Literatura académica sobre el tema "Aeneas (legendary character) – poetry"

The article analyzes 120 drawings by A. Bazylevych, the outstanding Ukrainian artist of the 20th century, created for the editions of “Aeneid” by I. Kotliarevskyi in 1969 and 1970. The subject matter is a look at the drawings in the status of a picturesque author’s myth. The skill of ‘visual intelligence’ of the artist is demonstrated in the picturesque original reading of the poem by Kotliarevskyi as a phenomenon of the Baroque with expressive literary methods of ‘image turning’ that contributed to this process and acquired the significance of historical and literary classics. The assumption as for the artist’s mastering of the Baroque concept of Chyzhevskyi that was popular in the 1960s as well as the single-stage development of the Italian-Ukrainian culture of laughter (according to M. Bakhtin) and appreciation of picture poesis (poetry as painting, according to L. B. Alberti) are suggested. This interaction lined up the picturesque myth of Bazylevych through the artistic transformation techniques of ‘image turning’, burlesque travesty of ‘booklore’. This produced the formation of the mythological image of Aeneas as a ‘black knight’ (in the edition of 1969) in the traditions of Western European literature. The view of life through mythological red colour founded by the legendary book cover reveals the content of the ‘red Aeneas’, being signified with red clothing items, shoes, and above all the red Cossack heraldry on the flag, combining Aeneas with Trojan-Cossacks, representing the ‘red world’. Aenei-myth is considered as a Cossack Sorcerer due to the suffix specificity of H. Cohen and physical plastic with folk content that unite the Trojans-Cossacks with the gods.

Summary In the Aeneid, the recurrent themes of ‘construction’ and ‘destruction’ (the topic of the Latin final exam of 2020) can be connected to generic roles. Dido, founder of Carthage, is presented progressively in elegiac terms, as is suggested by a number of echoes of Sapphic love poetry; as a character, she is guided primarily by personal motives. Dido’s ‘elegiac role’ forebodes her own destruction and that of her city. Aeneas, on the other hand, needs to adhere to his epic role as founder of the new Trojan/Roman nation, in order to avert destruction and the repetition of Troy’s fate. When during his stay in Carthage he starts to show signs of transforming into an elegiac lover, the gods intervene and put him back onto the epic track: the public interest should take precedence over personal feelings. This opposition between elegiac Dido and epic Aeneas may grant insight into Vergil’s message for his contemporaries.

The article focuses on the representations of the body in Zuzanna Ginczanka’s poetry. There are four crucial poetic constructions in this respect that need to be properly contextualized: the Jewish body (Ginczanka’s beauty and stigma, her legendary eyes), the lyrical body (the feminine origin of her poetry, its erotic, emancipatory character, the meaning of victim and revenge themes), the individual and the social body (the ways of shaping her identity and some of her key performative gestures), and, fi nally, the visual body (the poet’s public image in the past and now). Aside from Bożena Keff’s and Agata Araszkiewicz’s discussions of Jewishness in Ginczanka’s poetry, the article refers to Erving Goffman’s, Jean-Paul Sartre’s and Richard Schechner’s theories to illuminate the complex mechanisms behind Zuzanna Ginczanka’s ambiguous position in the literary and cultural discourse through the years.

In El rufián viudo llamado Trampagos, Cervantes juxtaposes reality and fiction by means of the different referentialities embedded in the name and character of Escarramán, a literary ruffian whose popularity is mostly attributed to Quevedo. Cervantes's Escarramán is both a real person, a fellow ruffian to the characters inside the interlude, and a legendary figure who belongs to the literary world. Cervantes has often demonstrated the complex and porous mimetic fabric with which he weaves his texts, manifestly in his novel Don Quijote de la Mancha, as well as in his poetry. This article explores how Cervantes chooses the infamous genre of the entremés and a marginal character such as Escarramán as vehicles to ponder his own idiosyncratic vision of mimesis.

