Journal articles: 'Epigrammi'

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Bergin, Thomas G., and Ercole d'Ercole. "Epigrammi." World Literature Today 59, no. 3 (1985): 415. http://dx.doi.org/10.2307/40140902.

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GIANGRANDE, Giuseppe. "Due epigrammi su Basilissa." AL. Rivista di studi di Anthologia Latina 3 (January 2012): 205–6. http://dx.doi.org/10.1484/j.alat.5.130418.

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Gutzwiller, Kathryn, Guido Bastianini, Claudio Gallazzi, Colin Austin, Guido Bastianini, and Colin Austin. "Posidippo di Pella: "Epigrammi"." Classical World 97, no. 1 (2003): 101. http://dx.doi.org/10.2307/4352834.

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Sens, Alexander, and Lorenzo Argentieri. "Gli Epigrammi degli Antipatri." Classical World 99, no. 1 (2005): 84. http://dx.doi.org/10.2307/4353014.

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Lauxtermann, Marc. "Stratone di Sardi: Epigrammi." Mnemosyne 62, no. 4 (2009): 658–63. http://dx.doi.org/10.1163/156852509x384338.

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Sens, Alexander. "Gli Epigrammi degli Antipatri (review)." Classical World 99, no. 1 (2005): 84–85. http://dx.doi.org/10.1353/clw.2006.0020.

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Śmiłek, Ewa. "De mu(d/t)ación. Un acercamiento a los “epigramas descompuestos” de Mario Martín Gijón." Monteagudo, no. 27 (March 9, 2022): 365–78. http://dx.doi.org/10.6018/monteagudo.477531.

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Classical literature, regardless of genre, has an influence on even the most recent Spanish poetry. The goal of this article is to show that Greco-Latin heritage is visible also in the works of Mario Martín Gijón (1979), although modified, adapted and (re)created in its own way. The object of this analysis is one of the parts of Latidos y desplantes (2011), the one titled “epigramas descompuestos” (decomposed epigrams). The article attempts to demonstrate that the epigrams that make up this section of the poet's first book are a reinvention of the epigrams of Marcus Valerius Martialis, reflecting the poetics and aesthetics of the Spanish author. La literatura clásica, independientemente del género, influye incluso en la poesía española más reciente. El objetivo del presente artículo es demostrar que en la lírica de Mario Martín Gijón (1979) se percibe la herencia grecolatina. No obstante, esta queda demudada y apropiada, (re)creada de una manera propia. El objeto del análisis lo constituye una de las partes de Latidos y desplantes (2011), la titulada “epigramas descompuestos”. Se intenta probar que los epigramas que componen esta sección del primer libro del poeta son una reinvención del epigrama marcialesco, que refleja la poética y la estética del autor extremeño.

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Leoni, Juri. "Gli epigrammi di Papa Damaso e Roma Christiana." Augustinianum 59, no. 1 (2019): 39–67. http://dx.doi.org/10.5840/agstm20195913.

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This article aims through a study of the epigraphy of Pope Damasus (366-384), to reconstruct the ideal society that was shown to the pilgrim who went to the loca sanctorum in the Urbs. Taking into account the pastoral, political and ideological elements of Damasian epigraphy, it shows that the choice of martyrs and subjects which were celebrated responded to the increasing numbers of nobles within Roman Christian society after the peace of Constantine. Damasus tried to accommodated himself to the sensibilities of the minor aristocracy of Rome and the emerging clergy, without renouncing its hierarchical organization of the Church in line with the social and ecclesial tendencies of the second half of the fourth century, when Roma christiana came into being.

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Mattiacci, Silvia, José Amarante, and Renato Ambrosio. "QUANDO A IMAGEM NECESSITA DA PALAVRA: REFLEXÕES SOBRE A POÉTICA DA ÉCFRASE NO EPIGRAMA LATINO | WHEN THE IMAGE NEEDS THE WORD: REFLECTIONS ON THE POETICS OF EKPHRASIS IN THE LATIN EPIGRAM." Estudos Linguísticos e Literários, no. 62 (June 26, 2019): 3. http://dx.doi.org/10.9771/ell.v0i62.32074.

