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1
Markwald, Georg. "Die homerischen Epigramme sprachliche und inhaltliche Untersuchungen /." Königstein/Ts : A. Hain, 1986. http://catalogue.bnf.fr/ark:/12148/cb34885579t.
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Ypsilanti, Maria. "An edition with commentary of selected epigrams of Crinagoras." Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405635.
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Rossi, Laura. "The epigrams ascribed to Theocritus : a method of approach /." Leuven ; Paris ; Sterling (Va.) : Peeters, 2001. http://catalogue.bnf.fr/ark:/12148/cb39233621x.
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Littlewood, Rosemary. "A comparison of the epigrams of Martial and John Owen." Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.634531.
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This comparison of the epigrams of Martial and Owen endeavours to assess whether the title of Martialis Redivivus, bestowed on Owen by scholars and critics as soon as his epigrams were first published, was justified. The comparison covers their lives, their literary output and problems of authorship against the background of life in the Roman Empire of the 1st century A.D. and the early Stuart period in England. Owen's contemporary popularity and later neglect is noticed. Their use of patronage is treated in detail and includes their own attitude to it, their relationship with their patrons and with the court. The subjects of their epigrams also receive detailed comment and comparison. These reveal the poets' own attitude to the genre of epigram and deal with the traditional themes of satiric verse as well as serious topics such as death, philosophy of life, friendship and especially Owen's strong support for the Protestant religion. Martial's and Owen's own epigrams are throughout quoted as important evidence. Their literary and linguistic technique is reviewed and Owen's debt to the Welsh Cynghanedd is noted. Finally some of the verdicts, past and present, on Owen as a writer are collated, before a final summary of similarities and differences. At the end an answer is attempted to the question posed at the beginning.
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Colton, Robert E. "Juvenal's use of Martial's epigrams : a study of literary influence /." Amsterdam : A.M. Hakkert, 1991. http://catalogue.bnf.fr/ark:/12148/cb36657664v.
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Ribeiro, Marcio Luiz Moitinha. "Epigramas de Henrique Caiado: estudo e tradução dos livros I e II." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-19012012-142630/.
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Focalizamos o estudo e a tradução dos livros I e II dos Epigramas do poeta renascentista português Henrique Caiado. A tese está dividida em três partes: a primeira diz respeito à vida e obras do poeta; depois passamos às origens do gênero epigramático, subdivididas nas origens propriamente ditas, nos tipos, nas características e nos poetas epigramáticos gregos e romanos; na última parte, a partir da tradução dos poemas originais fazemos um estudo analítico dos epigramas no qual tecemos comentários linguísticos, estilísticos, moralizantes e laudatórios. Nesses últimos analisamos alguns encômios que o poeta faz a personagens portugueses e italianos ilustres, e retiramos exemplos que comprovem nossas afirmações. Para a elaboração deste trabalho, servimo-nos sobretudo da edição, cada vez mais rara, do Corpus Illustrium Poetarum Lusitanorum do Pe. Antonio dos Reis e de Manuel Monteiro, editada em 1748 e fotocopiada gentilmente pelo professor Doutor Sebastião Tavares, da Universidade de Coimbra.We focus on the study and translation of Books I and II of epigrams of the Portuguese renaissance poet, Henrique Caiado. The thesis is divided into three parts: the first concerns the life and works of the poet, after we have the origins of the epigrammatic genre, subdivided into their respective origins, types, features, and the epigrammatic Greek and Roman poets; in the last part from the translation of the original poems, we make an analytical study of the epigrams in which we weave linguistic, stylistic, uplifting and laudatory comments. In the latter, we analyze a passage in which the poet extols the distinguished Portuguese and Italian characters always presenting examples which prove our claim. In carrying out this work, we used mainly the increasingly rare issue of the Corpus Illustrium Poetarum Lusitanorum of Father Antonio dos Reis and Manuel Monteiro, published in 1748 and kindly photocopied by Professor Dr. Sebastião Tavares of the University of Coimbra .
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Hayes, Sam Alexander. "Martial the book poet : contextu(r)alising the Flavian poetry book." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/26157.
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This thesis explores how the reader is invited to read the books of Martial’s Epigrams, arguing that the epigrammatist has arranged the poems in his libelli in a specific order that rewards a sequential reading of the text from start to finish. Instead of viewing Martial as an anthologist who collated a series of occasional poems for their later publication, the thesis demonstrates that the poet showed awareness of his epigrams’ position within a larger ‘contexture’, and that he primes the reader throughout the Epigrams to envisage the books as thematically unified wholes. By viewing the Epigrams as a text to be read from beginning to end, rather than a text to be excerpted and anthologised, one can read each epigram in the wider context of its book, and better appreciate that book’s structural unity. Chapter one introduces the issues at stake in how one reads a book of epigrams, and provides the thesis’ methodological approach. Special attention is paid to the phenomenology of reading as a hermeneutic act, drawing together approaches to the Epigrams from classical scholarship as well as from reception and comic book theories to detail the method of ‘cumulative reading’ employed in the thesis. The second chapter then examines how Martial characterises the lector studiosus in his text, and how this depicted reader acts as a model for the actual reader to follow in their own sequential reading of the Epigrams. Chapter three focuses on Epigrams 7, demonstrating that the opening poems of the book establish the emperor Domitian as a thematic centrepiece around whom the rest of the book’s themes cluster. The fourth chapter also examines book 7, demonstrating how two different uses of watery motifs develop their individual thematic unity across the book, while also linking themselves back to the book’s opening imperial cycle to craft an overarching structural unity for the libellus. Chapter five then gives an overview of the larger structure of the Epigrams, arguing that the paratextual prose prefaces in books 1, 2, 8, 9, and 12 reinforce the individuality of the books they precede as well as establishing their own place within the wider corpus. Overall, this thesis puts the epigrammatic libellus back into the context of late first century AD book culture, emphasising that Martial paid attention not only to his epigrams’ position within their own books, but also their place within the wider corpus.
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Stevenson, Harald Edward. "The French and neo-Latin epigram (1530-1560)." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648873.
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Carson, Keiran Desmond. "A commentary on the prose preface and epigrams 1-20 of Martial Book 12." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12530/.
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This PhD thesis provides a commentary for the prefatory epistle and the opening twenty epigrams of Martial Book 12. The texts will be analysed through an interpretative method and focus will be placed upon intra- and intertextual references in order to orientate the work within the broader framework of Ancient literature. Beyond the concentration upon literary allusions, attention will be paid to metrical and philological concerns in order to distinguish Martial’s particular techniques and innovations from conventional or generic usages. Each text will be accompanied with a translation and an introductory essay, which will focus upon the structure, style and content of the text, in order to provide a clear and unambiguous interpretation for each work. A supplementary thematic essay will also be supplied, when it is necessary to pursue particular points that cannot be catered for in the lemmatised entries or the initial essay on the content and structure of each text.
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Althaus, Thomas. "Epigrammatisches Barock." Berlin : De Gruyter, 1996. http://books.google.com/books?id=3zZZAAAAMAAJ.
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Cameron, Anne Louise. "The English translation of seventeenth-century French lyric poetry and epigrams during the Caroline period." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2531/.
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This doctoral thesis is the first comprehensive study of contemporary English translations of French lyric poetry during the Caroline period. While there has been extensive study of translations from French literature of other genres, notably drama, translations of lyric poetry have been largely ignored. The thesis examines the translations within the context of literary and cultural trends in France and England during the seventeenth century. Differing cultural tendencies and reader expectations are evident both in the selection of particular poems for translation, and in the changes translators made to their source texts. Chapter one contains background information on the social and literary relations between France and England during the seventeenth century, and an overview of the social and political conditions in which poetry was written in each country. Chapter two investigates where and how translators obtained the texts of the poems they translated, and in particular the use of the recueils collectifs as sources for translations. Chapters three, four and five provide a thematic overview of the most significant and interesting translations. The themes chosen - eroticism, love and nature - constitute those most popular with translators, and the representation of these themes in both the original poems and the translations is closely connected to wider literary and cultural tendencies in both France and England. Having provided a thematic overview of the translations, chapters 6 and 7 examine some of the more technical and linguistic aspects of the practice of translating from contemporary French poetry in Caroline England. Chapter seven studies the translation of the French lyric voice, and the effects of this on the representation of themes, particularly love and nature. Chapter eight examines the English treatment of some aspects of seventeenth-century French prosody, placing these and the changes made by translators in the context of prosodic developments in both France and England. The conclusion highlights patterns identified in translators' handling of the source texts; these draw attention to the literary and cultural differences between France and England in the seventeenth century, and demonstrate that French poetry is altered in English translation to suit the tastes of translators and their intended English readership.
