Artículos de revistas sobre el tema "Ancient roman poetry"
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Elliott, Jackie. "Early Latin Poetry". Brill Research Perspectives in Classical Poetry 2, n.º 4 (30 de marzo de 2022): 1–131. http://dx.doi.org/10.1163/25892649-12340006.
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Abstract This analysis explores aspects of the extant fragmentary record of early Roman poetry from its earliest accessible moments through roughly the first hundred and twenty years of its traceable existence. Key questions include how ancient readers made sense of the record as then available to them and how the limitations of their accounts, assumptions, and working methods continue to define the contours of our understanding today. Both using and challenging the standard conceptual frameworks operative in the ancient world, the discussion details what we think we know of the best documented forms, practitioners, contexts, and reception of Roman drama (excluding comedy), epic, and satire in their early instantiations, with occasional glances at the further generic experimentation that accompanied the genesis of literary practice in Rome.
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Mcdonough, Christopher. "Roman Triumphs New Books about Ancient Poetry". Sewanee Review 123, n.º 2 (2015): 350–57. http://dx.doi.org/10.1353/sew.2015.0042.
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Vasconcellos, Paulo Sérgio de. "Fingi(dores) de si mesmos: dores fingidas e reais na oratória romana". Nuntius Antiquus 10, n.º 1 (30 de junio de 2014): 135–60. http://dx.doi.org/10.17851/1983-3636.10.1.135-160.
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This paper focuses on the conceptions of ethos and pathos in Roman rhetoric in order to investigate how far were ancient Romans from our notion of poetical persona. Its title dialogues with the poem “Autopsicografia” by Fernando Pessoa, whose “feigned pain” has a correlate in Ciceronian fictus dolor. This preliminary consideration is part of our broader investigation on the reception of subjective poetry in ancient Rome, and more widely in classical studies.
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Yeh, Michelle. "Names Deeply Chiseled". Prism 16, n.º 1 (1 de marzo de 2019): 157–73. http://dx.doi.org/10.1215/25783491-7480365.
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Abstract This article provides the first comprehensive study of the use of ancient Greek and Roman allusions and motifs in the poetry of Yang Mu. By focusing on representative works from Yang's oeuvre, the study sheds light on how the poet's appropriations of Greco-Roman materials are a powerful and creative expression of his poetics as a whole. Going beyond the traditional model of influence study, the article proposes a theoretical framework of cross-cultural intertextuality, creative rewriting, and cultural translation.
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Demchenko, Aleksandr Ivanovich. "Antiquity: A millennium before the Birth of Christ. The basis of European culture". Pan-Art 3, n.º 4 (11 de octubre de 2023): 219–30. http://dx.doi.org/10.30853/pa20230036.
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The essay is devoted to a summary review of the main phenomena of global artistic culture in the Antiquity period (a millennium before the Birth of Christ). The work provides a holistic vision of artistic phenomena. The author consistently examines the achievements of ancient masters in various art forms: literature (the creation of the spiritual foundation of ancient culture in religious canons and national epic), architecture (the appearance of the order in ancient Greek classics), sculpture (as the leading genre of Antiquity), fine art (based on preserved frescoes and mosaics), theatrical art (tragedies of ancient Greek playwrights), poetry (Roman classicism). Attention is also paid to the development of art in line with Hellenism and to the parallels to Greco-Roman Antiquity in the territories of the East. In addition, an overview of the last stage of Antiquity, the Roman stage (the heyday of Roman architecture and sculpture), is given. In conclusion, the author finds that the art phenomena of the period of Antiquity played the most important role as the basis of European culture.
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BILOHRYVA, Daniella. "SATIRE AND ITS METAMORPHOSIS IN THE PERIOD OF ANTIQUITY". Filosofska dumka (Philosophical Thought) -, n.º - (27 de septiembre de 2023): 159–72. http://dx.doi.org/10.15407/fd2023.03.159.
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The article considers the question of the study of satire in philosophy. The study found that satire is an underdeveloped topic in the field of Ukrainian philosophy and the philosophy of Englishspeaking countries. For instance, the works of the last five to six years by such philosophers as D. Ab rahams and D. Declercq, who echoed the opinion of C. W. Mendell concerning the close connection of satire with philosophy. In the work “Satire as Popular Philosophy” created at the be ginning of the 20th century Mendell proved that ancient satire was a type of philosophy. Ne vertheless, the issue of the first place of appearance of the genre of satire in the period of Antiquity, whether in ancient Roman or ancient Greek art, needs to be clarified. Therefore, the purpose of the article is to solve a number of related questions, namely: where previously appeared satire as a genre — in Ancient Rome or in Ancient Greece, why it got such a name, and what metamorphoses took place with it over time Antiquities. One of the primary sources about the history of satire was Aristotle’s work “Poetics”, which describes iambic (humorous) and satirical poetry. According to Aristotle, the nature of satiric poetry undergo metamorphosis from the “dance” tetra meter to the iambic meter characteristic of mocking poetry. In this regard, the main part of the work is devoted to proving that satiric poetry got its name from mythological goat-like satyrs and if the performers of iambic (derisive lyrics) could be ordinary people, then the performers of satirical poems — only mythological goat-like satyrs. As a result of the research, it was found that initially the genre called satire had a poetic form and was borrowed by ancient Roman poets from ancient Greek artists. The adopted type of satire received the name “satura”, in Latin meaning “miscellany or medley” of prose and verse form of presentation of the creation.
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Lê Vũ Trường Giang, Lê Vũ. "THE SPIRITUAL VALUES OF ROMAN CULTURE IN TWO CENTURIES OF THE PAX ROMANA PERIOD (27BC-180)". Hue University Journal of Science: Social Sciences and Humanities 128, n.º 6B (25 de marzo de 2019): 167. http://dx.doi.org/10.26459/hueuni-jssh.v128i6b.4913.