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Este artigo se centra em alguns epigramas de Marcial (7, 84; 9, 76; 10, 32; 1, 109; 9, 43-44) e Ausônio (epigr. 12; Biss. 5; epigr. 11 Green) com o objetivo de refletir sobre a relação complexa entre arte e texto. Os exemplos selecionados destacam as estratégias com as quais o epigrama ecfrástico pretende apresentar-se não como o pálido reflexo do poder de uma imagem, mas como um produto criativo e competitivo que expressa algo que a imagem visual não consegue expressar.Abstract: This article focuses on some epigrams by Martial (7.84; 9.76; 10.32; 1.109; 9.43- 44) and Ausonius (epigr. 12; Biss. 5; epigr. 11 Green) with the aim of reflecting on the complex relationship between art and text. The examples selected highlight the strategies with which ekphrastic epigram intends to present itself not as the pale reflection of the power of an image, but as a creative and competitive product expressing something that visual image cannot express.Keywords: Ekphrastic epigram; Martial; Ausonius; Art/text.

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Floridi, Lucia. "La silloge di epigrammi ‘lucianei’ del codice Riccardiano 25." Rivista di Filologia e di Istruzione Classica 142, no. 1 (January 2014): 103–20. http://dx.doi.org/10.1484/j.rfic.5.123258.

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DI GIOVINE, Carlo. "Testo ed esegesi. Su alcuni epigrammi attribuiti a Seneca." AL. Rivista di studi di Anthologia Latina 6 (January 2015): 105–20. http://dx.doi.org/10.1484/j.alat.5.130360.

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12

Thévenaz, Olivier. "Flebilis lapis? Gli epigrammi funerari per Erotion in Marziale." Materiali e discussioni per l’analisi dei testi classici, no. 48 (2002): 167. http://dx.doi.org/10.2307/40236219.

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Isak Kres, Jelena. "Helenistični literarni epigram in rimski pesniki avgustejske dobe." Keria: Studia Latina et Graeca 12, no. 1 (July 24, 2010): 133. http://dx.doi.org/10.4312/keria.12.1.133-160.

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Znano je, da so rimski pesniki klasičnega, še zlasti avgustejskega obdobja občasno posnemali ali celo aludirali na helenistični epigram, ki ga je pogosto mogoče zaslutiti v ozadju njihove poezije. Helenistični epigram se je v njihovem času kot žanr sicer že poslovil od svojih najslovitejših dni, vendar je še vedno cvetel. Nekateri epigramatiki so celo živeli v Rimu, zaradi česar se je v njihovih epigramih pogosto zrcalila rimska civilizacija, hkrati pa so rimskim pesnikom posredovali tudi grške literarne zglede. Poleg tega lahko do neke mere razmišljamo celo o vplivu avgustejskih pesnikov na sodobne in poznejše grške epigramatike. Prispevek skuša ob nekaj izbranih odlomkih pokazati stične točke med nekaterimi helenističnimi epigrami in odlomki iz rimske poezije. Pod drobnogledom so nekateri primeri možnega direktnega ali indirektnega vpliva, ki ga je na avgustejske pesnike imela tako starejša kakor tudi mlajša, v rimski čas sodeča generacija helenističnih epigramatikov.

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Salanitro, Maria. "Marziale: dalle prime prove alla conquista dell’ars." Cuadernos de Filología Clásica. Estudios Latinos 42, no. 1 (July 15, 2022): 65–75. http://dx.doi.org/10.5209/cfcl.83153.

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Quando si leggono le traduzioni dell’opera di Marziale si trovano errori di vario tipo, causati dalla sinteticità di molte espressione del poeta, dalle incomprensioni della struttura degli epigrammi o di una particolare accezione dei termini. Ci sono casi in cui l’inusitata collocazione dei termini provoca anche errori a livello sintattico. E tutto ciò oscura interamente o in parte il pensiero del poeta come ho cercato di dimostrare nelle pagine che seguono.

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15

Agosti, G. "Saxa loquuntur? Epigrammi epigrafici e diffusione della paideia nell’Oriente tardoantico." Antiquité Tardive 18 (January 2010): 163–80. http://dx.doi.org/10.1484/j.at.3.62.

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Salanitro, Maria. "La difficile "ars" epigrammatica di Marziale." Cuadernos de Filología Clásica. Estudios Latinos 39, no. 1 (June 26, 2019): 29–41. http://dx.doi.org/10.5209/cfcl.64890.

