retelling. Finally, Chapter VI looks at certain general principles of translation theory (notably connected with the ideas of faithfulness and accuracy) and argues for a way in which Douglas' translation can be fairly experienced by the reader and fairly evaluated as a lively retelling which (albeit distinctive) is fundamentally faithful to Virgil.
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Rodrigues, Natália Vasconcelos. "Dido e a viagem náutica na Eneida e na espístola 7 das Heroides." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/16442.
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RODRIGUES, Natália Vasconcelos. Dido e a viagem náutica na Eneida e na espístola 7 das Heroides. 2015. 93f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-04-25T17:19:59Z No. of bitstreams: 1 2015_dis_nvrodrigues.pdf: 909277 bytes, checksum: 000b585f6dfae97c0bd6b35082718165 (MD5)
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O presente estudo tem como objetivo a análise da personagem Dido e do tema da viagem náutica a partir de duas obras da poesia latina: a Eneida de Virgílio e as Heroides de Ovídio. O mito da rainha de Cartago e seu fim trágico como consequência de uma paixão desmedida por Eneias é um ponto convergente das duas obras. A personagem Dido, após a morte de seu marido, Siqueu, mantém-se fiel a ele, não se entregando a nenhum outro homem. Essa condição de viúva casta muda com a chegada de Eneias a Cartago. O romance de Eneias e Dido, na Eneida, acontece no canto 4 e chega às extremas consequências: a morte de Dido. Dialogando com essa versão épica de Virgílio, a história de Dido reaparece no seio da elegia: o desespero da rainha “abandonada” por Eneias ganha uma nova versão na carta 7 da obra Heroides de Ovídio. O poeta elegíaco se utiliza dos monólogos da fenícia, retirados do canto 4 da Eneida (v. 305-330; v. 365-387; v. 534-552 e v. 590-629) para compor a missiva de lamentos. Tanto na Eneida como nas Heroides percebemos que a viagem náutica incide diretamente no episódio de Dido: a chegada de Eneias a Cartago provoca o encontro amoroso, e a partida do herói que segue sua missão resulta na separação dos amantes. A personagem e a viagem náutica são abordadas de formas diferentes nos dois autores, os assuntos são adequados ao gênero e ao estilo de cada poema (grauis para a épica; humilis para a elegia amorosa). Investigaremos a apropriação feita por Virgílio e Ovídio do tema da viagem náutica: o primeiro em favor da épica, sendo essa uma temática essencial do gênero elevado; e o segundo em favor da elegia, utilizando a viagem em alto mar também como uma metáfora elegíaca. Examinaremos esse corpus com base na teoria dos gêneros e na análise da elocução dos dois textos, levando em consideração o processo alusivo como elemento de construção do texto ovidiano.
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Taous, Tatiana. "Les verbes latins signifiant « combattre » dans la poésie épique, d’Ennius aux poètes flaviens (IIIe s. av. J.-C. – Ier s. ap. J.-C.). Approche sémantique, morphologique et syntaxique." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040153.