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Talib, Adam. "Out of many, one : epigram anthologies in pre-modern Arabic literature." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:fed5b992-9403-4f79-aa6f-92a9b5dd7406.
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This is the study of a previously neglected genre in pre-modern Arabic literature: the (poetic) epigram anthology. The epigram anthology was pioneered by a handful of poets in 14th-century Syria, but the genre was soon taken up by anthologists across the pre-modern Middle East and soon became one of the most popular types of Arabic poetry up until the modern period. This study is divided into two parts. Part One deals with critical issues in literary history and comparative literature, while Part Two is made up of three encapsulated studies on specific aspects of the social and literary (structural and textual) composition of the texts. In Part One, the epistemological background of the terms epigram and anthology is surveyed and their suitability for application to pre-modern Arabic literature is evaluated. Part One also includes a comprehensive history of the maqāṭīʿ (sing. maqṭūʿ, also maqṭūʿah) genre in Arabic as well as a detailed explication of this style of poetry, its anthological context, its generic status in the Arabic literary tradition, and its relation to the wider world-literary category of epigram. The three chapters of Part Two are devoted to the social network of anthologists and poets, the structure and composition of the anthologies themselves, and the way in which anthologists used a technique, which is called ‘variation’ in this study, to link the cited poetic material into an organic whole respectively. NB: This is a literary-historical study informed by the discipline of comparative literature; it is not primarily a philolological, biographical, or codicological investigation. The literary material presented here is what has been deemed most relevant for the purposes of the larger generic discussion at the centre of this literary-historical study. An annotated bibliography of unpublished sources is provided in an appendix in order to help the reader navigate the tricky present status of many Mamluk and Ottoman era sources.
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Francis, Charlotte, and n/a. "Martial Epigrammata Book X : a commentary." University of Otago. Department of Classics, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070614.133509.
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This thesis represents the first full-scale commentary on Book 10 of Martial�s Epigrams. Jenkins� commentary on Book 10, a thesis from Cambridge in 1982, is the other detailed commentary on Book 10, but examines only 23 of the 104 epigrams from the book, selected according to significance or as being representative of broad categories and themes. My primary purpose is to present a literary analysis of the complete book, taking into account the literary tradition, and explaining the poems from a historical, social and political perspective. Most commentaries follow a traditional approach where the focus is investigation of the philological aspects of each epigram. These commentaries in their analysis of individual poems often fail to provide insight into Martial�s literary intentions for a particular poem, and the book as a coherent whole is generally not taken into consideration. My commentary provides an exploration of programmatic and structural issues which contribute to the book�s thematic continuity and unity. Aspects for consideration include the function and application of themes and motifs throughout the book, interrelationships of poems and their position within the book. Examination of these features is fundamental towards understanding Martial�s literary objectives in Book 10.
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McIntosh, Gillian Elizabeth. "Haec est illa meis multum cantata libellis, an investigation of female personae in the epigrams of martial." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22348.pdf.
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Dogan, Gurkan. "Pragmatics of indeterminacy and indirectness of meaning : A relevance-theoretic approach to epigrams and graffiti in Turkish." Thesis, University of Manchester, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690046.
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Vellardi, Sara. "Hominem pagina nostra sapit. Mart. 10, 1-4; 6-19; 21-30: introduzione, testo critico e commento." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3424045.
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This doctoral thesis analyses the epigrams 1-4, 6-19, 21-30 in the tenth book of Marcus Valerius Martialis. For each of the compositions it provides a critically revised text and a commentary for lemmata, which addresses philological, stylistic, historical and antiquarian issues. This work opens with a general introduction and closes with a critical bibliography. The establishment of the critical text was based both on the most important medieval manuscripts of the three families and on the humanistic tradition of Epigrams. The apparatus systematically records every variant reading of the medieval manuscripts, as well as the significant variants of the main incunabula, of the first two Aldine editions and of the text commented by the humanist Domitius Calderinus. The general introduction focuses on issues of the text history and on questions related to the second edition of the tenth book. Finally, the late ancient, medieval and humanistic tradition of the text of Martial has been thoroughly discussed.Questa tesi di dottorato analizza gli epigrammi 1-4; 6-19; 21-30 del decimo libro di Marco Valerio Marziale. Per ciascuno dei componimenti si fornisce un testo criticamente riveduto e un commento per lemmata, che affronta questioni di carattere filologico, stilistico e storico-antiquario; aprono e chiudono il lavoro un’introduzione generale e una bibliografia critica. Per l’allestimento del testo critico sono stati visionati i principali manoscritti medievali delle tre famiglie; è stata inoltre considerata la tradizione umanistica degli Epigrammi. L’apparato registra sistematicamente tutte le lezioni dei codici, nonché le varianti significative dei principali incunaboli, delle prime due edizioni Aldine e del testo su cui l’umanista Domizio Calderini ha realizzato il suo commento. L’introduzione generale si concentra su questioni di cronologia e sulle problematiche connesse alla seconda edizione del decimo libro, nella quale ci sono giunti gli epigrammi; ampio spazio è poi dedicato alla discussione sulla tradizione tardoantica, medievale e umanistica del testo di Marziale.
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Penzel, Joachim. "Variation und Imitation : ein literarischer Kommentar zu den Epigrammen des Antipater von Sidon und des Archias von Antiocheia /." Trier : WVT, Wiss. Verl. Trier, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2853122&prov=M&dok_var=1&dok_ext=htm.
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Amaral, Flavia Vasconcellos. "A guirlanda de sua guirlanda. Epigramas de Meleagro de Gadara: tradução e estudo." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-02122009-120722/.
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O objetivo deste estudo é analisar como a caracterização das personagens Zenófila, Heliodora e Misco, presentes nos epigramas de Meleagro de Gadara (séc. I a.C) serviu de base em diversas instâncias para o restante dos poemas do autor, atuando, portanto, no processo criativo e editorial do poeta. Parte deste estudo também é a tradução integral dos epigramas de Meleagro em português.The aim of this study is to analyze how the characterization of Zenophila, Heliodora and Myiscus, present in the epigrams of Meleager of Gadara (I b.C.), functioned as the bases, in various ways, for the rest of the authors poems, acting, therefore, in the creation and editorial process followed by the poet. A complete translation of Meleagers epigrams in Portuguese is also provided.
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Cesila, Robson Tadeu. "O palimpsesto epigramatico de Marcial : intertextualidade e geração de sentidos na obra do poeta de Bilbilis." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271117.
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Orientador: Paulo Sergio de VasconcellosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Como todo e qualquer texto, os epigramas do poeta latino Marco Valério Marcial (c. 38 d.C.- c. 104) são formados pela absorção e assimilação de outros textos, com os quais dialogam e aos quais aludem das mais diversas formas e por meio dos mais diferentes mecanismos. Tais alusões ou intertextos, ao incorporarem, aos textos de Marcial, elementos temáticos ou formais trazidos dos textos aludidos, geram novos significados nos epigramas do autor, tornando a sua leitura mais rica e instigante. Paralelamente, a leitura dos textos aludidos ¿ os modelos ¿ também é enriquecida e influenciada. Nosso recorte, no presente trabalho, contempla o estudo dos intertextos que relacionam os epigramas de Marcial com as obras dos poetas latinos Catulo, Virgílio e Ovídio, buscando mostrar como se dá a incorporação, pelo poeta de Bílbilis, dos elementos emprestados dos textos desses autores e como tais elementos enriquecem com novos sentidos a leitura de todos os textos envolvidos
Abstract: Like any text, the epigrams of the Latin poet Martial (c. A.D. 38 ¿ c. 104) are composed by the absorption and assimilation of other texts, with which they dialogue and to which they allude in very different ways and in very different mechanisms. When these allusions or intertexts incorporate into the Martial¿s texts elements of form or content brought from the texts alluded, they create new meanings in the poet¿s epigrams, so that reading grows richer and gripping. At the same time, the reading of the texts alluded ¿ the models ¿ is also enriched and influenced by the epigrams. In this thesis, we study the intertextual relationships between the Martial¿s epigrams and the works of the Latin poets Catullus, Virgil and Ovid; then, we try to show how the poet from Bilbilis incorporated into his texts borrowed material from those authors and how that material enriches the reading of all texts involved with new meaning
Doutorado
Linguistica
Doutor em Linguística
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Amaral, Flavia Vasconcellos. "Brindai enquanto podeis! O simpósio nos epigramas fúnebres do Livro VII da Antologia Grega." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-13032019-102855/.