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Marziale è un epigrammista molto acuto e la sua raffinata arguzia, unita alla sinteticità dello stile, può trarre in inganno i moderni interpreti. Così le traduzioni che rivelano, senza possibilità di dubbio, le interpretazioni, si trasformano in un tradimento nei confronti del poeta. Questo accade nel gruppo di epigrammi del decimo libro in cui il poeta annuncia ai suoi lettori l’intenzione di ritornare a Bilbilis, la città spagnola in cui era nato. Particolarmente sorprendenti sono gli errori di interpretazione di 10.37 e 10.104.

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Poltera, Orlando. "Luigi Bravi: Gli epigrammi di Simonide e le vie della tradizione." Gnomon 81, no. 1 (2009): 1–5. http://dx.doi.org/10.17104/0017-1417_2009_1_1.

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18

Beta, Simone. "Edilo, Epigrammi: introduzione, testo critico, traduzione e commento ed. by Lucia Floridi." Phoenix 74, no. 3-4 (September 2020): 325–27. http://dx.doi.org/10.1353/phx.2020.0045.

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19

PRIVITERA, Tiziana. "Il tema del ritratto in quattro epigrammi dell’Anthologia Latina." AL. Rivista di studi di Anthologia Latina 4 (January 2013): 67–92. http://dx.doi.org/10.1484/j.alat.5.130393.

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20

Cadau, Cosetta. "Lucillio, Epigrammi: introduzione, testo critico, traduzione e commento, written by Floridi, L." Mnemosyne 69, no. 2 (February 4, 2016): 356–59. http://dx.doi.org/10.1163/1568525x-12342134.

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21

Beta, Simone. "Lucillio, Epigrammi: Introduzione, testo critico, traduzione e commento ed. by Lucia Floridi." Classical World 109, no. 3 (2016): 430–31. http://dx.doi.org/10.1353/clw.2016.0030.

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22

Ruotolo, Roberta Angelica. "Il catalogo muliebre nella Napoli del xvi secolo: un contributo di Benedetto Croce." Quaderns de Filologia - Estudis Literaris 22 (January 7, 2018): 89. http://dx.doi.org/10.7203/qdfed.22.11254.

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La letteratura napoletana è ricca testi incentrati sulle lodi delle donne della città, genere che si vitalizza a contatto con il vivace quadro della società aristocratica del Vicereame. È Benedetto Croce, coadiuvato da Giuseppe Ceci, ad occuparsi tra i primi di quella serie di rime, poemetti, capitoli ed epigrammi incentrati sul catalogo muliebre perché consapevole del loro apporto alla storia del costume e della letteratura nella Napoli del XVI secolo. In Lodi di dame napoletane del secolo decimosesto vengono analizzate quelle opere che la nobiltà napoletana e spagnola si beava di leggere vedendo in queste, e nella raffinata lingua petrarchesca in cui erano scritte, uno specchio della propria elegante condotta.

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23

Franceschini, Alice. "L’‘epitafio’ di Argo. Osservazioni sul lessico funerario in Hom. Od. 17.291-327." Anuari de Filologia. Antiqua et Mediaeualia 1, no. 10 (July 28, 2020): 20–36. http://dx.doi.org/10.1344/afam2020.10.1.2.

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in Hom. Od. 17.291-327, l’episodio del riconoscimento di Odisseo da parte del cane Argo. Nei luoghi analizzati, la dizione omerica sembra essere debitrice di tradizionali formulari espressivi funerari e influenzare a sua volta alcuni carmi epigrafici di epoca successiva. Un’attenzione particolare viene dedicata a due passaggi significativi. Al v. 312 il cane è presentato come il sema vivente del padrone, mentre riguardo ai vv. 326-327 si avanza l’ipotesi che potessero essere percepiti dai fruitori come un ‘epitafio orale’ di Argo: vi si riconoscono un uso del verbo ἰδεῖν simile a quello reperibile in numerosi epigrammi funerari e altri elementi tematici e formali caratteristici delle iscrizioni tombali, analizzati nello studio.

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Jones, Kenneth R. "ALCAEUS OF MESSENE, PHILIP V AND THE COLOSSUS OF RHODES: A RE-EXAMINATION OF ANTH. PAL. 6.171." Classical Quarterly 64, no. 1 (April 16, 2014): 136–51. http://dx.doi.org/10.1017/s0009838813000591.

