Academic literature on the topic 'Pastoral poetry, Latin History and criticism'

Comparison of literary passages is a critical procedure much favoured by Gellius, and is the main theme in several chapters of his Noctes Atticae: ch. 2.23 is dedicated to a comparison of Menander's and Caecilius′ versions of the Plocium; 2.27 to a confrontation of passages from Demosthenes and Sallust; in 9.9 Vergilian verses are compared with their originals in Theocritus and Homer; parts of speeches by the elder Cato, C. Gracchus and Cicero are contrasted in 10.3; two of Vergil's verses are again compared with their supposed models in ch. 11.4; a segment of Ennius′ Hecuba is contrasted with its Euripidean original in 13.27; Cato's and Musonius′ formulations of a similar sententia are confronted in 16.1; in 17.10 Vergil's description of Etna is compared to Pindar's; the value of Latin erotic poetry is weighed against the Greek in ch. 19.9, in which an Anacreontean poem and four Latin epigrams are cited; and finally in 19.11 a ‘Platonic' distich is set side by side with its Latin adaptation, composed by an anonymous friend of Gellius, though in this case no comparison of the poems is attempted.

Although it is now fifteen years since G. Williams' thorough-going criticism of B. Axelson'sUnpoetische Wörter, his discussion has failed to elicit the adverse response which might have been expected in view of the widespread influence exerted by the earlier work.The reason for this may be that Axelson's theory is so widely accepted that any refutation thereof may be disregarded. Yet surely Williams was right to point to the dangers of total reliance on statistics and to the necessity of considering the contexts in which words occur in Latin poetry. In this respect, he was not so much rejecting Axelson's work as pointing to its inadequacies: whereas Axelson would be content to label a word that occurs only rarely in poetry as ‘unpoetisch’, it is necessary, as Williams demonstrates, to take the further step of determining the effect that such a word has in a given context. This approach will be particularly helpful, for example, in the case ofparvulusat Virg.Aen.4.328, where the heightened pathos achieved by Virgil's use of a diminutive is better appreciated by the reader who is aware of the scarcity of diminutive adjectives in poetry and in epic above all. To recogniseparvulusas an ‘unpoetic word’, with Axelson, is the essential first step, but we should proceed a stage further to inquire what effect was intended by the employment of a form not normally found in elevated poetry.Of greater importance is Williams' rejection of the ‘hierarchy of genres’ theory, taken for granted by Axelson, that is, that Latin poetry may be divided into a number of higher- or lower-ranking genres and that the more elevated a genre the less unpoetic vocabulary it is liable to employ.

The traditional problem of Silver Latin poetry, and Silver Latin epic especially, has been its attraction to the extravagant, the grotesque, the infinite, the absurd, in other words, its propensity for excess. Statius'Thebaidin particular has been considered guilty of this offence. Recent criticism, however, has tended to see Silver Latin poetry not simply as being excessive, but as being deeply concerned with excess—cultural, ideological, and poetic. In this paper I hope to demonstrate that such a concern is a prominent characteristic of Statius'Thebaid, by exploring perhaps the most important manifestation of excess in the poem, madness. I will argue that theThebaid's excessiveness is fundamental and necessary, rather than detrimental, to its overall effect. But this paper, like theThebaid, will not concentrate exclusively on excess, for it will prove to be only the starting-point for a specific interpretation of the patterns of action and madness in theThebaid.

Late Antiquity witnessed intense scholarly activity on Virgil's poems. Aelius Donatus’ commentary, the twelve-bookInterpretationes Vergilianaecomposed by the fourth-century or fifth-century rhetorician Tiberius Claudius Donatus and other sets of scholia testify to the richness of late ‘Virgilian literature’. Servius’ full-scale commentary on Virgil's poetry (early fifth century) marked a watershed in the history of the reception of Virgil and in Latin criticism in general. Primarily ‘the instrument of a teacher’, Servius’ commentary was intended to teach students and readers to read and write good Latin through Virgil. Lauded by Macrobius for his ‘learning’ (doctrina) and ‘modesty’ (uerecundia), Servius attained supremacy as both a literary critic and an interpreter of Virgil, the master of Latin poetry. Hisauctoritashad a profound impact on later Virgilian erudition. As Cameron notes, Servius’ commentary ‘eclipsed all competition, even Donatus’. Significantly, it permeated non-Virgilian scholarship from the fifth century onwards. The earliest bodies of scholia on Lucan, the tenth-century or eleventh-centuryCommenta BernensiaandAdnotationes super Lucanumand thescholia uetustioraon Juvenal contain material that can be traced as far back as Servius’ scholarly masterpiece.