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La thèse étudie les dénominations du procès de combattre en latin et montre que l’évolution des signes linguistiques est corrélative des realia historiques et politiques. Cette étude sémantique articule différentes approches et propose un éclairage linguistique et anthropologique sur les verbes signifiant « combattre » dans la poésie épique latine. Au vu des problématiques liées à tout sujet onomasiologique, une partie préliminaire se concentre sur l’établissement du corpus de verbes. Les première et seconde parties confrontent l’approche sémantique aux approches morphologique et syntaxique. Les lexèmes retenus sont décrits plus précisément afin de déterminer s’ils adoptent des tendances morphologiques et rectionnelles particulières, rattachables à leur signifié. La première partie permet, à travers l’étude des radicaux, des morphèmes (temps – personne) et des préverbes, de dégager des spécificités morphosémantiques en relation avec les trois types morphologiques isolés (verbes simples, locutions et préverbés). La seconde partie étudie, dans une perspective sémantico-syntaxique, les rôles sémantiques et les types rectionnels et crée des zones d’intersection entre lexèmes, qui ne rejoignent pas toujours les trois types morphologiques. Ces nouveaux recoupements permettent d’opposer les lexèmes et de déterminer les motivations (littéraires ou anthropologiques) de leurs emplois. La thèse en arrive à l’idée que la perpétuation ou le renouvellement des signes linguistiques pour dénoter le procès « combattre » a partie liée avec des données culturelles et anthropologiques et que le genre épique est un genre littéraire vivant, qui suit la mouvance et les idéologies de son tempsThis study of Latin verbs meaning “to fight” in epic poetry shows that the evolution of linguistic signs and lexical units reflects extralinguistic phenomena. It is a semantic study which, by combining several approaches, sheds new light, both linguistic and anthropological, on the verbs meaning “to fight” in Latin epic poetry. The preliminary chapter (after the introduction) presents the selected verbs belonging to the corpus. In the first and second sections of the work, the contrast is drawn between a fundamentally semantic approach to the verbs and a more morphological and syntactical approach. The first section analyses the verbs’ synchronic radicals, their tenses, their personal morphemes, and their preverbs, in order to show their semantic specificities in the context of the three morphological types in which they may be found: simple verbs, verbal phrases and preverbed verbs. In a semantic-syntactic approach, the second section deals with the participant roles and syntactic environments and creates new intersections between lexemes. These links shed light on the oppositions that exist between the individual lexemes and determine the – literary or anthropological – motivations in the use of the selected verbs. The conclusion makes two important points. Firstly, we see that the continuation or the renewal of linguistic signs and lexical units denoting the process of fighting also depend on cultural and anthropological factors. Secondly, it is made clear that the epic literary genre in Latin is not frozen throughout the historical periods studied here, since it is continually evolving and adapting to the changes and ideologies of the times
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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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Crosson, Isaia Mattia. "Lucan's Mutilated Voice: The Poetics of Incompleteness in Roman Epic." Thesis, 2020. https://doi.org/10.7916/d8-294j-ky87.
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In this doctoral dissertation I seek to reassess the innovativeness of the young Corduban poet Lucan’s masterpiece, the Civil War. Faced with the abrupt closure of Lucan’s poem 546 lines into Book 10, I adopt the view propounded by Haffter, Masters and Tracy, that what most have taken as incompletion brought on by the poet’s premature death in 65 CE is in fact a deliberate artistic decision. I then argue back from this view and reread several key features of the poem as manifestations of the same deliberate bodily incompleteness, the same sudden mutilation of a voice that the ending of the poem as we have it presents. My dissertation consists of two macro-sections, one on the structural and thematic characteristics of Lucan’s Civil War, and one on the characterization of the two antagonists most actively involved in the conflict: Julius Caesar, himself the author of an incomplete prose account of the very civil war that Lucan chooses to focus on; and Pompey the Great, a broken man whose mangled body reproduces at the microcosmic level the lack of finish exhibited by the textual body of the poem itself.
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Takakjy, Laura Chason. "Lucretius, Pietas, and the Foedera Naturae." 2013. http://hdl.handle.net/2152/22790.
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The presentation of pietas in Lucretius has often been overlooked since he dismisses all religious practice, but when we consider the poem’s overall theme of growth and decay, a definition for pietas emerges. For humans, pietas is the commitment to maintaining the foedera naturae, “nature’s treaties.” Humans display pietas by procreating and thereby promoting their own atomic movements into the future. In the “Hymn to Venus,” Lucretius uses animals as role models for this aspect of human behavior because they automatically reproduce come spring. In the “Attack on Love,” Lucretius criticizes romantic love because it fails to promote the foedera naturae of the family. Lucretius departs from Epicurus by expressing a concern for the family’s endurance into the future, or for however long natura will allow. It becomes clear that Lucretius sees humans as bound to their communities since they must live together to perpetuate the foedera naturae of the family.text
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Blaschka, Karen. "Digitale Datenbank zum Gleichnis in der antiken epischen Dichtung (GaeD)." 2017. https://ul.qucosa.de/id/qucosa%3A20941.
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