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Among the poems of the Greek Anthology is one (Anth. Pal. 6.171) which purports to be the dedicatory inscription of the Colossus of Rhodes built to celebrate the Rhodians' successful resistance to the siege of their island by Demetrius Poliorcetes in the years 305–304 b.c. It has long been assumed by scholars that this epigram represents the authentic dedicatory inscription carved on the base of the Colossus, which was completed in the 280s and stood for some sixty years before being destroyed by an earthquake that rocked the island of Rhodes in the 220s. There are, however, strong reasons to doubt the epigram's authenticity, some of which come from considerations of the poem itself and others which come from a comparison with a closely related epigram (Anth. Pal. 9.518) composed by Alcaeus of Messene to celebrate Philip V's military successes during his Aegean campaign of 203–200. Verbal and thematic parallels between the two epigrams make a connection certain. It is the aim of the present study to re-examine the Rhodian epigram and its relation to Anth. Pal. 9.518 in order to propose a new date for the former in the context of Rhodes' defeat of Philip V and the advent of Rome in the affairs of the states ringing the Aegean.

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Manganaro, Giacomo. "Iscrizioni, epitafi ed epigrammi in greco della Sicilia centro-orientale di epoca romana." Mélanges de l’École française de Rome. Antiquité 106, no. 1 (1994): 79–118. http://dx.doi.org/10.3406/mefr.1994.1841.

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Vioque, Guillermo Galán. "Literature - (L.) Floridi Stratone di Sardi. Epigrammi. Alessandria: Edizioni dell' Orso, 2007. €60. 9788876949678." Journal of Hellenic Studies 128 (November 2008): 200–201. http://dx.doi.org/10.1017/s0075426900000379.

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Fassina, Alessia. "Un mecenate alla corte vandalica: gli epigrammi lussoriani per Fridamal (AL 304-305 R2)." Giornale Italiano di Filologia 58, no. 1 (May 2006): 137–45. http://dx.doi.org/10.1484/j.gif.5.102010.

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Grandolini, Simonetta. "Sugli epigrammi aritmetici nell'Anthologia Palatina: riflessi letterari ed aspetti di vita quotidiana nell'insegnamento dell'aritmetica." Giornale Italiano di Filologia 58, no. 2 (November 2006): 341–53. http://dx.doi.org/10.1484/j.gif.5.102035.

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Kwapisz, Jan. "Między antologią a fragmentem. O hellenistycznych zbiorach epigramów." Prace Filologiczne. Literaturoznawstwo, no. 12 (15) (June 12, 2022): 25–44. http://dx.doi.org/10.32798/pflit.810.

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Artykuł przedstawia dostępne świadectwa dokumentujące istnienie hellenistycznych książek zbierających epigramy i analizuje naturę poetyckich antologii, czyli książek poetyckich, w tym okresie. Omówione zostały dwa dokumenty o zasadniczym znaczeniu: „zwój mediolański”, papirusowa antologia z III w. przed Chr. zawierająca epigramy przypisane Posejdipposowi, i tak zwane „wiedeńskie incipity epigramów”, papirus z tego samego okresu przechowujący listę epigramatycznych incipitów, zapewne podstawa do ułożenia nowej antologii. Zbieranie poezji, zwłaszcza epigramów, jest podstawowym, charakterystycznym środkiem komunikacji poetyckiej w epoce hellenistycznej, co ma konsekwencje dla statusu poszczególnych utworów. Trafniej postrzegać je jako części większej całości − fragmenty − niż autonomiczne jednostki.

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Silva, Douglas Cristiano. "Três epigramas de Calímaco." Em Tese 19, no. 1 (April 30, 2013): 288. http://dx.doi.org/10.17851/1982-0739.19.1.288-292.

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GIOVINI, Marco. "Riflessioni a margine di alcuni epigrammi della Vnius poetae sylloge e di Lussorio." AL. Rivista di studi di Anthologia Latina 1 (January 2010): 5–44. http://dx.doi.org/10.1484/j.alat.5.130575.

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Poltera, Orlando. "Cecilia Nobili: Corone di gloria. Epigrammi agonistici ed epinici dal VII al IV secolo a.C." Gnomon 91, no. 1 (2019): 8–13. http://dx.doi.org/10.17104/0017-1417-2019-1-8.