Muse of the uniqueHistorical fact, defending with silenceSome world of yours beholding, a silenceNo explosion can conquer, but a lover's yesHas been known to fill.W. H. Auden, ‘Homage to Clio’The Clio and Calliope evoked in the prohemia of Books II and III of Troilus and Criseyde are handily glossed in Chaucer editions as Muses of history and epic poetry respectively, but without citations of sources for these attributions. Stephen A. Barney's notes in The Riverside Chaucer suggest that in both evocations Chaucer is following Statius rather than Dante, and both he and B. A. Windeatt mention the marginal gloss ‘Cleo domina eloquentie’ in MS Harley 2392 of Troilus. Vincent J. DiMarco's note to the name Polymya in Anelida and Arcite identifies her as Muse of ‘sacred song,’ after her name-sense ‘she who is rich in hymns,’ but DiMarco does not elaborate on her pertinence to the context of the poem. There is little in current Chaucer criticism on schemes of attributes for the Muses; and yet without an idea of what values for the Muses Chaucer is drawing upon, it is difficult to appreciate their thematic force in Troilus.

Totaldigteren Grundtvig: En kommenteret forskningshistorisk oversigt som bidrag til bestemmelsen af Grundtvigs egenart som digter[The Total Poet Grundtvig. A commented survey of the history of literary Grundtvig research as a contribution to the understanding of Grundtvig 's character as a poet]By Bent ChristensenIn his Omkring Grundtvigs Vidskab (About Grundtvig’s Vidskab: An Inquiry into N. F. S. Grundtvig’s View of the Knowledge Aspect of the Commitment to Life that Is a Necessary Part of Christianity), the author first and foremost sees Grundtvig as a “kirkelig og folkelig totaldigter” (total poet of the church and the people). The term “total poet” is analogous to “total theatre”, in which the spectator is drawn into the drama and the actors mingle with the audience.An extensive examination of the poetic aspect of the said commitment is desirable but outside the scope of this article. This commented survey of the literary Grundtvig research and criticism therefore presents some key points in the understanding of Grundtvig as a “total poet”.First, following an exchange of views with Poul Borum regarding the various attempts to use Grundtvig for certain purposes, there is an analysis of the extended text of Gustav Albeck’s lecture “Har Grundtvig-Selskabet forsømt Digteren Grundtvig?” (Has the Grundtvig Society Neglected the Poet Grundtvig?). Albeck provides an overview of the Grundtvig literary research and criticism from the nineteenth century till Poul Borum’s book Digteren Grundtvig (Grundtvig the Poet), and he shows that the study of Grundtvig’s poetry requires a different approach than that of usual literary criticism and research.Next, Albeck’s own contribution Omkring Grundtvigs Digtsamlinger (About Grundtvig’s Collections of Poems) is dealt with. Albeck especially calls attention to Grundtvig’s half jocular characterisation of himself as a “deponentisk digter” (deponent poet - the term “deponent” from Latin grammar indicating passive form and active meaning in verbs). It is pointed out that the active side of Grundtvig’s efforts eventually developed into an actual historical and political interactive commitment increasingly centring on the idea of “Folkelighed” (meaning both what comes from and what pertains to “the people”).In Grundtvigs Symbolverden (Grundtvig’s Universe of Poetic Symbols), Helge Toldberg focuses on mapping all main symbols which Grundtvig since 1814/15 constantly draws upon in his poetry. From his chosen perspective of theories on symbolism, Toldberg registers a number of connections and associations which are also being considered in Omkring Grundtvigs Vidskab.Already in Fra drøm til program (From Dream to Programme: The Place and Significance of Human Life and Its World in the Theology of N. F. S. Grundtvig), the author agrees with Flemming Lundgreen-Nielsen’s understanding of the year 1819 as the year when Grundtvig places himself totally outside ordinary poetry. And he also agrees with Lundgreen-Nielsen in so far as his concept “selvsymbolik” (self-symbolism) is concerned. But according to the author, the literary scholar Flemming Lundgreen-Nielsen does not go sufficiently deep into the matter when sticking to the question as to whether Grundtvig, despite his unique character, still has a sense of common literary poetic factors. The contrast between “aesthetics” and “poetry” in Grundtvig’s works is not only a contrast between the “total poet Grundtvig” and “aesthetics” but also a contrast between the merely “aesthetic” and the poetical depth dimension as a whole. But Flemming Lundgreen-Nielsen provides an apt expression of Grundtvig’s unique character as a poet when saying in Det handlende ord (The Operative Word: The Poetry, Literary Criticism and Poetics of N. F. S. Grundtvig 1798-1819) (1980) that Grundtvig’s book is composed as a progression from the 15-year-old schoolboy’s exercise books to “Grundtvig understood by himself as a symbolic character in the history of Denmark”.In Digteren Grundtvig (Grundtvig the Poet), Poul Borum looks upon Grundtvig as a “total poet”, stressing above all his qualities as a “poet” and taking a “total poetic” view of him as the prophet bard (“skjalde-profeten”).Finally, Hans Hauge’s reply to Poul Borum called “Alt-i-alt” (All in all) is considered. Hauge’s conception of Borum’s book as belonging to the aesthetic and literary 1980s, placed between the political 1970s and the universalising 1990s, seems particularly interesting. However, it is hard to tell Hauge’s own notion of Grundtvig as a poet.In conclusion, the author suggests that it is specific to Grundtvig that, for one thing, within a peculiar historical vision or construction and in a peculiar, highly unified, symbolic world, he conducts an extensive and continuous interweaving of the nation and his own fate, and that, for another, Christianity is almost always included in his poetry.