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Por se tratar de um gênero flexível, o epigrama pode ser analisado em conjunto ou sozinho, propiciando diferentes recortes e abordagens metodológicas. Estudos acerca do epigrama fúnebre geralmente analisam os poemas de acordo com temas afins focando nos mortos: guerreiros mortos, mulheres mortas no parto, mortos no mar dentre outros. No entanto, uma abordagem dos epigramas fúnebres com visão descentralizada do morto permite investigação mais ampla de outros temas. Desse modo, a presente tese partiu dos estudos de Giuseppe Giangrande, Francis Cairns e Alexander Sens sobre epigramas fúnebres que lançam mão de elementos simposiais no intuito de analisar a função de tais elemento e verificar de que maneira os simposiais presentes nos epigramas fúnebres se perpetuam ou se modificam. Para tanto, foram selecionados epigramas do livro VII da Antologia Grega que possuem léxico simposial e fúnebre e, a partir dos identificados, foram configurados três grupos: 1) os dedicados ao poeta Anacreonte, 2) os dedicados às mulheres bêbadas e 3) os dedicados aos homens bêbados. Nos epigramas dedicados a Anacreonte, pode-se constatar que os elementos simposiais resgatam sua poesia e a filiam aos epigramatistas por meio da transformação do espaço funerário e das relações entre o transeunte-leitor e o poeta. Nos poemas dedicados às mulheres bêbadas, o consumo do vinho e o enterramento próximo aos locais de produção dele ressaltam a mobilidade das anciãs, o distanciamento de seus familiares e o caráter cômico das mortas por conta da caracterização da bebedeira. Por fim, nos epigramas fúnebres dedicados aos homens bêbados, evidenciam-se a moderação e a imoderação diante do consumo de vinho. Em alguns, a moderação está alinhada ao conceito poético de composição. Em outros, o excesso de vinho causa acidentes retratados com tom cômico e que advertem o transeunte-leitor a não cometer os mesmos erros. Outro grupo de epigramas se vale das referências simposiais para criar enigmas ao transeunte-leitor. O último, por sua vez, é composto por epitáfios para filósofos mortos por bebedeira. Evidencia-se aqui a tensão entre a moderação e os ensinamentos filosóficos, permeados pelos tons anedótico e cômico. Sugere-se, portanto, que a presença de elementos simposiais adquire função distinta de acordo com o grupo de mortos. Isto posto, observa-se que os epigramas do corpus de diferentes séculos lançam mão de simposiais que passam a ganhar nuances distintas. Isso permite afirmar que os epigramas fúnebres com elementos simposiais perpetuam a tensão criativa entre a tradição e a inovação, conceitos debatidos por Marco Fantuzzi e Richard Hunter, para além do período helenístico.Because it is a flexible genre, the epigram can be analyzed in groups or alone. It provides researchers with different possibilities of epigram grouping and methodological approaches. Studies on funerary epigram frequently analyze the poems according to related themes focusing on the dead: dead warriors, women dead in childbirth, dead in the sea among others. However, an approach to funerary epigrams which does not focus on the dead allows a broader investigation of other themes. Thus, the present thesis was based on the studies of Giuseppe Giangrande, Francis Cairns and Alexander Sens on funerary epigrams that use sympotic elements in order to analyze the function of such elements and to verify how the sympotic found in funerary epigrams continue being used of if they suffer modifications. In order to do so, we selected epigrams from Book VII of The Greek Anthology that display sympotic and funerary lexicon and, departing from the , three groups of epigrams were identified: 1) those dedicated to the poet Anacreon, 2) those dedicated to drunk women and 3) those dedicated to drunk men. In epigrams dedicated to Anacreon, sympotic elements recover his poetry and connect it to the epigrammatists by means of the transformation of the funeral space and the relationship between the passerby and the poet. In poems dedicated to drunken women, the consumption of wine and their burial near places of wine production emphasize the mobility of old women, their distancing from their relatives and the comic character of the dead women due to the characterization of their drunkenness. Finally, in the funerary epigrams dedicated to drunken men, moderation and immoderation are evident. In some, moderation is aligned with poetic composition. In others, the excess of wine causes accidents portrayed with comic tone. These epigrams warn the passerby not to make the same mistakes as the dead they commemorate. Another group of epigrams uses sympotic references to create charades to the passerby. The last group, in turn, is composed by epitaphs for philosophers killed by drunkenness. Here we see the tension between moderation and philosophical teachings permeated by the anecdotal and comic tone. It is suggested, therefore, that the presence of sympotic elements acquires a different function according to the group of dead. Thus, it is observed that, although the epigrams were composed in different centuries, the portrayed gain different nuances, which allows us to conclude that funerary epigrams with sympotic elements also reflect the creative tension between tradition and innovation, as debated by Marco Fantuzzi and Richard Hunter.
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Spingou, Foteini. "Words and artworks in the twelfth century and beyond : the thirteenth-century manuscript Marcianus gr. 524 and the twelfth-century dedicatory epigrams on works of art." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:bd537f93-ab26-4a0c-8ee3-658da343effa.
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The thesis is divided into three sections. The first section discusses the manuscript Marcianus graecus 524, the second looks at the Greek text of the dedicatory epigrams on works of art from the same manuscript, and the third puts these texts in their context. In the first part, the compilation of the manuscript is analysed. I suggest that the manuscript was copied mainly by one individual scribe living in Constantinople at the end of the thirteenth century. He copied the quires individually, but at some point he put all these quires together, added new quires, and compiled an anthology of poetry. The scribe’s connection to the Planudean School and the Petra monastery in Constantinople is discussed. Although their relationship remains inconclusive, the manuscript provides evidence regarding the literary interests of late-thirteenth-century intellectuals. The second part contains thirty-five unpublished dedicatory epigrams on works of art. New readings are offered for the text of previously published epigrams. The third section analyses the dedicatory epigrams on works of art in their context. The first chapter of this section discusses the epigrams as Gebrauchstexte, i.e. texts with a practical use. The difference between epigrams intended to be inscribed and epigrams intended to be performed is highlighted. In the next chapter of this part, La poésie de l’objet, the composition of the dedicatory epigrams is discussed. The conventional character of the epigrams suggests that the poetics express the ritual aspect of the epigram. The last chapter considers the texts from a more pragmatic angle. After a short discussion of the objects on which the epigrams were written, the mechanisms of the twelfth-century art market are presented based on evidence taken mainly from the epigrams. At the end of this part, conclusions are drawn on the understanding of these texts in the twelfth century.
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PEZZOTTI, MARIA PAOLA. "EPIGRAMMA E MUSICA. ELEMENTI E SUGGESTIONI MUSICALI NELL'EPIGRAMMA GRECO DI ETA' ELLENISTICA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3374.
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Partendo da un punto di vista lessicale, la ricerca si ripropone di investigare la presenza di elementi musicali all’interno della produzione epigrammatica del periodo ellenistico, con riferimenti, talora, anche ad autori più tardi.
Sono stati analizzati due tipi di fonti: epigrammi di tradizione letteraria (che includono componimenti dall’Anthologia Palatina, dal Nuovo Posidippo, e dal materiale raccolto da Gow e Page) ed epigrafi (che comprendono iscrizioni dagli Steinepigramme aus dem Griechischen Osten e dalle Inscriptions métriques de l’Égypte greco-romain), in modo tale da poter agire su un campo di indagine coerente e bilanciato.
Il materiale è stato articolato in due sezioni principali, “Mousikà stoikheia” e “Organikè mousa”, rispettivamente dedicate alle categorie musicali e agli strumenti musicali.