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Ruiz Sánchez, Marcos, and María Ruiz Sánchez. "Elementos iconográficos y emblemáticos en los epigramas de Interián de Ayala." IMAGO. Revista de Emblemática y Cultura Visual, no. 10 (February 4, 2019): 217. http://dx.doi.org/10.7203/imago.10.13132.

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ABSTRACT: The Neo-Latin poetry of Interián conveys the interest of the author of the Pictor Christianus in iconography and emblems. This interest is expressed in all of his compositions. But it is in the epigrams in particular where this side of the Mercedarian writer can be best observed. KEYWORDS:Juan Interián de Ayala,Epigrams, Iconography, Emblems. RESUMEN: La poesía neolatina de Interián refleja el interés del autor del Pictor Christianus por la iconografía y los emblemas. Este interés se manifiesta en todas sus composiciones. Pero es sobre todo en los epigramas donde mejor puede observarse esta faceta del escritor mercedario. PALABRAS CLAVES: Juan Interián de Ayala; epigramas; iconografía; emblemas.

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34

Hunter, R. "Review. Callimaco: Volume I: Inni epigrammi ecale. Volume II: Aitia giambi e altri frammenti. GB D'Allessio." Classical Review 47, no. 1 (January 1, 1997): 28–29. http://dx.doi.org/10.1093/cr/47.1.28.

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Schäfer, Thomas. "„Verschwiegene Lieder” - ein instrumentales „Requiem” für Paul Celan." Die Musikforschung 50, no. 3 (September 22, 2021): 295–318. http://dx.doi.org/10.52412/mf.1997.h3.992.

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Der Beitrag verfolgt eine doppelte Zielsetzung. Zum einen wird Peter Ruzickas 1970 entstandene Komposition <... fragment ... Fünf Epigramme für Streichquartett> hinsichtlich der Kategorie des Fragmentarischen untersucht, die für verschiedene Werke der zeitgenössichen Musik und besonders für diesen Komponisten wichtig ist. Zum anderen wird versucht, das Werk, das eine Hommage an Paul Celan ist, als instrumentales Requiem zu lesen. Insbesondere im letzten Epigramm, in dem Gustav Mahlers selbst Fragment gebliebene 10. <Symphonie> zitiert wird, zeigt sich eine enge Verbindung zu ästhetischen Ideen der Moderne, die den autobiographischen Bezug deutlich übersteigen.

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Begass, Christoph. "Kaiserkritik in Konstantinopel. Ein Spottepigramm auf Kaiser Anastasius bei Johannes Lydus und in der Anthologia Palatina." Millennium 14, no. 1 (February 23, 2017): 103–50. http://dx.doi.org/10.1515/mill-2017-0004.

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Abstract In De magistratibus John Lydus refers to an epigram of eight lines insulting emperor Anastasius (491-518) as a money-collecting Charybdis. A similar version of this poem can be found in the Greek Anthology where it is divided into two epigrams of four lines each (AP XI 270 -71). In a first step, a critical edition of the epigram is established. On this basis it becomes clear that the earlier version referred to by Lydus comes close to the original poem. A detailed commentary reveals it as work of an able and witty poet who was familiar with both classical epic poetry and the formulas used in late antique laudatory epigrams. Looking at the historical background of the epigram, the paper highlights the history and varieties of Kaiserkritik in Late Antiquity and Byzantium, while another chapter takes a closer look at the far-reaching reforms undertaken by Anastasius which were heavily criticized by contemporaries. Taking into account the function of the epigram in Lydus’ work, it seems certain that John Lydus himself composed the poem to support his general criticism of the administrative reforms of both Anastasius and Justinian.

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Overduin, Floris. "Drie broers en een schipbreukeling." Lampas 52, no. 4 (December 1, 2019): 453–72. http://dx.doi.org/10.5117/lam2019.4.005.over.