Mairéad McAuley frames her substantial study of the representation of motherhood in Latin literature in terms of highly relevant modern concerns, poignantly evoked by her opening citation of Eurydice's lament at her baby's funeral in Statius’ Thebaid 6: what really makes a mother? Biology? Care-giving? (Grief? Loss? Suffering?) How do the imprisoning stereotypes of patriarchy interact with lived experiences of mothers or with the rich metaphorical manifestations of maternity (as the focus of fear and awe, for instance, or of idealizing aesthetics, of extreme political rhetoric, or as creativity and the literary imagination?) How do individuals, texts, and societies negotiate maternity's paradoxical relationship to power? Conflicting issues of maternal power and disempowerment run through history, through Latin literature, and through the book. McAuley's focus is the representational work that mothers do in Latin literature, and she pursues this through close readings of works by Ovid, Virgil, Seneca, and Statius, by re-reading their writings in a way that privileges the theme, perspective, or voice of the mother. A lengthy introduction sets the parameters of the project and its aim (which I judge to be admirably realized) to establish a productive dialogue between modern theory (especially psychoanalysis and feminist philosophy) and ancient literature. Her study evokes a dialogue that speaks to theory – even contributes to it – but without stripping the Latin literature of its cultural specificity (and without befuddling interpretation of Latin culture with anachronism and jargon, which is often the challenge). The problem for a Latinist is that psychoanalysis is, as McAuley says, ‘not simply a body of theories about human development, it is also a mode of reading’ (23), and it is a mode of reading often at cross-purposes with the aims of literary criticism in Classical Studies: psychoanalytical notions of the universal and the foundational clash with aspirations to historical awareness and appreciation of the specifics of genre or historical moment. Acknowledging – and articulating with admirable clarity and honesty – the methodological challenges of her approach, McAuley practises what she describes as ‘reading-in-tension’ (25), holding on not only to the contradictions between patriarchal texts and their potentially subversive subtexts but also to the tense conversation between modern theory and ancient literary representation. As she puts it in her epilogue, one of her aims is to ‘release’ mothers’ voices from the pages of Latin literature in the service of modern feminism, while simultaneously preserving their alterity: ‘to pay attention to their specificity within the contexts of text, genre, and history, but not to reduce them to those contexts, in order that they speak to us within and outside them at the same time’ (392). Although McAuley presents her later sections on Seneca and Statius as the heart of the book, they are preceded by two equally weighty contributions, in the form of chapters on Virgil and Ovid, which she rightly sees as important prerequisites to understanding the significance of her later analyses. In these ‘preliminary’ chapters (which in another book might happily have been served as the main course), she sets out the paradigms that inform those discussions of Seneca and Statius’ writings. In her chapter on Virgil McAuley aims to transcend the binary notion that a feminist reading of epic entails either reflecting or resisting patriarchal values. As ‘breeders and mourners of warriors…mothers are readily incorporated into the generic code’ of epic (65), and represent an alternative source of symbolic meaning (66). Her reading of Ovid's Metamorphoses then shows how the poem brings these alternative subjects into the foreground of his own poetry, where the suffering and passion of mothers take centre-stage, allowing an exploration of imperial subjectivity itself. McAuley points out that even feminist readings can often contribute to the erasure of the mother's presence by their emphasis on the patriarchal structures that subjugate the female, and she uses a later anecdote about Octavia fainting at a reading of the Aeneid as a vivid illustration of a ‘reparative reading’ of Roman epic through the eyes of a mother (91–3). Later, in her discussion of mothers in Statian epic, McAuley writes: ‘mothers never stand free of martial epic nor are they fully constituted by it, and, as such, may be one of the most appropriate figures with which to explore issues of belatedness and authority in the genre’ (387). In short, the discourse of motherhood in Latin literature is always revealed to be powerfully implicated in the central issues of Roman literature and culture. A chapter is devoted to the themes of grief, virtue, and masculinity as explored in Seneca's consolation to his own mother, before McAuley turns her attention to the richly disturbing mothers of Senecan tragedy and Statius’ Thebaid. The book explores the metaphorical richness of motherhood in ancient Rome and beyond, but without losing sight of its corporeality, seeking indeed to complicate the long-developed binary distinction between physical reproduction (gendered as female) and abstract reproduction and creativity (gendered as male). This is a long book, but it repays careful reading, and then a return to the introduction via the epilogue, so as to reflect anew on McAuley's thoughtful articulation of her methodological choices. Her study deploys psychoanalytical approaches to reading Latin literature to excellent effect (not an easy task), always enhancing the insights of her reading of the ancient texts, and maintaining lucidity. Indeed, this is the best kind of gender study, which does not merely apply the modern framework of gender and contemporary theoretical approaches to ancient materials (though it does this very skilfully and convincingly), but in addition makes it clear why this is such a valuable endeavour for us now, and how rewarding it can be to place modern psychoanalytic theories into dialogue with the ancient Roman literature. The same tangle of issues surrounding maternity as emerges from these ancient works often persists into our modern era, and by probing those issues with close reading we risk learning much about ourselves; we learn as much when the ancient representations fail to chime with our expectations.