L’analisi, partendo dalla ricostruzione della potenzialità semantica di ogni termine, basata sull’origine etimologica e sullo sviluppo letterario e teorico, e procedendo attraverso l’interpretazione delle occorrenze più significative all’interno dei testi epigrammatici, evidenzia una particolare sensibilità verso la componente musicale, richiamando sia la terminologia specifica musicale sia, più spesso, il tradizionale trattamento di alcuni temi appartenenti alla tradizione letteraria.
Il presente lavoro include anche una Appendice finale, nella quale sono indicizzati i termini emersi durante l’indagine testuale.Starting from a lexical point of view, this research aims at investigating the presence of musical elements within the epigrammatic production of the Hellenistic period, with references also to later authors. Two kinds of sources have been analysed: literary epigrams (including poems from the Greek Anthology, the New Posidippus, and the material collected by Gow-Page) and epigraphic epigrams (including inscriptions from Steinepigramme aus dem Griechischen Osten and Inscriptions métriques de l’Égypte greco-romain), in order to have a coherent and balanced field of investigation. The material has been divided into two main parts, “Mousikà stoikheia” and “Organikè mousa”, referred to musical categories and musical instruments. The analysis, starting from the reconstruction of the potential musical meaning of each term, based on etymology and literary and theoretical development, and going on through the interpretation of the most relevant occurrences of the term in epigrammatic texts, shows a particular sensibility towards the musical element, recalling both the terminology of musical theory and, more often, the traditional treatment of some themes belonging to the literary tradition. A final Appendix provides an index with the terms found during the textual investigation.
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PEZZOTTI, MARIA PAOLA. "EPIGRAMMA E MUSICA. ELEMENTI E SUGGESTIONI MUSICALI NELL'EPIGRAMMA GRECO DI ETA' ELLENISTICA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3374.
Full textAbstract:
Partendo da un punto di vista lessicale, la ricerca si ripropone di investigare la presenza di elementi musicali all’interno della produzione epigrammatica del periodo ellenistico, con riferimenti, talora, anche ad autori più tardi.
Sono stati analizzati due tipi di fonti: epigrammi di tradizione letteraria (che includono componimenti dall’Anthologia Palatina, dal Nuovo Posidippo, e dal materiale raccolto da Gow e Page) ed epigrafi (che comprendono iscrizioni dagli Steinepigramme aus dem Griechischen Osten e dalle Inscriptions métriques de l’Égypte greco-romain), in modo tale da poter agire su un campo di indagine coerente e bilanciato.
Il materiale è stato articolato in due sezioni principali, “Mousikà stoikheia” e “Organikè mousa”, rispettivamente dedicate alle categorie musicali e agli strumenti musicali.
L’analisi, partendo dalla ricostruzione della potenzialità semantica di ogni termine, basata sull’origine etimologica e sullo sviluppo letterario e teorico, e procedendo attraverso l’interpretazione delle occorrenze più significative all’interno dei testi epigrammatici, evidenzia una particolare sensibilità verso la componente musicale, richiamando sia la terminologia specifica musicale sia, più spesso, il tradizionale trattamento di alcuni temi appartenenti alla tradizione letteraria.
Il presente lavoro include anche una Appendice finale, nella quale sono indicizzati i termini emersi durante l’indagine testuale.Starting from a lexical point of view, this research aims at investigating the presence of musical elements within the epigrammatic production of the Hellenistic period, with references also to later authors. Two kinds of sources have been analysed: literary epigrams (including poems from the Greek Anthology, the New Posidippus, and the material collected by Gow-Page) and epigraphic epigrams (including inscriptions from Steinepigramme aus dem Griechischen Osten and Inscriptions métriques de l’Égypte greco-romain), in order to have a coherent and balanced field of investigation. The material has been divided into two main parts, “Mousikà stoikheia” and “Organikè mousa”, referred to musical categories and musical instruments. The analysis, starting from the reconstruction of the potential musical meaning of each term, based on etymology and literary and theoretical development, and going on through the interpretation of the most relevant occurrences of the term in epigrammatic texts, shows a particular sensibility towards the musical element, recalling both the terminology of musical theory and, more often, the traditional treatment of some themes belonging to the literary tradition. A final Appendix provides an index with the terms found during the textual investigation.
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Agnolon, Alexandre. "Uns epigramas, certas mulheres: a misoginia nos \"Epigrammata\" de Marcial (40 d.C - 104 d.C)." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-10012008-112116/.
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O presente trabalho tem por objetivos: em primeiro lugar, arrolar, traduzir e analisar epigramas de Marcial em que a mulher é objeto de invectiva; em segundo lugar, visa a rastrear, na tradição anterior ao poeta, o tema da misoginia, desde Hesíodo, no célebre episódio de Pandora (Teogonia, vv. 570- 612), passando pelos poetas iâmbicos arcaicos (Arquíloco, Hipônax e Semônides), até o uso que poetas latinos, como Catulo, Horácio e Juvenal, fizeram do tema, entendido agora como tópos. Em terceiro lugar, o presente trabalho pretende observar de que maneira o epigrama, ou melhor, sua possibilidade invectiva, se apropriou da misoginia, adequando-a às características principais do gênero, a saber, brevidade e agudeza, e, finalmente, tentar demonstrar que o vitupério a mulheres em Marcial é regulado e percebido mediante práticas retóricas (como os progymnásmata) e alguns trópoi (como a écfrase), que à época do poeta participavam da formação educacional do cidadão. Nesse sentido, pretendemos estudar particularmente as relações que a invectiva mantém, nos epigramas de Marcial, com a construção de imagens viciosas de mulher e suas relações com o gênero epidítico.The aims of the present work are first, to list, translate and analyse Martial\'s epigrams in which women are the object of invective; second, to try to investigate, in the former tradition, the theme of misogyny, both in Greece (from Hesiod, in the celebrated episode of Pandora (Teogony, vv. 570-612), to the archaic iambic poets, Archilochus, Hipponax and Semonides), and in Rome (how misogyny, as a tópos, is treatead by Catullus, Horace and Juvenal). In the third place, the present research intends to study in what manner epigram, or more precisely, its vituperative possibility, appropriated the theme of misogyny, adapting it to the main characteristics of the genre, such as conciseness and acuteness. Finally, we attempt to demonstrate that the vituperation against women, in Martial, is regulated and perceived through various rhetorical practices (such as the progymnásmata) and trópoi (such as ekphrasis) that at the poet\'s time were an important part of the citizen\'s education. Therein, we intend to study, in particular, the analogies that the invective maintain, in Martial\'s epigrams, non only with the construction of images in which women are corrupted, but also with the relationship between these images and the epidictic genre.
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Agnolon, Alexandre. "A Festa de Saturno: o Xênia e o Apoforeta de Marcial." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-02102013-111443/.
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Trataremos de dois livros de epigramas do poeta latino Marcial: Xênia e Apoforeta, dados a lume, respectivamente, nas Saturnais de 83 (ou 84) e 85 d.C. sob o principado de Domiciano. Nosso objetivo, em primeiro lugar, será discutir as características intensamente apotropaicas e propiciatórias tanto das Saturnais, como do próprio deus Saturno a despeito dos elementos lúgubres comumente a ele associados , para, em seguida, tentar demonstrar de que maneira a festividade romana interfere na fruição dos epigramas que compõem as referidas recolhas e exige que o poeta abandone, temporariamente, a comum acerbidade de seus versos. Tanto pelas Saturnais constituírem o princípio de unidade desses livros, como por Marcial buscar emular um conjunto de tratados antigos de natureza jocosa, populares durante os festejos consagrados a Saturno, acreditamos que o poeta legitima a existência de novo subgênero epigramático que é corolário das próprias Saturnais romanas. No final, apresentamos, como resultado de nossa investigação, tradução poética de Xênia e Apoforeta, inédita em língua portuguesa.We will discuss two books of epigrams by the Latin poet Martial: Xenia and Apophoreta, published, respectively, in the Saturnalia of 83 (or 84) and 85 A.D. under the reign of Domitian. Our goal, in the first place, is to discuss the highly apotropaic and propitiatory features of both the Saturnalia, as the god Saturn itself despite the gloomy elements commonly associated with him. Then well try to demonstrate how the Roman festival interferes with the fruition of the epigrams in these collections, and demands that the poet abandons temporarily the common poignancy of his verses. Not only because Saturnalia constitute the principle of unity of these books, but because Martial seek to emulate a set of ancient treatises of facetious nature, popular during the festival dedicated to Saturn, we believe that the poet legitimate the existence of new epigrammatic subgenre which is corollary of the very Roman Saturnalia. Finally, we will present as a result of our investigation an original translation into Portuguese verse of Xenia and Apophoreta.