Teodor Zgureanu’s Concerto for Soprano and Orchestra, L-al Moldovei dulce soare (2006), was inspired by the poem-legend Mărioara, Florioara by Vasile Alecsandri. The poem is conceived and realized in a quasi-folkloric dimension, combining the features and principles of cultured poetry with the language of folk poetry. The folkloric style is present in the detailed description of the nature of the Moldavian countryside and the beauty of the girls from this land, in the character of the verse, the rhymes, and in the epic-legendary subject, told in 6 long chapters. T. Zgureanu took from this poem-legend only certain fragments that highlight the lyrical-psychological aspect and accentuate the soul experiences and feelings of Mărioara. The composer thus mitigates the epic-dramatic content, dominant in Alecsandri` s work, completely excluding the fantastic component of the text. To remain faithful to the ideological content of V. Alecsandri’s poem, the author of the Concerto starts from the stylization of archaic models taken from folklore, uses melody as the main means of expression, combining tonal and modal writing.

This research is dedicated to study Al-Ra’ee Al-Numayri, a distinctive poetic character, to find out the most important (artistic) pre-Islamic features that contributed to its formation. It is further dedicated to know the influence of these features on his literature in the literary arena. After surveying his poetic texts and reading them according to the analytical and investigative methods, the art of the researcher was limited to the field of traditionalists. He was following the footsteps of the ancients by adhering to the traditional Arabic poetry style and the traditional poetic image. Despite that, he had his own imprints and unique style of interrogating times and places with its people, animals and plants. He drew creative, sensual, and artistic poetic images.He bestowed movement and life to his talismanic and flirtatious images by describing the journey and the camel that won the honor of the poet’s eternal participation in all his poetic texts. Consequently, his camel became his legendary animal that accompanies him in his solitude and travels. The participation of the camel in his poetry was an emotional participation of his hopes and pains as well as a test to his patience and dream as it is his partner in his endeavors to praise and obtain the giving and dew of what is desired by him. In the midst of all these events, the effectiveness of the poet's imagination ranked him among the pioneers of Islamic poets. The research falls into an introduction and four axes that clarify the most important of features of his poetry. The study proved his superior poetic ability despite his commitment to the traditionalists.

The article considers the «eternal image» in Abay’s poetry by the method of thesaurus analysis, based on the comparative method. Thesaurus analysis is especially important in the system of linguistic analysis. Although the terms “dictionary” and “thesaurus” are similar, the fact that the thesaurus has a wider range of meanings is confirmed by the findings of the researchers. It is known that the thesaurus analysis method is of particular importance in modern humanities. From this perspective, the features of thesaurus analysis in literary studies are systematized and the issue of “eternal image” is raised within the framework of this concept. There are special characteristics of “eternal images” such as capacity, high spiritual value, polyvalence, and wide dissemination, and in analyzing Abay’s poem “Yeskendir” (Alexander) attention is paid to these features. Comparative analysis is done on the plots of Yeskendir in eastern and western literature. In Abay’s poetry Alexander is a model of an eternal image, and in presenting his nature the poet’s position is shown. The content of the article also includes the fact that the story of Alexander the Great in the Holy Quran formed the basis of folklore and literary works and the personification of this “eternal image” in the historical and literary tradition. The analysis of the main character in the poems of Ferdowsi, Nizami, Zhami, Navoi and in the “Novel about Alexander” popular in Europe is presented and concluded. Although Yeskendir’s historical campaigns around the world eventually went into the depths of history, his glorious life continued in folklore and literature. The famous hero’s “literary campaign” to oriental literature was considered in the space of the eastern classical poets and Abay’s works. The analysis reveals that the plot lines, dating back to folklore heritage and sacred books, were reproduced in the works of great poets in a unique way. The scholars, who claim that the historical Alexander the Great and the legend hero Yeskendir Zulkarnaiyn are two different people in history, cannot provide any concrete evidence to support this point of view. The plots about Yeskendir that became the basis for the works of great artists unite these “two” Alexanders as one person. Considering that one of the main characteristics of eternal images is polyvalence, it was concluded that Yeskendir can be recognized as a composite image of a warrior and a victorious commander, who ruled the country. The contradictory nature of the “eternal image” in Abay’s poem “Yeskendir” and the reproduction of the legendary plot by the great poet in a new perspective is shown on the basis of thesaurus analysis.