AbstractJosua Bruyn's article 'Towards a Scriptural Reading of Seventeenth-Century Dutch Landscape Paintings' (1987) elicited a great deal of criticism for both its method and its occasionally sweeping conclusions. To a certain extent this criticism is understandable. It does not however mean that recently initiated, cautious attempts to peer below the surface of the painted landscape should be aborted. It is still highly unlikely that the landscape was the only Dutch 'genre' without any intentions other than to beguile the eye. Following Wiegand and Falkenburg, each of whom has researched and interpreted the work of a single artist (Ruisdael and Patinir respectively), the author, too, focuses on one artist. Claes Jansz. Visscher is generally regarded as the publisher and artist who decisively influenced the acceptance of the landscape as an autonomous work of art without a narrative or moral tenor. One of his first publications of his own work was the series Plaisante Plaetsen of about 1611, consisting of an allegorical title print, a view ofZandvoort with the list of contents, followed by ten small landscapes in the environs of Haarlem. The author offers an iconographic analysis of the first two sheets, comparing them with Visscher's religious views, as far as these can be deduced from his life and work. Visscher was an orthodox Calvinist, and his ideas about the place of art and the artist in society were presumably formed by John Calvin's dogma. There are two ways of looking at this. In the first place Calvin, obedient to the Second Commandment in Mosaic Law, purged public worship of Divine or human representations. He did see a task for art outside the church, but only if it had a didactic, edifying character. However, another aspect of Calvin's teachings suggests that art and religion are compatible. His dogma hinges on a view of earthly reality which, unlike that of mediaeval theology, is not negative but positive: a visible reflection of the invisible divine presence. Accordingly, instead of shunning the world and nature, man should enjoy and indeed investigate them in order to gain knowledge of God's creation and thus of God Himself. This idea of creation and the concomitant mission to investigate were of great significance for the development of empirical science. The same now applied to art, inasmuch as it pursues the visual examination of nature and its registration on the flat surface. This implies works of art done 'from life' rather than 'from the mind', and generated the tradition of the empirical, 'topographical' landscape art which flourished in seventeenth-century Holland alongside the landscape which was a mental invention composed of separate elements. Seen against that background, Visscher's two representations may be interpreted as follows: 'This series is intended as a monument to Haarlem. The city boasts not only a glorious and devout past but also most pleasant surroundings. They can compare with Classical landscape, but have a character of their own, and may therefore be praised both in Latin and Dutch. The city may bask in the knowledge that God directs the radiant light of his mercy on her, as the sun shines upon Haarlem's dunes. But Haarlem's glory does not render her haughty: the thorntree in her coat of arms is a reminder that all earthly things are transient. Let the sight of this city and the knowledge of her history thus incite the beholder to sobriety and diligence. Should this mean that you have no time to visit the pleasant spots in the surroundings of Haarlem, these pictures offer you a walk on paper. Be mindful that your own conduct in life match the tenor of this print. 'I, Claes Janszoon Visschcr, the printer of these views, am an educated and versatile artist and a God-fearing man. My work as an artist may be seen as the portrayal of what 1 have read in the book of creation. With my art I open a window on God's nature as it were, not only in the form of these lifelike memories of my walks around Haarlem, but on God's creation as a whole, as its chief elements are condensed in this panorama which also contains a reference to my own name and emblem.' The moment at which these two representations were published suggests that they were intended as a visual programme, not only for this modest series of prints but for Visscher's entire activities as an artist and publisher of prints. His approach to nature, incidentally, is wholly in keeping with that of the poets of his day, who presented their pastoral verses as paeans to creation and the Creator. The notion of a pious walk on paper stayed alive throughout the seventeenth century. In 1685, for instance, a book of meditations on God's nature was published, and reprinted many times; it took the form of walks around Haarlem, illustrated with six landscapes done 'from life', including a view of Haarlem in the manner of Vermeer's celebrated panorama. The above interpretation does not preclude a particular didactic or other associative value in individual landscape motifs. Even then, however, and perhaps first and foremost, they are depicted as the object of (pious) enjoyment. In all these cases a message is conveyed. It is the artistic formulation of the message that determines the work's quality. Seen in this light, the painted landscape in the seventeenth century was not intended primarily for artistic enjoyment but was meant to inspire personal meditation, even if for art-lovers the latter tended to recede into the background in practice.