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Kanellou, M. "Erotic epigram : a study of motifs." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1387206/.
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My thesis forms the first book-length project to examine together Greek epigrams which date from the Hellenistic to the early Byzantine period within larger hermeneutic frames. It examines the life-cycle of four motifs, especially within the erotic subgenre, in order to reassess the genre’s inter-/ intra-generic dynamics and the factors that influenced its development through the centuries. The first chapter is devoted to epigrams where the lamp takes on various roles. Through their detailed analysis a fundamental narrative technique of the whole subgenre is disclosed: objects are employed to portray emotions. I also uncover the seriocomic tone of these poems. Their seriousness derives from the exploration of emotions in a plausible manner. However, the lover’s reaction can be judged as humorous by a detached reader. In the second chapter, I study epigrams that employ sea/ nautical metaphors in order to explore the intra-generic and intra-textual dynamics in the use of metaphorical language within the subgenre: the epigrammatists use metaphors to approach a topic from a variety of angles, while simultaneously securing narrative economy because metaphors can create multiple associations. Moreover, I explore through these metaphors the complex intra-generic dynamics of poetic rivalry and imitation. In the third chapter, I shed light on the development of the motif of the comparison of a woman with Aphrodite. I exemplify how a set of intra-generic, chronological, religious, and political factors influence its transformations in the work of different epigrammatists. Furthermore, I examine the goddess’ use as a metonymy and its semantic flexibility. In the fourth chapter, I study Eros’ representations in art and epigrams and unveil the ‘common codes’ existing in these two media for the crystallisation of emotions and ideas on love through the god’s portrayals. I analyse in detail three depictions of him, whose roots can be detected back to lyric poetry, in order to demonstrate how the epigrammatists handled and refreshed the inherited material. My research concludes with the study of the multidimensional use of the plural love gods (the Erotes). My thesis looks deep into the inner-workings of ancient Greek epigram, especially of its erotic subtype, and proves how sophisticated these poems are. It explores the complex combination of the elements of stability, adaptability, and change which played a key-role in the genre’s development, and moreover, significantly enriches our understanding of individual epigrams as it locates them within larger frames of interpretation.
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RAPELLA, ESTER. "GLI EPIGRAMMI DI MNASALCE DI SICIONE. INTRODUZIONE, TRADUZIONE E COMMENTO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58406.
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La ricerca è dedicata all’analisi della poesia e della poetica di Mnasalce di Sicione, epigrammatista greco della metà del III sec. a.C. La prima parte del lavoro consiste in un’introduzione generale relativa a tutti gli aspetti più importanti concernenti il poeta e la sua opera: dati biografici e cronologia; fonti degli epigrammi, con particolare attenzione a P. Köln V 204; sottogeneri epigrammatici coltivati; lingua e stile; usi metrici e prosodici. La seconda parte, che costituisce il corpo principale della tesi, è invece dedicata all’analisi dei singoli epigrammi, disposti secondo un criterio tematico. Il corpus esaminato consta di ventiquattro componimenti, di cui due dubbi; rispetto alle precedenti edizioni commentate di W. Seelbach (1964) e di A.S.F. Gow e D.L. Page (1965), esso risulta ampliato da cinque nuovi epigrammi conservati da P. Köln V 204 e dal dubbio SGO I 06/02/05. Di ciascun componimento si presenta il testo, corredato di traduzione e apparato critico, e, dopo una breve introduzione, il commento lemmatico, volto a evidenziare le relazioni di transtestualità intessute da Mnasalce e gli elementi di continuità e innovazione rispetto alla tradizione epigrammatica, sia letteraria che epigrafica. Il lavoro comprende inoltre un index verborum.The research is focused on the poetry and poetics of Mnasalces of Sicyon, a Greek epigrammatist of the middle of the III century B.C. The first part of the dissertation is a general introduction that deals with all the most important aspects concerning the poet and his work: biographical information and chronology; sources of the epigrams, with particular attention to P. Köln V 204; epigrammatic subgenres; language and style; metrics and prosody. The second part, which represents the main body of the dissertation, is devoted to the analysis of the epigrams, arranged thematically. The examined corpus consists of twenty-four poems, including two dubia; the corpus of the previous editions by W. Seelbach (1964) and A.S.F. Gow and D.L. Page (1965) is thus enriched by five new epigrams from P. Köln V 204 and the dubium SGO I 06/02/05. The critical text of each poem is followed by a translation, a brief introduction and a word-by-word commentary, aimed at investigating the elements of transtextuality and those of continuity and innovation in relation to the epigrammatic tradition, both literary and epigraphic. The dissertation also includes an index verborum.
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RAPELLA, ESTER. "GLI EPIGRAMMI DI MNASALCE DI SICIONE. INTRODUZIONE, TRADUZIONE E COMMENTO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58406.
Full textAbstract:
La ricerca è dedicata all’analisi della poesia e della poetica di Mnasalce di Sicione, epigrammatista greco della metà del III sec. a.C. La prima parte del lavoro consiste in un’introduzione generale relativa a tutti gli aspetti più importanti concernenti il poeta e la sua opera: dati biografici e cronologia; fonti degli epigrammi, con particolare attenzione a P. Köln V 204; sottogeneri epigrammatici coltivati; lingua e stile; usi metrici e prosodici. La seconda parte, che costituisce il corpo principale della tesi, è invece dedicata all’analisi dei singoli epigrammi, disposti secondo un criterio tematico. Il corpus esaminato consta di ventiquattro componimenti, di cui due dubbi; rispetto alle precedenti edizioni commentate di W. Seelbach (1964) e di A.S.F. Gow e D.L. Page (1965), esso risulta ampliato da cinque nuovi epigrammi conservati da P. Köln V 204 e dal dubbio SGO I 06/02/05. Di ciascun componimento si presenta il testo, corredato di traduzione e apparato critico, e, dopo una breve introduzione, il commento lemmatico, volto a evidenziare le relazioni di transtestualità intessute da Mnasalce e gli elementi di continuità e innovazione rispetto alla tradizione epigrammatica, sia letteraria che epigrafica. Il lavoro comprende inoltre un index verborum.The research is focused on the poetry and poetics of Mnasalces of Sicyon, a Greek epigrammatist of the middle of the III century B.C. The first part of the dissertation is a general introduction that deals with all the most important aspects concerning the poet and his work: biographical information and chronology; sources of the epigrams, with particular attention to P. Köln V 204; epigrammatic subgenres; language and style; metrics and prosody. The second part, which represents the main body of the dissertation, is devoted to the analysis of the epigrams, arranged thematically. The examined corpus consists of twenty-four poems, including two dubia; the corpus of the previous editions by W. Seelbach (1964) and A.S.F. Gow and D.L. Page (1965) is thus enriched by five new epigrams from P. Köln V 204 and the dubium SGO I 06/02/05. The critical text of each poem is followed by a translation, a brief introduction and a word-by-word commentary, aimed at investigating the elements of transtextuality and those of continuity and innovation in relation to the epigrammatic tradition, both literary and epigraphic. The dissertation also includes an index verborum.
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Silva, Douglas Cristiano. "Escrever, sobrescrever: metalinguagem nos epigramas de Calímaco." Universidade Federal de Minas Gerais, 2014. http://hdl.handle.net/1843/ECAP-9KQHTX.
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Esta dissertação pretende analisar os epigramas de Calímaco com claro teor metalinguístico (2, 6, 7, 8, 11, 16, 27, 28, 38, 46 e 52 Pf.) em busca da compreensão de uma poética calimaquiana e do seu posicionamento nas questões poéticas de seu tempo. Para tanto, estabelece um diálogo desses epigramas com o restante de sua obra, com a poesia anterior e com a de seus contemporâneos, a partir de termos centrais como leptós, katharós e hodós.