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<p>The Pax Romana period was the pinnacle of ancient Roman culture since founding the country until the division into Eastern and Western Empire in 395. Only in two centuries, under the principate regime, Roman culture continues to create the available cultural roots of itself that inherited from the earlier generations; it selectively received and developed Greek foreign culture to a new point. All cultural values from the non-material to the material were constructed under the early dynasties of Augustus to the heyday of the Five Sage Kings or Aurelius who is both emperor and philosopher shows development and prosperity of Rome. Fields such as literature, history, science, philosophy,… have brilliant achievements. Rome has collapsed but Roman culture still lives in language, poetry, art of Latin, in the spirit of modern law and in the orderly traditions of the old European continent. </p>
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Barker, Andrew. "Shifting frontiers in ancient theories of metaphor". Proceedings of the Cambridge Philological Society 45 (2000): 1–16. http://dx.doi.org/10.1017/s0068673500002315.
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This paper is concerned with one little-known but intriguing and conceptually promising episode in the history of Greek thought about metaphor. Remarks made by two distinguished scholars will help us to get some preliminary bearings. In ancient discussions of rhetoric, says D.A. Russell, there was ‘a sharp distinction between content (to legomenon) and verbal form (lexis). With some hazy and uncertain exceptions, ancient writers on poetry also adhered firmly to this distinction’. Qualifications are added later in the book; but Russell leaves us with the clear impression that no Greek or Roman theorist made significant concessions to any nonsense about the medium being the message; and that whatever may be true of isolated examples of critical practice, all general theories about the elements of poetry assumed that discussions of what is said can be conducted quite independently of discussions of how it is said. In so far as connections were envisaged at all, Russell maintains, it was in terms of a rather vague notion of ‘suitability’: many writers cite with approval the Gorgian slogan, ‘great words suit great things’.
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Stabryła, Stanisław. "Rewokacje antyczne w poezji Wacława Iwaniuka". Przegląd Humanistyczny, n.º 65/3 (21 de diciembre de 2021): 48–57. http://dx.doi.org/10.31338/2657-599x.ph.2021-3.4.
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The recallings to antiquity in Vaclav Iwaniuk’s poetry assume the reinterpretations in most cases. The above review of the mythological and historical motifs taken from the Greek or Roman antiquity allows us to conclude, first of all, that they were brought up to date owing to the use of the method we have called a reinterpretation. The poet, referring to the Greek myth or the history, tried to find the patterns and the symbols that make it possible to understand the history of his nation, its past and present situation, and his own life and fate.
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O'Sullivan, Patrick y Judith Maitland. "Greek and Latin Teaching in Australian and New Zealand Universities: A 2005 Survey". Antichthon 41 (2007): 109–20. http://dx.doi.org/10.1017/s0066477400001787.
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The study of Latin and Ancient Greek at tertiary level is crucial for the survival of Classics within the university sector. And it is not too much to say that the serious study of Greco-Roman antiquity in most, if not all, areas is simply impossible without the ancient languages. They are essential not just for the broad cross-section of philological and literary studies in poetry and prose (ranging at least from Homer to the works of the Church Fathers to Byzantine Chroniclers) but also for ancient history and historiography, philosophy, art history and aesthetics, epigraphy, and many branches of archaeology. In many Classics departments in Australia, New Zealand and elsewhere, enrolments in non-language subjects such as myth, ancient theatre or epic, or history remain healthy and cater to a broad public interest in the ancient Greco-Roman world. This is, of course, to be lauded. But the status of the ancient languages, at least in terms of enrolments, may often seem precarious compared to the more overtly popular courses taught in translation. Given the centrality of the ancient languages to our discipline as a whole, it is worth keeping an eye on how they are faring to ensure their prosperity and longevity.
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Włodarczyk, Arkadiusz y Mateusz Rozmiarek. "Games in the Accademia Arcadia as a Legacy of the Olympic Idea between the Seventeenth and the Eighteenth Centuries". European Review 28, n.º 4 (17 de marzo de 2020): 587–98. http://dx.doi.org/10.1017/s1062798720000186.
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In the seventeenth and eighteenth centuries a specific type of games took place in the Roman Academy of Arcadia. These games were a major cultural event in the academy and were a type of poetry competition which, in many aspects, was similar to the ancient Olympic Games. Therefore, they are a perfect example of the heritage of the Olympic spirit of the given era.
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JRBASYAN, Ashkhen. "Philosophical Conception of Stable Verse Forms (Based on Yeghishe Charents’s Poetry Analy-sis)". WISDOM 3, n.º 2 (15 de agosto de 2022): 85–92. http://dx.doi.org/10.24234/wisdom.v3i2.868.
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The article is dedicated to the analysis of stable verse forms in the poetry of great Armenian poet Yeghishe Charents (1897-1937), introducing the structural opportunities for the development of the theme and the idea with some philosophical logic. It has long been criticized that the structure of these verse forms has a clear logic, the roots of which come from ancient and medieval ritual art. Many of the stable forms of Roman poetry (sonnet, triolet, rondel, rondeau, etc.) arose from widespread national dance songs that were popular in medieval Europe, inheriting the lengthy stanza of three parts typical to them, which, in its turn, is associated with the triad often encountered in antique tragedies and odas (strophe, antistrophe and epode). Triolet, sonnet and rondeau resemble ancient superstrophe in their structure, showing the same logic of the development of the theme. Stable forms from Eastern poetry (ruba’i, ghazal, mukhammaz, etc.) also have sound principles of structure and rhyme, which contribute to the expression of their philosophical content. The poetry of Yeghishe Charents, rich in stable verse forms, provides a vast opportunity to demonstrate the philosophical conception of the connection between their form and content.