This paper reads Nadia Prado’s poetry collection ©Copyright (2003) from a decolonial perspective, based on Walter Mignolo’s conceptualization of history as heterogeneous and decentred, aspects that I argue also permeate subjectivity and poetic expression. The poem delves into criticism of both Chilean neoliberal reality and a wider Latin American context in which the US has become a new economic and cultural hegemonic entity to be resisted from the margins. As a follow-up from the poetry/performance work Poesía es + (2002), co-authored with Malú Urriola, ©Copyright explores expression or its lack thereof within a profit-driven Chilean democratic transitional moment. Prado’s poetry opens up space that paves the way for a deep critique of neo-colonialism and neoliberalism. At the same time, this poem becomes part of a larger corpus of poetic, narrative and critical work that has compiled concerns and discontents since neoliberalism was imposed in Chile.

In a critical climate that privileges the hermeneutic position of a reader of a text over the irretrievable intentions of its author, this thesis challenges the status quo by considering the elegist Propertius as his own first reader. Through an exploration of what I have called 'mindful reading' - how Propertius appears to engage intratextually with his own poetic material, recasting parts of it lexically and thematically - alongside his interaction with the works of his peers and predecessors and wider cultural discourses, we, as readers, are able to appreciate how he may have understood aspects of his own poetry at a given moment. This particular mode of reading is encouraged, in part, by the repeated treatment of certain themes and ideas by Propertius, and, most conspicuously, by the inherently repetitive nature of the amorous discourse in which he is implicated with Cynthia. There are seven chapters. (1) A rhythm of intratextual reading is established in the generically important funerary elegies of Book I, setting this against the poet's amatory discourse. An analysis of II.i shows that mindful reading is a phenomenon that occurs between, as well as within, books. (2) Consideration is given to editorial division of the canonically named 'Book II', and the ordering of poems; the latter part of the chapter considers the important programmatic elegy, II.xiii. (3) A close reading of III.i and III.ii, and their response to Propertius' predecessors and contemporaries is considered, particularly through a (re)reading of II.xxxiv. (4) Poems treating lovers' brawls and lucubratio are discussed. (5) Propertius' engagement with Maecenas, and his continued adherence to his poetic creed are explored in III.ix and III.x. (6) The notion that Propertius appears to 'un-write' his amatory discourse with Cynthia through mindful reading in the closing cycle of Book III is treated. (7) The place of Cynthia within Book IV, and the elegist's generic explorations are explored through mindful reading.

The thesis, the topic of which is restricted to the polemical didactic poems, Apotheosis, Hamartigenia and Contra Symmachum 1-2, aims to establish the attitudes of Prudentius to the literary tradition and argues for his relationship with the Latin classical poets. Its main argument is that the hexameter poems as a group can be profitably studied from a stylistic angle, since they show how Prudentius combined, and used with innovation, the styles of several poets, namely Lucretius, Virgil and Juvenal, and in many cases engaged with the literary tradition as a whole. Chapter I surveys, as reflected in the poems, Prudentius' awareness of the political, religious and literary milieu in the Christian Empire of the West in his day. Chapter II examines how Prudentius employed the style of argument and imagery in the D.R.N. to present Christian doctrines on the body and the soul, and to reject pagan superstition. Chapter III shows how with much imagination and respect Prudentius adapted Virgil's phraseology and techniques to give new Christian interpretations of some mythical and historical themes in the Aen., such as the 'Golden Age' and the battle of Actium, and of topics on agriculture from the Georg. Chapter IV argues that, like other fourth century Christian writers, the poet entered into the spirit of Satire and alluded to Juvenal's themes and language in his treatment of the topics of sin and sexuality. Finally, in Chapter V Prudentius' adaptations of the biblical accounts in Gen. 19 and of Ps. 136 are used to demonstrate how allegory, which is a main feature of his poetry, was combined successfully with different classical techniques. In conclusion, the hexameter poems demonstrate that Prudentius did not reject classical poetry on the basis of its content, but used both its themes and poetic techniques in order to merge the ancient with the Christian literary tradition.