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Campbell, Charles. "Poets and Poetics in Greek Literary Epigram." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384333736.
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Coughlan, Taylor. "The Aesthetics of Dialect in Hellenistic Epigram." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459440096.
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Cesila, Robson Tadeu. "Metapoesia nos epigramas de Marcial : tradução e analise." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271121.
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Orientador: Paulo Sergio de VasconcellosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Dos cerca de 1550 epigramas de Marco Valério Marcial (ca.38-41d.C. ¿ ca.101- 102), poeta epigramatista latino nascido em Bílbilis, na Hispânia Tarraconense, muitos têm como tema a própria arte de fazer epigramas, assim como outros aspectos poético- literários: os traços principais do gênero epigramático, o caráter ¿menor¿ do gênero em relação à poesia tradicional greco-latina, a crítica a produções literárias de outros autores, as condições de produção e de transmissão da poesia epigramática na Roma imperial, o problema do plágio, a parca gratificação do trabalho do poeta, etc. Nesta pesquisa, pretendemos identificar, traduzir e analisar, nos quinze livros que compõem a obra de Marcial, todos os epigramas que tratam dos temas acima, descrevendo a maneira como o autor aborda, dentro de sua poesia, os aspectos que dizem respeito a ela própria (metapoesia)
Abstract: Many of approximately 1550 epigrams written by Marcus Valerius Martialis (A.D. c.38-41d - A.D. c.101-102), Latin epigrammatist poet born in Bilbilis, in Hispania Tarraconensis, have as its subject matter the very art of making epigrams, along with other poetic-literary features, such as all of the principal characteristics of the epigrammatic genre, as well as the "minor" aspects of the genre in terms of the traditional Greek-Latin poetry, such as the censure to the literary works of other authors, the conditions of production and transmission of the epigrammatic poetry in Imperial Rome, the problem of plagiarism, the low financial compensation of the poet¿s activity, etc. Hear, we intend to identify, translate and analyze, in the fifteen books that compose the work of Martial, all the epigrams that deal with the topics above, describing the way the author treats in his poetry the very features of his own art (metapoetry)
Mestrado
Mestre em Linguística
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Graziani, Federico <1988>. "Epigrafi volgari venete del Trecento." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3846.
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La tesi consiste in una schedatura di epigrafi volgari venete trecentesche della terraferma. Le iscrizioni sono state oggetto di esame in loco, durante il quale sono state fotografate, misurate e ne è stato valutato lo stato di conservazione, e di successiva analisi paleografica, linguistica e storica. In particolar modo ci si è concentrati sull’analisi linguistica, evidenziando i tratti caratteristici del volgare riscontrabili nelle epigrafi.
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Meyer, Doris. "Inszeniertes Lesevergnügen : das inschriftliche Epigramm und seine Rezeption bei Kallimachos /." Stuttgart : F. Steiner, 2005. http://catalogue.bnf.fr/ark:/12148/cb40058839p.
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Hartz, Cornelius. "Catulls Epigramme im Kontext hellenistischer Dichtung." Berlin New York de Gruyter, 2004. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945349&prov=M&dok_var=1&dok_ext=htm.
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Hartz, Cornelius. "Catulls Epigramme im Kontext hellenistischer Dichtung /." Berlin : W. de Gruyter, 2007. http://catalogue.bnf.fr/ark:/12148/cb41107829d.
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Campanholo, Silvia Helena. "Tradução e análise do Liber Primus, da obra Inscriptionum Libri Duo, de Jean Visagier: a imitação dos clássicos no Renascimento." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-27092018-100126/.
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Esta pesquisa tem como objetivo traduzir e analisar o Liber Primus da obra Inscriptionum Libri Duo, do poeta neolatino francês Jean Visagier. Esse livro foi publicado em 1538, em Paris, na tipografia de Simon de Colines. O Liber Primus dessa obra possui noventa e três epigramas que foram traduzidos e, posteriormente, estudados quanto à imitação que fazem da antiguidade clássica. Encontramos vestígios, nesses epigramas, de autores latinos como Catulo, Marcial e Ovídio. Sendo um poeta renascentista, em alguns momentos foi necessário cotejar seu texto com a tradição posterior à clássica, sobretudo nos epigramas de cunho erótico. Inclui-se, ainda, um estudo introdutório sobre a inserção de Jean Visagier na cultura do século XVI, principalmente entre o grupo de poetas neolatinos.The purpose of this research is to translate and to analyze the Liber Primus of the book Inscriptionum Libri Duo, by the French Neo-Latin poet Jean Visagier. This book was published in 1538, in Paris, in the typography of Simon de Colines. The Liber Primus has ninety-three epigrams that were translated and later studied regarding their imitation of Classical Antiquity. We found vestiges, in these epigrams, of Latin authors like Catulus, Martial and Ovid. As Visagier is a Renaissance poet, at times, it was necessary to compare his text with the post-Classical tradition, especially in the erotic epigrams. It also includes an introductory study on the insertion of Jean Visagier in the culture of the sixteenth century, mainly in the group of Neo-latin poets.
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Bruss, Jon Steffen. "Hidden Presences : monuments, gravesites, and corpses in Greek funerary epigram /." ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2000. http://www.lib.umn.edu/articles/proquest.phtml.
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Nisbet, Gideon. "Greek skoptic epigram of the first and second centuries AD." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286241.
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Bruss, Jon Steffen. "Hidden presences : monuments, gravesites and corpses in greek funerary epigram /." Leuven : Peeters, 2005. http://catalogue.bnf.fr/ark:/12148/cb401409526.
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Fratric, Glauco Correa da Cruz Bacic. "Epigramas e vozes: as autoconsciências em O retrato de Dorian Gray." Universidade Presbiteriana Mackenzie, 2016. http://tede.mackenzie.br/jspui/handle/tede/3027.
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This study aims to analyze the second version of Oscar Wilde's The picture of Dorian Gray, published in 1891, from the perspective of its three main characters (Dorian Gray, Basil Hallward, and lord Henry Wotton). Based on the voices within the utterances that make up the characters' dialogs, our aim is to interpret their self-consciousness, their views on art itself, and to what extent they stand in relation to Victorian England, the space and the time of the narrative; Dorian Gray, as a disciple of Lord Henry Wotton in the implementation of the ideas of a socalled new Hedonism, and as a Doppelgänger materialized by his picture; Basil Hallward, as a conservative individual, in favor of moral values, yet as an artist refracting the Realism of his days, by pursuing the perfect aesthetic representation in a combination of Antiquity and Renaissance forms and the Romantic soul, which preceded Realism; and lord Henry Wotton, 'the illusionist of words', who makes his point by refracting the views of his time and space by resorting to the irony and the maxims of epigrams. The latter are also resorted to by Wilde in the whole preface of 1891's version of The picture of Dorian Gray, so as to stand against the myriad of critical reviews which considered his only novel as 'immoral'. We will address Mikhail Bakhtin's self-consciousness theory, as well as Walter Pater's and Karl Beckson's in regard to the Aesthetic movement. Last, but no least, Munira Mutran's and Richard Elmann's writings on Wilde's autobiographical works related to his position as an aesthete and a dandy, yet by no means do we intend to affirm that The picture of Dorian Gray is mainly an autobiography, but an expression "of the self as having multiple possibilities", in Elmann's words. As a conclusion, we will aim to identify the characters' cosmovision, in a never-ending process of reflecting and / or refracting their time and space values.