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VUKADINOVIĆ, SNEŽANA y ALEKSANDRA SMIRNOV-BRKIĆ. "MENTIONS OF THE DANUBE IN THE POETRY OF CLAUDIUS CLAUDIANUS". ISTRAŽIVANJA, Јournal of Historical Researches, n.º 33 (22 de diciembre de 2022): 7–23. http://dx.doi.org/10.19090/i.2022.33.7-23.
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Claudian (Claudius Claudianus fl. 395 CE–404 CE) was a late antique poet from the Hellenised East, who rose to fame as the court poet for the western Roman emperor Honorius (393– 423). He came to Rome around 395 CE, and there he began using his talent as a classically trained poet to write panegyrics for wealthy and influential aristocrats and politicians. Claudian is considered one of the best authors of late Roman literature, even though he directed his talents toward propaganda primarily celebrating the well-known military commander Stilicho and writing invectives against Stilicho’s enemies at the court of the eastern Roman emperor Arcadius (395–408). Claudian’s poetry is one of the most valuable sources for the history of this period. In his rich poetic images, he mentions many toponyms, oronyms, and hydronyms, and his knowledge of Balkan geography seems truly enviable. One of the most frequently mentioned hydronyms in Claudian’s poetry are those referring to the river Danube, which he mentions thirty-eight times. In this paper the authors cite and analyse Claudian’s references to the Danube as a river that was a very important natural, political, and cultural border for the ancient world.
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Muñiz Coello, J. "Sobre uso y valor de la ficción en la historia griega y romana = The use and value of fiction in Greek and Roman history". REVISTA DE HISTORIOGRAFÍA (RevHisto) 32 (20 de noviembre de 2019): 119. http://dx.doi.org/10.20318/revhisto.2019.4898.
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Resumen: Griegos y romanos conectaron con su pasado, en primer lugar, a través del poema épico. Éste, con los recursos que eran propios del género poético, caracterizó el modo de elaborar el relato historiográfico posterior. Así, ficción y realidad fueron los elementos que dieron forma a las historias que nos dejaron griegos y romanos. Intentamos aquí ofrecer las actitudes que los historiadores de Roma asumieron a la hora de compatibilizar la ficción con la evidencia, la fábula con la realidad, y su consecuencia en el relato historiográfico.Palabras clave: fábula, historia, poesía, Livio, Dionisio de Halicarnaso.Abstract: Ancient Greeks and Romans knew about their past primarily through the epic poem. With the poetic resources typical of this genre, it went on to typify the way in which the historical report was made. In other words, both truth and fiction became elements giving form to the histories of Greek and Roman authors. In this paper, we explore the Roman historians’ attitudes in order to reconcile fiction with evidence, fable with fact and the consequences on the historical account.Key words: Fable, history, poetry, Livy, Dionysius of Halicarnassus.
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Duran, Martí. "Una mostra primerenca de la influència de Goethe sobre Maragall: la sèrie <i>Claror</i>". Zeitschrift für Katalanistik 17 (1 de julio de 2004): 131–54. http://dx.doi.org/10.46586/zfk.2004.131-154.
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Some of the early goethian influences on the original poetry by Maragall can be found in the poems from his series Claror. They are only preceded by a few translations of the poet from Weimar. Maragall, who for biographical reasons finds himself in the same situation as Goethe when he wrote Roman Elegies, imitates the German author in many topics. On the one hand, Maragall does not understand the crucial point in Roman Elegies, on the other hand, neither does his limited classic culture allow him to stage his love to Clara Noble in the ancient Rome. On the formal level Maragall also only uses very few of the resources that Goethe offered him.
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Caruso, Carlo. "ARCHAEOLOGICAL FINDINGS AND CELEBRATORY POETRY IN THE ROME OF PIUS VI". Papers of the British School at Rome 85 (24 de julio de 2017): 241–68. http://dx.doi.org/10.1017/s0068246217000071.
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In the second half of the eighteenth century, archaeological activities in Rome intensified considerably under the pontificate of Pius VI (1775–99), and new excavations in the Roman Campagna and the Latium, together with the erection of the Museo Pio Clementino (1776–84), excited considerable interest in Roman learned and literary circles. A young poet who had moved to Rome from Romagna, Vincenzo Monti (1754–1828), obtained his first great success by celebrating the new discoveries in a memorable poem, La prosopopea di Pericle. In it, a newly found herm of Pericles sings of Pius's pontificate as a new golden age for the arts. Monti, who was to become Italy's most authoritative man of letters in the following decades, befriended in those years, and received considerable assistance from, the leading antiquarian of that age, Ennio Quirino Visconti (1751–1818). Their relationship and its legacy provide the subject of this paper, with emphasis on Monti's early poetry, its significance for the literary history of the neoclassical age, and its role in shaping a novel poetic style intended for the praise of ancient art.
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Al-Zubbaidi, Asst Prof Dr Haitham K. Eidan. "Dramatizing Modern American and Arabic Poetry A Study in Selected Poems by Kenneth Koch and Yousif Al-Sayegh". ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, n.º 4 (17 de diciembre de 2019): 95–118. http://dx.doi.org/10.36473/ujhss.v58i4.1021.
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The interrelatedness of drama and poetry introduces one of the most exceptionally robust examples of trans-genre literature. It is further characterized by a deep-rooted tradition that dates back to ancient Greek and Roman drama, as well as a sense of circumstantial and ad hoc necessity-driven, age-oriented adaptability. The present paper assumes that this well-established sensitive relation of poetry and drama rests upon some circumstantial time-specific cultural forces or motivators that impact the ebb and flow, the expansion-contraction movements which are directly related to the temporal necessities and requirements of the textual and contextual poetic discourse. To this end, and to verify the accuracy of these assumptions, the paper limits itself to some representative examples from the oeuvres of two representative poets of the dramatic poetic tradition in modern American and Arabic poetry, namely Kenneth Koch (1925-2002) and Yousif al-Sayegh (1933-2006).