This study advances and adds detail to our history of the reading of verse in England c.1350-1500. Scholarship has established major twelfth- and thirteenth-century changes in reading, and linked these changes to manuscripts containing the modern Middle English verse canon. Historians of early modern reading have also argued for distinctive changes in their own period. But the examination of reading between these two clusters of change has been limited. This study therefore asks how later medieval Middle English verse was read. The surviving copies of The Prick of Conscience and Speculum Vitae, two hugely successful religious instructional poems, form the primary body of evidence. This body is augmented by reference to hundreds of other manuscripts containing Middle English verse. Together, these can reveal much about what was normal and abnormal in reading. They are also an important part of the context for the reading of more canonical Middle English verse. Manuscript studies often proceeds through case studies of individual books and unusual evidence such as marginalia. This thesis turns to codicology to understand more widespread evidence for reading, combining qualitative case studies with quantitative techniques borrowed and developed from continental scholarship. The first chapter examines evidence of provenance, revealing that both The Prick of Conscience and Speculum Vitae were read by an impressive range of people and remained current into the sixteenth century. The second chapter considers the navigational aids used in copies of both poems. Reading in this period has been characterised as 'discontinuous', but it could be discontinuous in diverse ways, and readers also read continuously. The third chapter is a large-scale study of books' size and shape, showing how these features can reveal books' reading histories, sometimes in counterintuitive ways. The fourth chapter contends that readers in this period attended closely to rhyme and probably read for balanced rhyme structures. The fifth chapter uncovers the ways in which these poems were rewritten for new readers and investigates the composition of the Southern Recension of The Prick of Conscience, arguing that this new text was partly a formalist intervention. The conclusion summarises the new 'baseline' history of the reading of Middle English verse which is offered here, and gestures towards implications for our reading of the Middle English poems which are canonical today.

Orientador: Isabella Tardin Cardoso
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente trabalho apresenta uma tradução anotada do livro V da obra Metamorfoses do poeta latino Públio Ovídio Naso, acompanhada de um estudo introdutório que versa basicamente sobre esses aspectos selecionados para nossa análise: a coesão e coerência das narrativas presentes no livro; o caráter épico, bem como as implicações desse caráter para a sua construção poética; o papel que desempenha o espaço, isto é, de que modo o cenário em que se desenrolam as histórias influencia a construção dessas narrativas; e a presença constante da metadiegesis, entendida como a reflexão que faz o vate, e as personagens a quem ele cede a voz, sobre a própria arte do fazer poético
Abstract: The current work presents an annotated translation of Ovid¿s Metamorphoses, book V, followed by an introductory study that deals with the following selected aspects: the cohesion and coherence between the narratives that constitute this book; the epic character, as well as the implications of this feature to the poetic construction of the poem; the role space plays, i.e., how the setting in which the stories take place affects the construction of these narratives; and finally, the constant presence of metadiegesis, understood as the poet¿s reflection ¿ as well as the reflection of the characters to whom he gives his voice ¿ on the art of poetry making itself
Mestrado
Linguistica
Mestre em Linguística

Orientador: Marcos Aurelio Pereira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho versa sobre o mito de Orfeu, narrado pelo poeta romano Ovídio em sua obra as Metamorfoses. Focamo-nos no aspecto artístico dessa personagem, que freqüentemente é considerada o poeta, cantor e músico arquetípico. A seção da obra em que ela se insere como voz predominante é o livro X, do qual também propomos uma tradução, em prosa, ao final da dissertação. Nossa leitura considerou também a forma como a mesma personagem é apresentada em outro poeta romano, Virgílio, na seção final da obra Geórgicas. Como Ovídio dialoga de perto com a versão de seu antecessor, tal consideração se nos mostrou inevitável. O objetivo final é perceber a importância de se levar em conta o aspecto artístico da personagem para entendê-la no contexto do livro X das Metamorfoses, no qual Orfeu desponta como figura principal e dominante.
Abstract: This is a work on the mith of Orpheus, as narrated by the roman poet Ovid in his master piece Metamorphoses. We have focused on the artistic aspects of this character, who is often considered the archetipical poet, musician and singer. It is the dominant voice of Book 10, of which we offer a translation, in prose, at the end of this dissertation. Our readings have also taken into consideration the way this character is presented in another ronam poet, Vergil, in the final section of his work The Georgics. Considering Ovid dialogs closely to his antecessor, such consideration has presented itself unavoidable. The final goal is to aprehend the importance of taking into consideration the artistic aspects of the character in order to understand it in context of Book 10 of Metamorphoses, where Orpheus is the main dominant figure.
Mestrado
Linguistica
Mestre em Linguística

Orientador: Paulo Sergio de Vasconcellos
Tese (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