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Summary In this article I will apply an intertextual perspective to a selection of epigrams from the Greek Anthology in order to assess the role of variation within these epigrams. Within the tradition of the literary epigram, the element of variation had always been important, yet some Hellenistic and Imperial epigrammatists, such as Archias and Zosimus, took this dimension of the genre to extremes, in creating strings of epigrams which intentionally vary on their Imperial models and on their Imperial models´ Hellenistic models. This article charts some of these epigrammatic ‘chain reactions’: the poems on the three hunting brothers Damis, Clitor and Pigres, the birthday epigrams of Leonides of Alexandria, the epigrams on the shipwrecked Antheus, and several epigrams on ships that were destroyed prematurely. All serve to assess the way in which intertextual processes develop within the epigrammatic tradition, and to show that such a perspective is essential to their appreciation.

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Kapsoli Escudero, Wilfredo. "relectura de Semblanzas (sátira y política de Ricardo Palma)." Aula Palma, no. 20 (January 2, 2023): 249–64. http://dx.doi.org/10.31381/ap.v20i20.4456.

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Ricardo Palma es el creador del género literario conocido como tradición, que son narraciones cortas con fines de difundir una historia sonriente del Perú desde el mundo de los incas hasta la sociedad republicana. Aunque no las desarrolló en extenso, nuestro autor también nos ha dejado epigramas1 satíricos dedicados a parlamentarios y autoridades gubernamentales del país en su libro Semblanzas (1867). Precisamente la importancia de esta creación la dio a conocer nuestro maestro Alberto Tauro del Pino con un prólogo a dicha creación literaria (1965) y que nosotros lo respaldamos con una nueva lectura del documento mencionado. Palabras claves: Tradición, Semblanzas, epigrama, sátira, diputado. Abstract Ricardo Palma is the creator of the literary genre known as Las Tradiciones, which are short stories with the purpose of spreading a Smiling History of Peru from the world of the Incas to the republican society. Although he did not develop it extensively, he has also left us satirical epigrams dedicated to parliamentarians and government authorities of the country. In fact, the importance of this creation was made known by our teacher Alberto Tauro del Pino with a prologue to this literary creation, which we support with a new reading of the paper mentioned. Keywords: Tradition, portraits, epigram, satire, deputy.

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Dunbabin, Katherine M. D. "Baiarum grata voluptas: pleasures and dangers of the Baths." Papers of the British School at Rome 57 (November 1989): 6–46. http://dx.doi.org/10.1017/s0068246200009077.

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BAIARUM GRATA VOLUPTAS. PIACERI E PERICOLI DELLE TERMESono predominanti nella ideologia delle terme romane le idee di piacere, bellezza e voluttuoso godimento. Gli epigrammi e le iscrizioni relativi alle terme ruotano costantemente intorno ai temi dellacharis, apolausis, euphrosyneod ai loro equivalenti latini. Temi siffatti sono rappresentati di frequente nella decorazione degli edifici termali con immagini che riproducono in mosaici, pitture e sculture le figure di Venere, Grazie e Nereidi, circondate da fiori e gioielli. Programmi decorativi piu complessi vengono talora concepiti, per esprimere, attraverso una varietà di temi, il lussuoso piacere rappresentato dalla acque. Un elemento dalle tinte più sinistre è però anch'esso presente: oltre al pericolo reale rappresentato da qualche vero e proprio incidente di natura fisica che potrebbe sempre capitare durante il bagno, vi sono testimonianze relative ad un diverso genere di timore, nei confronti del male che l'Invidia o lo sguardo maligno dell'invidioso potrebbero causare sia agli edifici stessi che ai bagnanti. Paure di questo tipo possono essere ricollegate sia alle tradizioni nelle quali le terme appaiono come covo di demoni che alla connessione esistente tra terme e pratiche magiche. La decorazione degli edifici termali può dunque anche essere intesa a fornire protezione contro tali pericoli, attraverso l'uso di iscrizioni e di simboli e motivi apotropaici.

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Agnolon, Alexandre. "Os biblioepigramas do livro Apoforeta de Marcial." Cadernos de Literatura em Tradução, no. 15 (April 18, 2016): 139–50. http://dx.doi.org/10.11606/issn.2359-5388.i15p139-150.