The term “Arthurian Literature” describes writings in poetry, prose, dramas, and novels that are based on the mythical King Arthur, who is said to have ruled Britain in the fifth century BC. Experts have been debating and disputing King Arthur’s historical foundation for a long time. Despite the never-ending controversy surrounding the history of King Arthur and his knights, numerous authors have continued to express their love and devotion for him in their works. King Arthur emerged as the main character in the Matter of Britain, saving the entire country with his victorious conquest of the Saxons. Authors from all around the world have embellished their love for Arthur by rewriting the well-known legendary tales from various perspectives. Resilience refers to the ability of an individual, community, or system to bounce back, adapt, and recover from adversity, challenges, or setbacks. It involves the capacity to withstand and navigate through difficult circumstances while maintaining a sense of well-being. Resilient individuals can adjust and adapt to changing situations. They are flexible in their thinking and behaviour. They can manage their emotions effectively, staying calm under pressure and bouncing back from emotional distress. This paper aims to analyse the evolution of Guinevere from encumbrance to resilience in Nancy Mckenzie’s Queen of Camelot. Resilience is a dynamic and evolving quality that can be developed and strengthened over time through various life experiences. The paper tries to show how the protagonist, Guinevere becomes a resilient woman after undergoing lot of difficulties.

In their considerations of Chicanola border poetry and narrative, Gloria Anzaldúa, Guillermo Gómez-Peña, and José David Saldívar have suggested that the cultural condition of the border writer addresses central concerns of contemporary American culture and what one can regard — as I try to do here — as its aspiring cultural outlaws. In the context of their postmodern approaches to culture the notion of the American frontier outlaw has a rather archaic ring, for such an identity recalls 19th–century constructions of self and an underlying belief in individual agency. Even in the 1930s the figure of the folkloric Tejano rebel existed in a similar historical halfway house, one in which the idea of the Mexican outlaw is both utterly anachronistic and politically relevant. Nonetheless, the traditional heroic outlaw of Tejano balladry — corridos — still has the power to signify a legacy of opposition to Anglo power, and the themes of such balladry persist today in the form of legal conflict over unresolved land claims (Verhovek), as if yesterday's outlaw has materialized from legend and taken form as lawful claimant. Thus it is valuable to see how the concerns of contemporary theory can be related to antiquated legends and to note any intermediary texts located in a moment between the late 20th-century present and the mid-19th-century past. Arguably, Américo Paredes's 1930s novel George Washington Gomez prefigures the newly lawful claims of those heir to the mythos of legendary outlaws and at the same time prefigures postmodern border theory. The novel underscores the divided character of a culture inheriting a folkloric tradition in a newly modern American context and elaborates on themes pertinent to a postmodern one.

The present paper focuses above all on a variant of the legend of Józef Piłsudski presented by Bruno Schulz in his literary works. It is definitely not the best known literary incarnation of the myth of Polish First Marshall, neither is it the most quoted one, like excerpts from General Barcz by Józef Kaden-Bandrowski or from Jan Lechoń’s book of poetry Silver and Black [Srebrne i czarne]. Still, Schulz gives us a very interesting analysis of the formation of this legend, and we can find in it Schulz’s own approach and style. His views on the formation of this legend are in fact ahistorical, free of the specific context. When he writes that “unbelievable historic maturity was incarnated in this man,” he is closer to heroic narration rather than sociological analysis. It is not a coincidence then that Schulz’s sense of historic moment is intertwined with his understanding of myth and his literary mythology. The author of The Street of Crocodiles worked on his essay “How Legends Come Into Being” [Jak powstają legendy] when he was finishing “Spring,” which brings the two texts closer and gives a historical incentive for a parallel reading of both, which is also justified by their content. Schulz puts Piłsudski in his own symbolic domain and makes him an agent/actor of his own narration. The problem of his individual importance or eminence is confronted with the views of Thomas Carlyle and Edmund Burke. The aim of the paper’s author is not just a close reading of Schulz’s text, but juxtaposing it with a few other analyses of the phenomena of birth, rise, and death of the legend. Karol Irzykowski was one of the most clear-headed analysts of those processes and that is why his views are quoted in the fragments devoted to a “socio-cultural process” which he treated not as an esoteric phenomenon but as a conscious strategy of influencing people. A short analysis of the quotation from Piłsudski about the role of legends and the oppressiveness of the legendary discourse in Polish culture is also important. Piłsudski, who understood the vampirical character of legends, became a prisoner of Schulz’s creative imagination in his essay.