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Morrison, A. D. "Dead Letter Office? Making Sense of Greek Letter Collections". Bulletin of the John Rylands Library 97, n.º 2 (22 de diciembre de 2021): 1–18. http://dx.doi.org/10.7227/bjrl.97.2.1.
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The letter collections of Greco-Roman antiquity dwarf in total size all of ancient drama or epic combined, but they have received far less attention than (say) the plays of Euripides or the epics of Homer or Virgil. Although classicists have long realised the crucial importance of the order and arrangement of poems into ‘poetry books’ for the reading and reception both of individual poems and the collection as a whole, the importance of order and arrangement in collections of letters and the consequences for their interpretation have long been neglected. This piece explores some of the most important Greek letter collections, such as the Letters attributed to Plato, and examines some of the key problems in studying and editing collections of such ancient letters.
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Raz, Yosefa. "Imagining the Hebrew Ode: On Robert Lowth’s Biblical Species". Prooftexts 40, n.º 1 (2023): 85–109. http://dx.doi.org/10.2979/ptx.2023.a899250.
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Abstract: The subject of this article is the reception history of biblical genres, or the metapoetics of genre-making. It argues that the seemingly fixed presentations of the genres of biblical poetry in the twentieth century—as in Robert Alter’s classic guide to biblical Hebrew poetry—emerge from an eighteenth-century encounter: the English exegete Robert Lowth’s dramatic attempt to fit Greek and Roman generic models to the Hebrew text. Lowth’s resulting genres, or what he called the “species” of biblical poetry, were shaped both by the parallels he discovered between classical and Hebrew traditions, and by the small and large aberrations he faced in his process of translation. The article focuses on the characterization of a poetic form that never existed: the ancient Hebrew ode. Although, in this case, Lowth fails in his biblical scholarship, his Hebrew ode demonstrates the spirit of his creative project. By fitting Hebrew poetry to neoclassical models, Lowth subtly transformed neoclassical categories and possibilities, opening up new imaginative expanses within the lyrical mode and preparing the way for a more flexible, complex, and emotionally sophisticated Romantic lyric.
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Troiani, Sara. "Ettore Romagnoli traduttore delle Baccanti". Greek and Roman Musical Studies 10, n.º 1 (7 de marzo de 2022): 189–216. http://dx.doi.org/10.1163/22129758-bja10037.
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Abstract At the beginning of the Twentieth Century the Italian philologist Ettore Romagnoli popularised ancient classical culture through his work as translator and director of performances of Greek and Roman dramas. In his plays he attempted to reproduce the unity of the arts that belonged to the mousikē technē and to achieve a modern recreation of ancient sounds and rhythms. The paper aims to analyse the translation of Euripides’ Bacchae by Romagnoli (1912), comparing it with his studies on Greek music and tragedy and with operas. On the one hand, Romagnoli’s translation in Italian verses is based on the musicological theories about the close relationship between music and metrics in ancient Greek poetry; on the other, the adoption of operatic language to translate specific lines of Euripides’ drama is probably oriented to the Italian audience, which would have recognised conventional expressions from the libretti or from famous arias.
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Bodniece, Līva. "Vergilija „Eneīdas” mēģinājumi latviešu heksametros". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, n.º 26/2 (11 de marzo de 2021): 231–45. http://dx.doi.org/10.37384/aplkp.2021.26-2.231.
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This paper presents the compilation and analysis of the Latvian translations of the Aeneid, the Latin epic poem written by Virgil (Publius Vergilius Maro), from the first attempts in the late 19th century until the most recent publication in 1970. The materials analysed also include republications of translation excerpts. The source texts are arranged and revised chronologically, and the text analysis is achieved through the comparative method. Particular attention is paid to the translation issues of the dactylic hexameter, the ancient meter also known as “the meter of the epic”. There is no tradition in the Latvian cultural context to render epic poems into prose or any other meter than the dactylic hexameter. Augusts Ģiezens is the most prolific translator of epic poems in Latvian and has translated all Ancient Greek epic poems and the Roman Aeneid. Consequently, his version of the dactylic hexameter has established itself as an example for many generations of readers. The reason for this is the lack or unavailability of other translations. The comparison of translations also offers a look into the rendering of ancient proper nouns. Particular care is devoted to critiques of the translations as published by contemporaries in the press. The variations of translation strategies in early 20th-century poetry renderings in terms of both meter and proper noun rendering lead to the conclusion that attempts in creating a Latvian hexameter have not yet been exhausted and are likely to find new manifestations, particularly in Latvian ancient poetry translation.
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Lotman, Maria-Kristiina. "Prosody and versification systems of ancient verse". Sign Systems Studies 29, n.º 2 (31 de diciembre de 2001): 535–61. http://dx.doi.org/10.12697/sss.2001.29.2.08.
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The aim of the present study is to describe the prosodic systems of the Greek and Latin languages and to find out the versification systems which have been realized in the poetical practice. The Greek language belongs typologically among the mora-counting languages and thus provides possibilities for the emergence of purely quantitative verse, purely syllabic verse, quantitative-syllabic verse and syllabic-quantitative verse. There is no purely quantitative or purely syllabic verse in actual Greek poetry; however, the syllabic-quantitative versification systems (the Aeolian tradition) and quantitative-syllabic versification systems (the Aeolian tradition) were in use. The Latin language, on the other hand, has a number of features, which characterize it as a stress-counting language. Since at the same time there exists also the opposition of short and long syllables, there are preconditions for the syllabic, accentual and quantitative principle, as well as for the combinations of these. The Roman literary heritage shows examples of purely accentual, syllabic-quantitative, quantitative-syllabic, as well as of several other combinatory versification systems.