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O objetivo do artigo é apresentar tradução poética inédita de quatorze epigramas pertencentes ao livro Apoforeta, segundo as edições modernas, o décimo quarto livro de epigramas de Marcial. Os poemas que vertemos constituem um ciclo de epigramas todo ele dedicado aos livros com que, ao londo dos banquetes das Saturnais, os convivas poderiam ser presenteados. "Poemas-cartões" que eram, remetiam, de um lado, à função originária do epigrama como "inscrição", e, de outro, conforme a subespécie "enigma", da epigramática helenística, convidavam o destinatário presente a adivinhar o que ganhara, aspecto que se relacionava com o caráter lúdico da festa. Mas também podiam os epigramas do ciclo ser compreendidos como "biblioepigramas", já que, na brevíssima descrição da obra literária, Marcial tanto fazia as vezes de poeta-filólogo, porque ao tecer juízos poéticos e retóricos assumia discurso crítico, como de poeta-bibliófilo, ao remeter o leitor à materialidade do livro. O livro como objeto indica para o leitor de hoje o matiz helenístico com que o poeta, incorporando a tradição precedente, a julgava e para o público antigo cumpria a função precípua e imediata do mimo que, em virtude das belas encadernações, devia agradar os olhos antes de tudo.

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Guerrini, Roberto. "Anthologia Latina 831- 55d Riese. Per un'edizione critica degli epigrammi di Francesco da Fiano (Sala degli Imperatori, Palazzo Trinci, Foligno)." Materiali e discussioni per l’analisi dei testi classici, no. 20/21 (1988): 329. http://dx.doi.org/10.2307/40235921.

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Lafferty, Maura K. "Ruodlieb con gli epigrammi del Codex Latinus Monacensis 19486: La formazione e le avventure del primo eroe cortese. Roberto Gamberini." Speculum 81, no. 1 (January 2006): 194–96. http://dx.doi.org/10.1017/s003871340001976x.

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Livingstone, Niall, and Gideon Nisbet. "I The Inscriptional Beginnings of Literary Epigram." New Surveys in the Classics 38 (2008): 22–47. http://dx.doi.org/10.1017/s0017383509990192.

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As was seen in the Introduction, the generic identity of epigram is governed by two senses of the Greek preposition epi: an epigram may be physically inscribed ‘on’ an object, or ‘on the subject of’ an object (or something else: a person, an event). This chapter is concerned with epigrams physically inscribed on a stone or other object. In spite of the fact that inscribed epigram comes first chronologically (beginning as early as the eighth century BCE), includes some of the most famous lines in Greek literature (such as those above), and numbers famous names such as Simonides among its exponents, it can sometimes be treated as the poor relation of literary epigram, which had its heyday in the Hellenistic period (see Chapter 2). There is a perception that epigram comes into its own once it has ‘escaped’, as it were, from its stone or other physical medium, and is thus at liberty to use its words to create a virtual object in the reader's mind (or not, as the poet chooses).

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Teixeira de Oliveira, Leonardo. "Filodemo de Gádara: seleção de epigramas." Belas Infiéis 9, no. 2 (March 30, 2020): 109–13. http://dx.doi.org/10.26512/belasinfieis.v9.n2.2020.27203.

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A poesia do filósofo epicurista Filodemo de Gádara (c. 110 ”“ c. 40 a.C.) é situada na epigramática helenística, com a transformação do epigrama clássico e sua fusão com a elegia por predecessores como Asclepíades de Samos (c. 320 a.C.), Calímaco (310/305 ”“ 240 a.C.) e Meleagro (séc. I a.C.). Escritos em grego, seus epigramas foram elogiados por Cícero (106 ”“ 43 a.C.) e coletados na “Antologia” de Filipe de Tessalônica, no século I d.C., que terminou por ser inclusa na Anthologia Palatina, do século X, assegurando a sua transmissão até a nossa era. Na seguinte seleção, foram traduzidos em versos livres sete breves epigramas do autor, em que se sobressaem a inefabilidade da experiência amorosa, conhecida apenas na subjetividade, e os vários papéis femininos cortejados pela voz poética.

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Guasti, Duccio. "A Strange Epigram and the Date of Hegesander." Trends in Classics 11, no. 2 (February 25, 2020): 307–16. http://dx.doi.org/10.1515/tc-2019-0017.

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AbstractThis paper is on an epigram reported by Hegesander of Delphi (LGGA F 11), which was constituted exclusively of neologistic compounds. Its peculiarity, in attacking the hypocrisy of Cynics, is the complete disregard of any morphological rules as in no other known Greek text. I analyze this poem from the point of view of language, context, and content. I consider also other epigrams on the same theme. I will discuss the stereotype of the pseudo-Cynic charlatan, common in texts from the imperial period, on the base of which I suggest changing the date of the epigram (and consequently of Hegesander) to the early imperial era.