O presente trabalho propõe-se a analisar a segunda versão da obra O retrato de Dorian Gray, publicada no ano de 1891, do autor irlandês Oscar Wilde, focalizando três personagens principais: Dorian Gray, Basil Hallward e lorde Henry Wotton. Com base nas vozes das enunciações que compõem os diálogos dos quais participam as referidas personagens, nosso objetivo é o de investigar como se dá a construção de suas autoconsciências, de discutir os conceitos de arte que essas personagens defendem e a forma como cada uma delas se posiciona em relação à Inglaterra vitoriana, espaço e tempo da narrativa: Dorian Gray, como discípulo de lorde Henry Wotton na implementação de um novo Hedonismo e como alter ego ou duplo, materializado em seu retrato; Basil Hallward, como indivíduo conservador, consoante com os valores morais da época em que vive, mas como artista que refrata as artes realistas de seu tempo, na busca pela representação estética perfeita que combine as formas clássicas da Antiguidade e do Renascimento com a alma do Romantismo; e lorde Henry Wotton, “o eficiente mestre da palavra” que enuncia sua visão refratária aos valores morais de seu tempo e de seu espaço, por meio da ironia e das máximas, transmitidas pelo recurso dos epigramas. Estes também são utilizados por Wilde para se posicionar em relação à miríade de críticas que recebeu quando da primeira publicação do romance, em 1890, pois diversos periódicos especializados em literatura consideraram o único romance publicado pelo autor como sendo imoral. Examinaremos a integralidade do prefácio à versão de 1891, amparados na teoria bakhtiniana, no que toca à autoconsciência, bem como nas obras de Walter Pater e de Karl Beckson, para a contextualização do Esteticismo e, por fim, nas de Munira Mutran e de Richard Elmann, para analisarmos as possíveis relações das personagens com o universo autobiográfico do autor esteta e dandy, não com o objetivo de concluirmos que a obra em questão se trate de autobiografia, mas sim de uma narrativa composta de personagens que representem o "ser de possibilidades múltiplas", conforme expressão de Elmann. Feito isso, orientar-nos-emos a discutir aspectos nas cosmovisões das personagens que refletem e refratam os valores de seu tempo e de seu espaço.
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Formichelli, Jennifer. "Scenes and situations in T.S. Eliot's epigraphs." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411425.
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Vallat, Daniel. "Les anthroponymes dans les Epigrammes de Martial." Lyon 2, 2004. http://theses.univ-lyon2.fr/documents/lyon2/2004/vallat_d.
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L'onomastique des Epigrammes de Martial permet de mener, pour la première fois, une étude à la fois linguistique et littéraire, des anthroponymes dans un corpus latin. En nous appruyant sur la recherche linguistique moderne, nous organisons notre analyse à partir des concepts de notoriété du référent de l'anthroponyme (modèle du nom propre) et d'emploi du nom propre. Sont notoires pour Martial tous les noms dotés d'un référent (par exemple les patrons, ou l'empereur) au sein du monde flavien (dont toutes les strates sont représentées), tandis que la sphère culturelle introduit l'exemplum, modèle traditionnel que Martial subvertit volontiers. Les noms notoires sont les seuls à pouvoir supporter des modifications rhétoriques et tropiques : ce sont les emplois métaphoriques (à visée satirique) et métonymiques (plus poétiques). Dans la seconde partie, nous avons regroupé les noms sans notoriété, c'est-à-dire à référent fictif. Martial seul les choisit, mais pas au hasard : nous distinguons ainsi un emploi mimétique, qui imite un référent notoire ; un emploi typique, par inter- ou intra-textualité onomastiques ; des emplois mimétiques secondaires (sociolinguistiques et poétiques) ; l'emploi signifiant, enfin, qui double la rérérence par un signifié lexical reconnaissable dans le nom propre. C'est au sein de ces emplois que se développe le mieux la verve martialienne. Si nombre d'entre eux s'inscrivent dans une longue tradition littéraire (emploi signifiant, par exemple), Martial y fait preuve d'une richesse et d'une originalité inégaléesThe onomastics of Martial's epigrams allow an original study of anthroponyms, both linguistic and literary, in a Latin corpus. Using the modern linguistics, we have organized our research from the concepts on notoriety of the name's referent, ans of name use. For Martial, all names endowed with a stable, associated referent are notorious. Social notoriety plays with the production of the referent (such as patrons, or the emperor) in the Flavian world (of which each element is represented) ; whereas the cultural one provides the traditional exempla, which Martial uses to modifying ironically. Notorious names are the only ones that can bear rhetoric and tropic changes : these are metaphoric use (with a satiric aim) and metonymic use (more poetic). In the second part, we have brought together names without notoriety, i. D. Names with a fictitious referent. Martial is the only one who chooses them, but certainly not at random. We have distinguished mimetic use, which imitates a notorious referent ; typical use, within onomastic intertextuality and intratextuality ; secondary mimetic uses (with sociolinguistic and poetical implications) ; significant use, that leads to read a lexical meaning into the name. In these uses, Martial's eloquence appears at best. Although some of them belong to an ancient literary tradition, through them, Martial shows unequalled abundance and originality
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Vallat, Daniel Biville Frédérique. "Les anthroponymes dans les Epigrammes de Martial." Lyon : Université Lumière Lyon 2, 2004. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2004/vallat_d.
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Mocellin, Marco <1986>. "Epigrafi veneziane in volgare del XV secolo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8509.
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Edizione e commento linguistico di epigrafi veneziane in volgare del Quattrocento. Questa tesi ha il fine di arricchire il corpus di dati riguardanti le epigrafi veneziane del XV secolo per permettere una più ampia analisi dell’evoluzione linguistica del volgare veneziano. In questa tesi sono quindi state schedate iscrizioni volgari quattrocentesche di Venezia, Murano e Torcello, incise su pietra, marmo e pareti. Partendo dall’individuazione delle epigrafi dal lavoro monumentale di Emmanuele Cicogna, si è passati alla ricerca sul campo e, quando è stato possibile, al rilevamento e all’analisi in loco. Le iscrizioni sono state tutte fotografate e misurate. La fase successiva è stata quella della schedatura delle iscrizioni, dotate di sei punti strutturati come segue: descrizione fisica dell’epigrafe; trascrizione diplomatica, trascrizione interpretativa, analisi grafica, analisi linguistica, analisi storica. Per quanto riguarda le epigrafi non più rintracciabili, esse sono state riportate nel secondo capitolo con una schedatura priva della descrizione fisica. Le informazioni relative alla collocazione originale e altre considerazioni sono state riportate nell’analisi storica. A seguito della schedatura delle epigrafi è presente una nota linguistica che contiene una riorganizzazione dei fenomeni fonetici, morfologici e linguistici per dare una visione d’insieme più strutturata e ordinata sui risultati ottenuti: i dati sono comparati all’analisi linguistica fatta da Antonella Sattin su 20 testamenti scritti tra il 1403 ed il 1416, conservati nella Sezione Notarile dell’Archivio di Stato di Venezia, e alle sue conclusioni.
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PELUCCHI, MARCO. "GLI EPIGRAMMI 'DI PLATONE'. EDIZIONE, COMMENTO, FORTUNA." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/932178.
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This thesis provides a new critical edition and full commentary of the epigrams transmitted under Plato's name. The edition includes for the first time all the epigrams assigned to 'Plato' by the ancient tradition and offers a critical text based on a review of the manuscript tradition and philological work. The commentary provides an in-depth analysis of the epigrams, from both the philological and the literary and exegetical points of view. An introductory study addresses the problem of the epigrams' authenticity by reviewing the scholarly debate on the topic. It also traces the history of Plato's epigrams in antiquity, proposing a reconstruction of relevant context and possible reasons why the epigrams were composed and assigned to Plato.
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Cairolli, Fábio Paifer. "Pequena gramática poética de Marcial." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-11022010-110230/.
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Partindo da premissa de que a forma mais produtiva de abordar a obra de determinado poeta é levantar os pontos-chave de sua poética, explicitados em suas próprias palavras, quer em prefácios, quer em poemas metalingüísticos (que podemos aqui chamar metapoemas), este trabalho se propõe a, a partir da vasta produção do poeta Marcos Valério Marcial (c.40 105 d.C.), selecionar, traduzir, anotar e comentar analiticamente o conjunto de metapoemas que explicitam o conceito de epigrama para Marcial que é o gênero que pratica no que tange à matéria (ou invenção), à elocução e à disposição.Assuming the premise that the most efficient way of approaching the work of a certain poet is to determine the key points of his poetry, made explicit by his own words, either in prefaces or in metalinguistic poems (which we shall call \"metapoems\"), the objective of this study is, from the vast production of the poet Martial (c.40 - 105 AD), to select, translate, annotate and comment analytically the corpus of \"metapoems\" that explains Martials concept of epigram - the genre this poet practices - in terms of invention, style and disposition.
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Prioux, Evelyne. "Petits musées en vers : épigramme et discours sur les collections antiques /." Paris : Ed. du CTHS, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9782735506699.