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Najman, Hindy y Tobias Reinhardt. "Exemplarity and Its Discontents: Hellenistic Jewish Wisdom Texts and Greco-Roman Didactic Poetry". Journal for the Study of Judaism 50, n.º 4-5 (6 de noviembre de 2019): 460–96. http://dx.doi.org/10.1163/15700631-15051303.
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AbstractThis article sets up a dialogue between two bodies of ancient texts, i.e. Jewish wisdom literature and Greco-Roman didactic of the Hellenistic period, with an awareness of the scholarly and interpretive communities that have studied, taught and transformed these bodies of texts from antiquity until the present. The article does not claim direct influence or cross-pollination across intellectual, religious or social communities in the Hellenistic period. Instead, the article suggests four discrete frameworks for thinking about comparative antiquity: creation, the law, the sage and literary form. The comparative model proposed here intends to create the conditions for noticing parallels and kindred concepts. However, the article resists the temptation to repeat earlier scholarly arguments for dependency or priority of influence. Instead, the essay demonstrates remarkable alignments, suggestively similar developments, and synergies. Perhaps, the ideal first reader for this article is none other than Philo of Alexandria.
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Kubiak, Przemysław. "STAN NIETRZEŹWOŚCI JAKO „AFEKT” W RZYMSKIM PRAWIE KARNYM?" Zeszyty Prawnicze 15, n.º 1 (5 de diciembre de 2016): 33. http://dx.doi.org/10.21697/zp.2015.15.1.02.
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Drunkenness – a “Passion” in Roman Criminal Law?SummarySince ancient times jurists and lawyers have had to handle offencesconnected with alcohol abuse. There are only three texts on drunkenness in the Roman legal sources: two relate to offences committed byinebriate soldiers, and the third contains the basic division into intentional offences, accidental offences, and crimes of passion. In all threecategories drunkenness was a mitigating factor, which may be surprising for modern lawyers. Other Roman sources present public opinionon drinking, which seems to have depended on the circumstances– heavy drinking and alcoholism were disapproved of. A precise analysis of the rhetorical writings shows elaborate distinctions betweenintentional and unintentional acts. Drunkenness was regarded as anemotional state which could influence the penalty, but the specific circumstances of the offence were crucial. The rhetorical works confirmthe views presented in poetry and philosophy. Contrary to the legalsources, the facts seem to show that a judge could sentence an offenderto a severe or mild punishment, or even acquit him if drunkenness hadbeen a factor contributing to the offence. The rhetorical works may beconsidered to provide not only an important theoretical background tothe legal sources, but also crucial supplementary information givinga better insight into Roman criminal law.
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Zeltchenko, Vsevolod V. "Classical Allusions in the Russian Poetry of the Early 20th Century: A Critical Survey of Research Practices". Philologia Classica 15, n.º 2 (2020): 331–53. http://dx.doi.org/10.21638/spbu20.2020.210.
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As befits a proper Renaissance, the revival of Russian poetry in late 19th — early 20th century was marked by an increasing interest in Greco-Roman antiquity. The vigorous and enthusiastic exploration of classical subjects, motifs and topoi, from accurate stylization to radical rethinking, emerged as an important feature of Russian modernist poetics. It is thus not surprising that the last decades have seen multiple and various investigations into classical reminiscences in Silver age poetry. The author of this polemical survey aims to draw attention to the vulnerable aspects of such research practices and to formulate a “code of conduct” for studying intertextual parallels between ancient authors and the Russian poets of the early Novecento. The paper was written in conjunction with the 25th anniversary of the methodologically important but not sufficiently well-known book by M. L. Gasparov Antichnost’ v russkoi poezii nachala XX veka (“Antiquity in the Russian Poetry of the Early 20th Century”). It examines such questions as the development and limits of knowledge about antiquity among the Russian litterati, the link between reception studies and the history of classical education, the ranking and weighing of intertextual parallels, the search for the intermediate sources, the importance of translations of ancient authors into European languages, the need to incorporate philological scholarship contemporary to the author and not the researcher, etc. The discussion is interspersed with case studies proposing new (or complementing old) interpretations of the poems by Ossip Mandel’shtam, Vladimir Shileiko, Vasilii Komarovskii et al.
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Bobay, Orsolya. "Az archaikus költészet szerepe Ioachimus Vadianus költészetelméletében". Antikvitás & Reneszánsz, n.º 2 (1 de enero de 2018): 167–78. http://dx.doi.org/10.14232/antikren.2018.2.167-178.
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The aim of my study is the analysis of the views on the archaic Latin literature in the early modern works based on the theory and practice of poetry, especially in the Swiss humanist’s, Joachim von Watt’s work (De poetica et carminis ratione). The concepts of poeta vates, poeta theologus, and poeta eruditus are commonly used by the Italian authors – who knew the most important authors of the early Roman literature regarding this period ‒ in order to emphasize the moralistic and social morals of the archaic poetry’s lecture. Some of the authors – for example Pietro Crinito ‒ following Suetonius emphasized the historical analysis of the ancient literature in a particular way. The innovation of Joachim von Watt’s work was the adaptation of this view of the Italian authors, and it is not present in the works of other Viennese humanists on poetry in the first half of the 16th century.
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Edelman, Marvin, Klaus-Juergen Appenroth, K. Sowjanya Sree y Tokitaka Oyama. "Ethnobotanical History: Duckweeds in Different Civilizations". Plants 11, n.º 16 (15 de agosto de 2022): 2124. http://dx.doi.org/10.3390/plants11162124.