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Gutzwiller, Kathryn, and Walter Steinbichler. "Die Epigramme Des Dichters Straton Von Sardes: Ein Beitrag Zum Griechischen Paiderotischen Epigramm." Classical World 93, no. 2 (1999): 221. http://dx.doi.org/10.2307/4352409.

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Da Cunha Lima, Ricardo. "O Cancioneiro de Clínia: epigramas amorosos de Jean Visagier em tradução poética." Rónai – Revista de Estudos Clássicos e Tradutórios 8, no. 1 (July 2, 2020): 50–70. http://dx.doi.org/10.34019/2318-3446.2020.v8.30084.

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Jean Visagier, membro do círculo humanístico de Lyon, publicou quatro obras em latim, dedicadas ao gênero epigramático, entre os anos de 1536 e 1538. Obediente às normas clássicas do epigrama, compôs a grandemaioria deles em dístico elegíaco. A temática é muito variada, como é característico no gênero. Deixando de lado os epigramas encomiásticos e vituperiosos, a presente tradução se concentra em um conjunto de 30 epigramas amorosos, nos quais aparece como personagem central uma puella, chamada Clínia, que serve para representar as mais diversas cenas do relacionamento amoroso, tal como na elegia erótica romana. A forte tradição da Antiguidade, por outro lado, também é modulada por conceitos trovadorescos e petrarquistas. A tradução foi feita em versos metrificados. No caso do dístico elegíaco, optou-se por um dístico composto por um verso dodecassílabo e um decassílabo.

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Bértola, Julián. "Ephraim of Ainos at work: a cycle of epigrams in the margins of Niketas Choniates." Byzantinische Zeitschrift 114, no. 3 (September 1, 2021): 929–1000. http://dx.doi.org/10.1515/bz-2021-0052.

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Abstract This article offers the first critical edition of a cycle of epigrams found in the margins of six manuscripts of Niketas Choniates’ History. This paper also proposes the attribution of the poems to Ephraim of Ainos, an author mainly known for his verse chronicle, which has Niketas Choniates as a source. Our poems occur in a group of manuscripts which we already knew Ephraim had used for his chronicle. Many formal parallels between the epigrams and the chronicle point to the same author and a book epigram connects one important manuscript with the city of Ainos. This paper reassesses the manuscript tradition of the epigrams with special emphasis on the marginalia of Niketas Choniates. The critical text of the poems is accompanied by two apparatuses and an English translation. The edition is preceded by some methodological considerations and followed by two appendices and three indices.

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Wieland, Gernot. "Roberto Gamberini, ed. Ruodlieb con gli epigrammi del codex latinus monacensis 19486: La formazione e Ie avventure del primo eroe cortese." Journal of Medieval Latin 14 (January 2004): 215–19. http://dx.doi.org/10.1484/j.jml.2.304225.

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Livingstone, Niall, and Gideon Nisbet. "IV Epigram in the Second Sophistic and After." New Surveys in the Classics 38 (2008): 118–39. http://dx.doi.org/10.1017/s0017383509990222.

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‘After [the Alexandrian era] comes nothing new but the jokes of Rome’, ‘corrupted by the lusts of Rome and the decadence of the East’. These and similar reactions to post-Hellenistic epigram – explicitly teleological and, from a twenty-first-century perspective, often startlingly racist – are typical of the late nineteenth century and much of the twentieth. Scholars felt almost as strongly about Greek epigrammatists under Rome as they did about Rome's own major epigrammatist, Martial (discussed in the previous chapter). His fellow travellers in genre came too late in epigram's history: they could not possibly be any good, and the public were advised to remain at a safe distance to avoid aesthetic and even sexual contamination. The interloper Martial had wrecked ancient epigram's manners and morals, and the Greeks who came after him could only sport grimly in the ruins: ‘The brothel and the grave are all that is left for Rufinus and his contemporaries. This revealingly overwrought response is essentially late Victorian, but its echoes are still felt; our final chapter will follow the trail of panic quotes back to John Addington Symonds and Uranian Love, laying bare the contingency and special pleading that lie behind any modern account of ancient epigram.

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Journal articles on the topic 'Epigrammi'

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