Thesis (MA)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This thesis investigates the references to swords in key scenes in the Aeneid – particularly the scenes of Dido’s and Turnus’ death – in order to add new perspectives on these scenes and on the way in which they impact on the presentation of Aeneas’ Roman mission in the epic. In Chapter Two I attempt to provide an outline of the mission of Aeneas. I also investigate the manner in which Dido and Turnus may be considered to be opponents of Aeneas’ mission. In Chapter Three I investigate references to swords in select scenes in book four of the Aeneid. I highlight an ambiguity in the interpretation of the sword that Dido uses to commit suicide and I also provide a description of the sword as a weapon and its place in the epic. In Chapter Four I provide an analysis of the references to swords in Dido’s and Turnus’ death scenes alongside a number of other important scenes involving mention of swords. I preface my analyses of the references to swords that play a role in interpreting Dido and Turnus’ deaths with an outline of the reasons for the deaths of each of these figures. The additional references to swords that I use in this chapter are the references to the sword in the scene of Deiphobus’ death in book six and to the sword and Priam’s act of arming himself on the night on which Troy is destroyed. At the end of Chapter Four I look at parallels between Dido and Turnus and their relationship to the mission of Aeneas. At the end of this thesis I am able to conclude that an investigation and analysis of the references to swords in select scenes in the Aeneid adds to existing scholarship in Dido’s and Turnus’ death in the following way: a more detailed investigation of the role of swords in the interpretation of Dido’s death from an erotic perspective strengthens the existing notion in scholarship that Dido is an obstacle to the mission of Aeneas.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die verwysings na swaarde in kerntonele in die Aeneïs – hoofsaaklik die sterftonele van Dido en Turnus – met die oog daarop om addisionele perspektiewe te verskaf op hierdie tonele en die impak wat hulle het op die voorstelling van Aeneas se Romeinse missie in die epos. In hoofstuk twee poog ek om ’n oorsig te bied van Aeneas se Romeinse missie. Ek stel ook ondersoek in na die mate waartoe Dido en Turnus as teenstanders van Aeneas se Romeinse missie beskou kan word. In Hoofstuk Drie ondersoek ek die verwysings na swaarde in spesifieke tonele van boek vier van die Aeneïs. Ek verwys na ’n dubbelsinnigheid in die interpretasie van die swaard wat Dido gebruik om selfmoord te pleeg en verskaf ook ’n beskrywing van die swaard as ’n wapen en die gebruik daarvan in die epos. In Hoofstuk Vier verskaf ek ‘n ontleding van die verwysings na swaarde in Dido en Turnus se sterftonele saam met ’n aantal ander belangrike tonele met verwysings na swaarde. Ek lei my ontleding van die beskrywings van die swaarde wat ’n rol speel in die interpretasie van Dido en Turnus se sterftes in met ’n uiteensetting van die redes vir die dood van elk van hierdie figure. Die addisionele verwysings na swaarde wat ek in hierdie hoofstuk ontleed, is die verwysing na die swaard in die toneel van Deiphobus se dood in boek ses en die verwysing na die swaard in die toneel waar Priamus sy wapenrusting aantrek op Troje se laaste aand. Aan die einde van Hoofstuk Vier ondersoek ek die parallele tussen Dido en Turnus en hulle verhouding tot Aeneas se Romeinse missie. Hierdie tesis ondersoek die verwysings na swaarde in kerntonele in die Aeneïs – hoofsaaklik die sterftonele van Dido en Turnus – met die oog daarop om addisionele perspektiewe te verskaf op hierdie tonele en die impak wat hulle het op die voorstelling van Aeneas se Romeinse missie in die epos. In hoofstuk twee poog ek om ’n oorsig te bied van Aeneas se Romeinse missie. Ek stel ook ondersoek in na die mate waartoe Dido en Turnus as teenstanders van Aeneas se Romeinse missie beskou kan word. In Hoofstuk Drie ondersoek ek die verwysings na swaarde in spesifieke tonele van boek vier van die Aeneïs. Ek verwys na ’n dubbelsinnigheid in die interpretasie van die swaard wat Dido gebruik om selfmoord te pleeg en verskaf ook ’n beskrywing van die swaard as ’n wapen en die gebruik daarvan in die epos. In Hoofstuk Vier verskaf ek ‘n ontleding van die verwysings na swaarde in Dido en Turnus se sterftonele saam met ’n aantal ander belangrike tonele met verwysings na swaarde. Ek lei my ontleding van die beskrywings van die swaarde wat ’n rol speel in die interpretasie van Dido en Turnus se sterftes in met ’n uiteensetting van die redes vir die dood van elk van hierdie figure. Die addisionele verwysings na swaarde wat ek in hierdie hoofstuk ontleed, is die verwysing na die swaard in die toneel van Deiphobus se dood in boek ses en die verwysing na die swaard in die toneel waar Priamus sy wapenrusting aantrek op Troje se laaste aand. Aan die einde van Hoofstuk Vier ondersoek ek die parallele tussen Dido en Turnus en hulle verhouding tot Aeneas se Romeinse missie.