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This presentation examines the history of duckweeds in Chinese, Christian, Greek, Hebrew, Hindu, Japanese, Maya, Muslim, and Roman cultures and details the usage of these diminutive freshwater plants from ancient times through the Middle Ages. We find that duckweeds were widely distributed geographically already in antiquity and were integrated in classical cultures in the Americas, Europe, the Near East, and the Far East 2000 years ago. In ancient medicinal sources, duckweeds are encountered in procedures, concoctions, and incantations involving the reduction of high fever. In this regard, we discuss a potential case of ethnobotanical convergence between the Chinese Han and Classical Maya cultures. Duckweeds played a part in several ancient rituals. In one, the unsuitability of its roots to serve as a wick for Sabbath oil lamps. In another reference to its early use as human food during penitence. In a third, a prominent ingredient in a medicinal incantation, and in a fourth, as a crucial element in ritual body purifications. Unexpectedly, it emerged that in several ancient cultures, the floating duckweed plant featured prominently in the vernacular and religious poetry of the day.
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Maystrenko, Lyudmyla. "THE EXPRESSION OF DESTRUCTIVE LOVE IN OVID’S HEROIDS WITH EMOTIONAL MEANS". Fìlologìčnì traktati 12, n.º 1 (2020): 82–89. http://dx.doi.org/10.21272/ftrk.2020.12(1)-8.
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The search of scientists of the XXI century is increasingly focused on a sphere that is not available for direct observation – the sphere of emotions. Therefore, the issue of the emotive component of a literary text at different levels relates to priority areas not only of modern linguistics. Emotions represent the linguistic picture of the artistic universe of the poet, reveal the inner world of his characters. The existential-sensual sphere is a manifestation of the subjective attitude of a person to the surrounding reality and himself in the mental space of the artist. Ovid subtly reproduces the spiritual world of a loving woman in the inexhaustible wealth of emotional manifestations and unique individual identities. The main object of unfortunate love in Heroides is a married woman or hetaera. Ovid is a vivid representative of the sensually-earthly Eros. The ancient man, for whom the idea of sin was extraneous, was not embarrassed by the sensual nature of his love in various forms, focusing all his interest in earthly existence, adored desires. However, the sensual Eros of Heroides with not the happy ending is aesthetically beautiful. Having refused from the usual August poetry themes related to the historical past of Rome or the events of his personal life, Ovid in Heroids turns exclusively to mythological themes, popular in Neo-Téric poetry or Hellenistic poetry, depicting the heroines of Greek mythology and Sappho herself by the psychology of contemporary Roman women. Ovid's Heroides reflects the fact that the psychology of a loving woman has not changed much since the time of the Roman Empire.
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Ljubišić, Sanja M. "ILLUSTRATIVE EXAMPLE OF EKPHRASIS IN ROMAN HISTORIOGRAPHY. DESCRIPTION OF THE GREAT FIRE OF ROME (TACITUS, ANN. XV, 38)". Филолог – часопис за језик књижевност и културу 14, n.º 27 (30 de junio de 2023): 419–30. http://dx.doi.org/10.21618/fil2327419l.
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Ekphrasis, a stylistic figure characteristic of epic poetry, has also found its application in Roman historiography. Namely, the Roman historian Tacitus and his work Annals are known for its highly stylised poetic language. Tacitus' language – color poeticus, is full of rhetorical and stylistic figures with which this historian portrays events from the past. The author's narrative in visual images – faithful descriptions of people, events, battles, objects and phenomena – leaves a strong impression on readers. This pictorial expression in ancient times was called ekphrasis. Our goal is to explain the basic concept and role of ekphrasis, and then determine its application in a selected example from Tacitus' Annals. There are many examples of ekphrasis, and for the purposes of this work we have chosen the description of The Great Fire of Rome, which occurred during the reign of Emperor Nero. Based on the analysed example, we will see how Tacitus used ekphrasis in his ʻTacitus styleʼ to portray this terrible event.
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Strode, Anna. "Reliģiskie tēli 17. gadsimta latīņu kāzu dzejā Rīgā". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, n.º 26/1 (1 de marzo de 2021): 14–28. http://dx.doi.org/10.37384/aplkp.2021.26-1.014.
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The humanists of Riga began to compose various Latin poetry texts due to the currents of European humanism, which came to Livonia soon after the Protestant Reformation took place in Livonia in the first half of the 16th century. As a result of this historical and religious impact, the level of education increased, enabling an environment for the development of the literature. The aim of the article „Religious characters in the 17th-Century Nuptial Poetry in Riga” is to bring to light the content of nuptial (epithalamium, ὑμέναιος/hymenaeus, carmen nuptialis etc.) poetry written in Riga in the 17th century, providing insight into the most frequently mentioned characters and their meaning, as well as by exploring the specific features of occasional poetry to capture reader’s and researcher’s interest in the previously undiscovered cultural heritage. The subject of the study is more than 380 Latin nuptial poems, which are stored in the Department of Manuscripts and Rare Books of the Academic Library of the University of Latvia. The poems are printed at the beginning of the 17th century by the second typographer of Riga city Gerhard Schröder (?–1657). The article includes data from a classification table (created by the author) in which the main characteristic of each poem is highlighted, including the mentions of all (more than 280) characters from ancient Greek and Roman mythology, as well as biblical and historical characters. Fragments of Latin nuptial poetry written in Riga are included to portray the content of poetry more clearly. All translations of poetry in the article are done by the author.
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Waring, Bunny. "Sung, Drawn and Quartered: The Roman Ideogram of Bread – Part 1". DIAITA: Food - Heritage, n.º 1 (8 de febrero de 2024): e0101. http://dx.doi.org/10.14195/2976-0232_1_1.