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Silva, Cristina Mascarenhas da [UNESP]. "Anchieta, o Orfeu Brasílico: a prática do gênero epidíctico em três epigramas." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/124448.
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000834075.pdf: 698505 bytes, checksum: 0df7fce25f78b6485ea0cb2e20be0f10 (MD5)Apresenta-se o Orfeu Brasílico, segundo leitura realizada, nesta dissertação, a partir de um cotejo de sua estrutura com a estrutura de outras obras espelhadas na tradição greco-latina, ressignificada pelo movimento academicista do século XVIII. O documento foi escrito integralmente em latim, a partir de um torneio literário realizado pela Companhia de Jesus da Bahia em comemoração à concessão do título de Venerável ao Pe. José de Anchieta, no ano de 1736. Em 1737, este ato acadêmico foi complementado, organizado e editado pelo professor de retórica, Francisco de Almeida. Em 1998, o professor Sebastião Tavares de Pinho e equipe da Universidade de Coimbra reeditaram-no em fac-símile, a partir de um dos dois exemplares encontrados: um da Biblioteca de Ciências de Lisboa e outro da Biblioteca Nacional do Rio de Janeiro. Pelo fato de o segundo exemplar se encontrar com seu conteúdo gravemente truncado, o trabalho de crítica textual foi realizado com base no primeiro. Esta dissertação tem por objetivo compreender a função dos epigramas no Orfeu Brasílico, cuja estrutura se divide em duas partes. Na primeira parte, encontram-se uma oração de abertura, quatro poemas (oração, poema, elegia e ode) dedicados respectivamente aos elementos terra, mar, ar e fogo e um elogio, com o título de Sinopse, reagrupando esses quatro elementos. Na segunda parte, denominada Appendix Poetica, encontra-se o conjunto de poemas dispostos em três linhas (linea prima, linea secunda, linea tertia). Embora predomine quantitativamente, em nenhuma das linhas a forma epigrama abre ou fecha o torneio literário. Nas posições inicial ou final encontram-se uma ode, um idílio acróstico, e um poema. Para esta dissertação, foram traduzidos e analisados o primeiro epigrama de cada linha do Ato Acadêmico. Discute-se, também o fato de, nos atos acadêmicos, comumente o presidente da sessão estabelecer um mote...
Presentase el Orfeu Brasílico, según lectura realizada, en esta disertación, desde un cotejo de su estructura con la estructura de otras obras espejadas en la tradición greco-latina, resignificada por el movimiento academicista del siglo XVIII. El documento fue escrito integralmente en latín, desde un torneo literario realizado pela Compañía de Jesús de Bahía en conmemoración a concesión del título de Venerable al sacerdote José de Anchieta, en el año de 1736. En 1737, este ato académico fue complementado, organizado y editado pelo profesor de retórica, Francisco de Almeida. En 1998, el profesor Sebastião Tavares Pinho y equipo de la Universidad de Coímbra volvió a publicar en facsímile, desde de un de los dos ejemplares encontrados: un de la Biblioteca de Ciencias de Lisboa y otro de la Biblioteca Nacional del Río de Janeiro. Por el facto del segundo ejemplar encontrarse con su contenido gravemente truncado, el trabajo de Crítica Textual fue realizado con base en el primero. Esta disertación tiene por objetivo comprender la función de los epigramas no Orfeu Brasílico, cuya estructura se divide en dos partes. En la primera parte, encontrase una oración de abertura, cuatro poemas (oración, poema, elegía y oda) dedicados respectivamente a los elementos tierra, mar, aire y fuego y un elogio, con el título de Sinopsis, reagrupando eses cuatro elementos. En la segunda parte, denominada Appendix Poetica, encontrase el conjunto de poemas dispuestos en tres líneas (linea prima, linea secunda, linea tertia). Aunque predomine cuantitativamente, en ninguna línea la forma epigrama abre o cierra el torneo literario. En las posiciones inicial o final se encuentran una oda, un idilio acróstico, y un poema. Para esta disertación, fueran traducidos y analizados el primer epigrama de cada línea del Ato Académico. Discute-se, también el facto de, en los actos académicos, ser...
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Silva, Cristina Mascarenhas da. "Anchieta, o "Orfeu Brasílico" : a prática do gênero epidíctico em três epigramas /." Assis, 2015. http://hdl.handle.net/11449/124448.
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Orientador: Carlos Eduardo Mendes de MoraesBanca: Bruno Oliveira Maroneze
Banca: Silvia Maria Azevedo
Resumo: Apresenta-se o Orfeu Brasílico, segundo leitura realizada, nesta dissertação, a partir de um cotejo de sua estrutura com a estrutura de outras obras espelhadas na tradição greco-latina, ressignificada pelo movimento academicista do século XVIII. O documento foi escrito integralmente em latim, a partir de um torneio literário realizado pela Companhia de Jesus da Bahia em comemoração à concessão do título de Venerável ao Pe. José de Anchieta, no ano de 1736. Em 1737, este ato acadêmico foi complementado, organizado e editado pelo professor de retórica, Francisco de Almeida. Em 1998, o professor Sebastião Tavares de Pinho e equipe da Universidade de Coimbra reeditaram-no em fac-símile, a partir de um dos dois exemplares encontrados: um da Biblioteca de Ciências de Lisboa e outro da Biblioteca Nacional do Rio de Janeiro. Pelo fato de o segundo exemplar se encontrar com seu conteúdo gravemente truncado, o trabalho de crítica textual foi realizado com base no primeiro. Esta dissertação tem por objetivo compreender a função dos epigramas no Orfeu Brasílico, cuja estrutura se divide em duas partes. Na primeira parte, encontram-se uma oração de abertura, quatro poemas (oração, poema, elegia e ode) dedicados respectivamente aos elementos terra, mar, ar e fogo e um elogio, com o título de Sinopse, reagrupando esses quatro elementos. Na segunda parte, denominada Appendix Poetica, encontra-se o conjunto de poemas dispostos em três linhas (linea prima, linea secunda, linea tertia). Embora predomine quantitativamente, em nenhuma das linhas a forma epigrama abre ou fecha o torneio literário. Nas posições inicial ou final encontram-se uma ode, um idílio acróstico, e um poema. Para esta dissertação, foram traduzidos e analisados o primeiro epigrama de cada linha do Ato Acadêmico. Discute-se, também o fato de, nos atos acadêmicos, comumente o presidente da sessão estabelecer um mote...
Resumén: Presentase el Orfeu Brasílico, según lectura realizada, en esta disertación, desde un cotejo de su estructura con la estructura de otras obras espejadas en la tradición greco-latina, resignificada por el movimiento academicista del siglo XVIII. El documento fue escrito integralmente en latín, desde un torneo literario realizado pela Compañía de Jesús de Bahía en conmemoración a concesión del título de Venerable al sacerdote José de Anchieta, en el año de 1736. En 1737, este ato académico fue complementado, organizado y editado pelo profesor de retórica, Francisco de Almeida. En 1998, el profesor Sebastião Tavares Pinho y equipo de la Universidad de Coímbra volvió a publicar en facsímile, desde de un de los dos ejemplares encontrados: un de la Biblioteca de Ciencias de Lisboa y otro de la Biblioteca Nacional del Río de Janeiro. Por el facto del segundo ejemplar encontrarse con su contenido gravemente truncado, el trabajo de Crítica Textual fue realizado con base en el primero. Esta disertación tiene por objetivo comprender la función de los epigramas no Orfeu Brasílico, cuya estructura se divide en dos partes. En la primera parte, encontrase una oración de abertura, cuatro poemas (oración, poema, elegía y oda) dedicados respectivamente a los elementos tierra, mar, aire y fuego y un elogio, con el título de Sinopsis, reagrupando eses cuatro elementos. En la segunda parte, denominada Appendix Poetica, encontrase el conjunto de poemas dispuestos en tres líneas (linea prima, linea secunda, linea tertia). Aunque predomine cuantitativamente, en ninguna línea la forma epigrama abre o cierra el torneo literario. En las posiciones inicial o final se encuentran una oda, un idilio acróstico, y un poema. Para esta disertación, fueran traducidos y analizados el primer epigrama de cada línea del Ato Académico. Discute-se, también el facto de, en los actos académicos, ser...
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