Firstly in digression Byron presents a national reality which gradually displaces his cherished cosmopolitan ideals. Among many other pressing problems of his day, political renegades, the paradox of scientific innovations, the rise of intellectual ladies and the commoditization of marriage and family constitute the tangible part of Byron's domestic recalling. With retrospective commentaries Byron fulfills the act of imagining native land; and in this regard nationalism is the spiritual support of the expatriate existence.
I propose to comprehend the perceptive gap by focusing on Don Juan which best contextualizes Byron in the flow of historicity with the dimension of nationalism. I intend to delve into three structural units of Don Juan---digression, narrative, a lyric song---to argue that Byronic contradictions manifest nationalism in its multiple contingencies.
In conclusion Don Juan reveals that Byron's participation in the modern historicity of nationalism involves three dimensions---residual cosmopolitan ideals, English national consciousness and the independence of the oppressed nations. Don Juan embodies a historical magnetic field where Byron's existence actualizes the potential conflict of the modernity.
Secondly by reading Don Juan as the quest romance of the individual initiation, I bring the narrative into scrutiny and argue that the hero's transformation involves an implicit evolution of the national identification. In terms of subjective consciousness, nationalism embodies the mature vision of masculine selfhood. Don Juan's encounter with both female and male characters, through his repeated border-crossing, illuminates a metaphorical process from rejection to embrace of native roots, from negation to affirmation of national bonds Juan's rite of passage---sexual initiation, surviving shipwreck, the trial of the exotic love and battlefield and diplomacy---transmits a national subjectivity which corresponds to the Byronic existence of mobility.
The dissertation explores the discrepancy between critical reception towards Byron as a Romantic poet in contemporary Romantic scholarship and in Chinese historical evaluation (with certain reference to the European Continent). Byronic contradictions pose a problem to Romantic scholars who are engaged to interpret the interplay between Byron the man and Byron the poet. They share the view that Byron succeeds in manipulating his own personal image to promote his poetical visibility and tend to doubt if his poems could stand alone without the reference to his letters and journals. In China, as in many other countries of European Continent and Asia, Byron is often viewed in a more positive way as the very name has become a byword for liberal nationalism and the rebellion against tyranny
Thirdly 'Isles of Greece' adds an alternative yet prospective dimension to perceive the tension between national anxiety and modernity. In English context its meanings vary as the contextual focus shifts from poetical to socio-biographical and to existential level. The theme of the national independence is complicated by its negative elements such as the identity of the songster. In the Chinese context, 'the Isles of Greece' initiates and embodies a myth-making process as it gives vent to the anxiety of modernity faced by Chinese people in the opening of the twentieth century. The individual shaping of the 'Isles' by three Chinese intellectual pioneers symbolizes the simultaneous awakening of Chinese national consciousness and individual consciousness. The extended reading of Byron by Lu Xun, together with his reworking, voices the existential dilemma of modern enlighteners. His invocation of 'Mara poets' is prophetic of the modern intellectuals who possess both vision and willpower to eradicate ignorance and public apathy.
Gu, Yao.
Adviser: Ching Yuet May.
Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 167-173).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract also in Chinese.