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When duplicated, the single icon of a monument, deity, or object, could recall entire narratives of divine intervention, great ancestral feats, and desirable ‘Roman’ attributes. The common, round, and quartered loaf of wheat-bread was produced and eaten by all echelons of Roman society. Despite the fundamentality of this segmented loaf to the daily life, industry, and economy of Rome, its imbuement with ideogrammic qualities of social balance and stability, have yet to be explored. Through select case studies of literary and archaeological evidence this paper will explore the allegorical nature of bread beyond dietetics in two parts: In Part 1 I provide case studies of bread use in different literary genres of ancient Poetry, Historiography, Satire, Biography and Prose, discussing the thematic tropes in which bread appears in Roman narratives. In Part 2 I investigate how these metaphoric characteristics and themes translated visually in the mosaics, frescos, graffiti, and monuments of public and private spaces. I conclude that the panis quadratus was more than an economic and accessible product, and became an ideogram of the social cohesion fundamental to Rome’s Empire; specifically, the circular connections between the natural, mortal and immortal worlds.
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Fox, R. J. Lane. "Theophrastus'Charactersand the historian". Proceedings of the Cambridge Philological Society 42 (1997): 127–70. http://dx.doi.org/10.1017/s0068673500002078.
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In a programmatic article, published nearly twenty years ago, Peter Laslett characterized historians who try to write social history from literature as people who look at the world through the wrong end of a telescope. His particular examples of their inverted gaze were not always well chosen: warfare in Homer, the young age at betrothal of Shakespeare's Juliet, the extra-marital affairs in Restoration Comedy. The main point, however, still challenges ancient historians. ‘The great defect of the evidence’, as A. H. M. Jones forewarned readers of his social history, ‘is the total absence of statistics’: at best, we have isolated numbers which do not survive in significant sequences. Yet since 1951, ancient historians have continued to look down their telescopes and find social history in a widening range of texts. In the past decade, Roman historians have re-read prose fictions for this purpose, while on the Greek side, more recent attention has gone to poetry, especially tragedy and Homeric epic.
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Lieber, Laura S. "With One Voice: Elements of Acclamation in Early Jewish Liturgical Poetry". Harvard Theological Review 111, n.º 3 (julio de 2018): 401–24. http://dx.doi.org/10.1017/s0017816018000172.
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AbstractIn this essay, the Rosh Hashanah Shofar service poems by the Jewish poet Yose ben Yose (fourth or fifth century CE, Land of Israel) are read through the lens of the Late Antique practice of acclamation. Yose's surviving body of works is limited, but he was influential within the Jewish tradition, and his poems have long been noted for their use of formal features such as fixed-word repetitions and refrains—features which align not only with poetic norms from the biblical period to Late Antiquity but also with the practice of acclamation. Jews attended (and performed in) the theater and games; they were familiar with rhetorical and oratorical training and related literary norms; and they were integrated socially, commercially, and politically into diverse and varied communities. The affinity of Jewish liturgical poetry from antiquity for other forms of poetic composition reflects Jews’ general embeddedness in Late Ancient culture. Reading Yose's poetry as shaped by the conventions of acclamation highlights how Yose and his congregants were not only distinctly Jewish but also thoroughly Roman.
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Mulyani, A. B. Sri. "Revisiting Feminist Strategies in Poetry: Gender, Genre, and Power Relation". Journal of Language and Literature 22, n.º 1 (23 de marzo de 2022): 208–19. http://dx.doi.org/10.24071/joll.v22i1.4021.
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The patriarchal gender division of private-public dichotomy assigned to particular gender for different roles and sphere is generally viewed as an “ancient” practice in the West. However, this “ancient” gender conception that can be traced from its Greco-Roman and Judeo-Christian roots can frequently be pertinently visible in modern Western world as exemplified in the notion of “Woman’s place” and; it becomes the dominant gender discourse. Consequently, this discourse continually creates hierarchical and unequal power relation that marginalizes women in accessing education and their full participation in public spheres. This limited accessibility to education (including language and literacy) also shapes the roles and status of women as writers in Western critical and literary tradition. Writing as a profession is traditionally men’s domain; therefore, the production and contribution of women writers have less privilege and space in the Western canon. Women writers from time to time have to struggle to reclaim their rights and place in it. This research attempts to re-examine how this (re)production of the binary opposition of private-public sphere operates in language and literature of the Western critical literary tradition by scrutinizing the selected poems by the selected women writers in this research. Furthermore, this research also studies and locates how women writers employ particular strategies in gendering and degendering their writings as both aesthetic and ideological expressions. In conclusion, this research argues that women writings are not “deficient” and “inferior” to their male counterpart; and instead their status and difference as writers are the result of patriarchal dominance and power relation that historically have subordinated and denied them equal public access to education, language, literacy, and literary production.
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Čanković, Tomislav. "Antički i mitološki motivi u zbirci Carmina Burana". Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu 64, n.º 1-2 (16 de diciembre de 2020): 73–113. http://dx.doi.org/10.22210/ur.2020.064.1_2/04.
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ANTIQUE AND MYTHOLOGICAL MOTIFS IN CARMINA BURANA This paper discusses the function, purpose, place and formal characteristics of the Greek and Roman mythological motifs in the poems that are part of Carmina Burana, a medieval collection of poetry dating from the first half of the 13th century. Different relations established between the aforementioned motifs and lyrical subjects are also examined, as well as how these motifs fit into the context of the individual poem and the entirety of Carmina Burana. The paper focuses exclusively on the motifs which belong to the ancient Greek and Roman traditions, and not on those of the Judeo-Christian provenance, although the latter are numerous in their own right. Also, as Publius Ovidius Naso is often regarded as the main influence on the goliards, traces of his works and militaristic concepts of love visible in the poems of Carmina Burana are also highlighted and examined. The focus of this paper is on those poems which belong to the basic thematic elements usually attributed to the goliards, including tavern, wine, gambling, physical love and satirical and anticlerical overtones.
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Langlands, Rebecca. "Latin Literature". Greece and Rome 61, n.º 2 (12 de septiembre de 2014): 265–72. http://dx.doi.org/10.1017/s0017383514000102.