Within a southern African literary-historiographical milieu, the corpse of the First World War (1914-1918) either wanders in the ‘darkling’ woods or wades in the ice-mirrored sea of a sinister psychological landscape. The veld, with its moon, flowers, bowers, animals and sea, is a potent South African metaphysical conceit in which both the white and black corpse – the horrific waste product of war – is seemingly safely hidden within euphemistic shadows. However, these shades are metonymic and metaphorical offshoots of an Adamastorian nightmare, which has its inception in a nascent South African literary tradition. This thesis explores these literary-historiographical leftovers within the war poetry of both civilians and soldiers. Both ‘white’ and ‘black’ poetry is discussed in a similar context of dressing the corpse in meaning: a meaning that resides deep within the wound of loss. In tracing this blood spoor in the poetry a highly eclectic approach has been followed. As the title illustrates, both literary and historical approaches were used in analysing the effect of the Great War on the poetry, and by implication, on the society from which it sprung. It is, therefore, a cultural history as well as an intellectual subtext of wartorn South Africa that has been scrutinised, and is revealed in its poetic literature. Archival research and the scouring of individual volumes were the sources of the poems for this study. This is true especially with regards to the ‘white’ poetry, where very few examples of poetry have been published in secondary histories. Various anthologies and studies on ‘black’ poetry considerably lightened the search for war izibongo. A variety of literary theoretical approaches have been most useful in extracting the subtext of early 20th century South African history. The psychoanalysis of Sigmund Freud and Carl Jung’s collective unconscious have been most insightful. The poststructuralist theory of Julia Kristeva has cast more light on the recalcitrant corpse, the main waste product of war. David Lewis-Williams’s recent archaeological-anthropological approach has also been crucial in understanding the indigenous izibongo by putting forward Neuroscience as an explanation of the universally held neuropsychological hallucinatory poetic experience. Finally, war poetry in this thesis is seen as verse written by both soldiers and civilians as a response to the reality – or rather surreal unreality – of conflict, in an effort to come to terms with the abjection of both body and mind. Thea Harrington‘s manqué reading of Kristeva’s poststructuralist corpse is used as a referent for the abject, or loss thereof, that is to be found in the war poetry. Throughout the thesis, the term manqué is used to refer to the corpse as a fluid linguistic-psychological signifier saturated with loss. It is the manqué that has essentially remained hidden behind the various political histories of the war.
English Studies

The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism.
Art
D. Litt. et Phil.

Chapter 5 attends to Achilles Tatius’ engagement with Vergil’s Aeneid. The argument focuses on three main lines of enquiry (in all of which it is clear that Achilles is capitalizing on the erotic potential on offer in Vergil’s epic). Section 5.2 argues that Achilles models Melite’s plea for sex with Clitophon (articulated in two speeches) on Dido’s plea that Aeneas stay in Carthage (also articulated in two speeches), thus reducing Dido’s tragic hope for marital-political security to a wish for a single session of sex (Melite is successful in her wish). Section 5.3 takes as its subject the flushed cheeks of Leucippe in Book 1 (to which Clitophon responds erotically) and argues that it is modelled on the famous blush of Lavinia in Aeneid 12 (which fires Turnus with love). Section 5.4 ranges over a number of phraseological overlaps between Achilles and the Aeneid suggestive of a close engagement (especially in connection with the storm in Aeneid 1 and the character of Coroebus in Aeneid 2).

Abstract This chapter reads the Orlando furioso against humanist teaching methods and reading practices to show that the Furioso’s ideals of achievable, sustainable heroism and humanism emerge from a dynamic interplay of Odyssean failure and successful revision. Ariosto’s characters attempt to emulate Odysseus’ heroic feats and traits by following the practices of Renaissance exemplarity. Reconstructing those practices from humanist reference works and the printed and manuscript marginalia of early editions, the chapter shows that the Furioso condemns them as essentially prismatic and thus ill-equipped to teach the interplay of qualities that constitutes Odyssean heroism. Where humanist surrogates for reading poetry fail, Ariosto argues, epic poetry and intertextual poetics succeed. By selecting various facets of Odysseus’ character and reassembling them into a finally successful Odyssean narrative, Ariosto constructs a partial, careful defence of human capability. He uses the classical hero of reason and prudence to ask what possibilities there may be for valour in a modern world, what kind of virtue the Odyssey can teach. Allowing this Odyssean model of epic closure to succeed where the Furioso’s Virgilian ending fails, Ariosto sets Odyssean prudence above Virgilian furor. By focusing these Odyssean imitations on marriage and the interaction of reason with desire, and by elevating the partial and prudent emulation of Odysseus above the full and furious imitation of Aeneas, Ariosto redefines heroic ethics and epic closure on Odyssean models of prudence, homecoming, and social reintegration.