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Anyone who has ever taught or studied the Aeneid will be familiar with student gripes that the protagonist, Aeneas, does not meet their expectations of a hero: stolid, boring, wooden, uninspiring, lacking in emotional range. Likewise, students of Lucan's Civil War often find it hard to get a handle on the figure of Cato, and his hard-line heroics are usually met with a combination of disbelieving horror and ridicule. The important and deceptively simple suggestion of J. Mira Seo's new monograph is that such apparently two-dimensional and unsatisfactory ‘problem characters’ in Latin literature (19) are the result not of the failure of the ancient poets to depict their protagonists successfully, but rather of the different expectations that Romans held about literary characterization. Her book sets out to explore the possibility that Roman writers were not attempting to present characters who are psychologically ‘rounded’ in the way that we moderns expect, with our Cartesian approach and our high regard for radical individuality and subjectivity. Rather, she argues, Roman characterization was based on a distinctively Roman approach to self as ‘aemulatory, referential, and circumscribed by traditional expectations of society’ (15). For Seo, characterization is a literary technique (4) rather than mimetic of real people (5) and, like genre, characters in literature are established through reference to earlier material. Indeed, characterization is a form of allusion, and characters in literature are ‘nodes of intertextuality’ (4) created out of generic expectation and familiar schemata, and the significant and creative modification of these. This technique is often evident in ancient literature (the intertextuality of Virgil's depiction of Dido is well known); however Seo pursues its implications through close readings of five case studies: Virgil's Aeneas, created through the conflicting voices of fama, with effeminate Paris as his ghostly doppelganger; Cato as Lucan's lethal exemplum; Seneca's Oedipus, becoming ‘himself’ under the pressure of decorum and the literary tradition; and two of Statius' most stereotypical and over-determined characters, the archetypal ‘doomed beautiful youth’, exquisitely intensified in the figure of Parthenopaus, and the doomed prophet Ampharius. In her series of illuminating and insightful readings, Seo shows how such characters are built up through schematization, through articulation from a variety of perspectives in the texts, and through the evocation and skilful modification of familiar literary motifs. Although I am not sure she has entirely cracked the problem of Roman characterization, her book opens up a stimulating new approach to Roman poetry and characterization, which I hope will inspire others to take up the call for more research in this area.
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Ormos, Bálint. "„Ezt a Gyönyör tervezte veled...”". Belvedere Meridionale 30, n.º 2 (2018): 5–30. http://dx.doi.org/10.14232/belv.2018.2.1.
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This study is about the poetry of Publius Papinius Statius at the end of the first century AD. Statius’s poetry was closely linked to the Flavian-dinasty and also to the emperor Domitianus. In this study I am going to examine Statius’s collection of occasional poems, named Silvae (Forest). From this collection I choose one particular piece of work: a poem about the luxurious villa of Manilius Vopiscus at Tibur (today Tivoli, 30 km far from Rome, at Lazio). Now I am going to write about the possible functions of this collection as a communication form for the contemporary elite. As a social group this elite was based upon different elements, for example traditionally old noble families (like senators or knights), wealthy and talented men from another regions of the ancient Italy or from the romanized provinces of the Empire and the liberated slaves. The collected verses with the establishment of the cliental poetry offered a way for the elite to represent its wealth, taste of art, education and prestige in the roman society. The villa as a poetic motive and a real estate was able to express its owners’ material aboundance and also their philosophical and literary interest. Statius’s villa-poem created not only a toleranted (against Horatius’s poetry) but a celebrated literary image of a lavish villa, like Pliny the Younger about his villas in Latium and Etruria in his letters.
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Ziogas, Ioannis. "Famous Last Words: Caesar’s Prophecy on the Ides of March". Antichthon 50 (noviembre de 2016): 134–53. http://dx.doi.org/10.1017/ann.2016.9.
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AbstractShakespeare’s Et tu, Brute has been influential in shaping a tradition that interprets Caesar’s last words as an expression of shock at Brutus’ betrayal. Yet this interpretation is not suggested in the ancient sources that attest the tag καὶ σύ, τέκνον (‘you too, son’). This article argues that Caesar’s dictum evokes a formula of funerary epigrams, which refers to death as the common lot of all mortals. The epitaphic connotations of καὶ σύ or tu quoque feature in epic poetry, a connection that lends a Homeric dimension to Caesar’s last words. The dictator’s oral epitaph predicts the death of Brutus as a consequence of his involvement in the assassination. It means ‘You too, son, will die’. The Greco-Roman belief that a dying man can foresee the future invests Caesar’s last words with prophetic authority.
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Roman, Luke. "Coryciana: The Spaces of the Collection". Renaissance and Reformation 45, n.º 3 (1 de marzo de 2023): 103–40. http://dx.doi.org/10.33137/rr.v45i3.40410.
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This article explores the relation between poetry, place, and the concept of epigram as site-specific writing in the Coryciana. Published in 1524 in an edition assembled by Blosius Palladius, this multi-author, predominantly epigrammatic collection in honour of the humanist and apostolic protonotary Johann Goritz focuses on two prime sites within the city of Renaissance Rome: Goritz’s column chapel in Sant’Agostino, and his vineyard-villa near Trajan’s Forum. The poets and editors of the Coryciana participate in a collaborative placemaking project, plotting Goritz’s new sites of piety and culture in relation to the places of Greco-Roman antiquity and the modern city. At the same time, they represent the collection itself as a textual space, imbued with the commemorative, encyclopedic, and canonizing capacities of sites and built structures in ancient and contemporary Rome.
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Gerber, Amanda. "Marginal Geography: Pedagogical Design in Medieval Commentaries on Classical Poems". Journal of Medieval and Early Modern Studies 53, n.º 2 (1 de mayo de 2023): 225–59. http://dx.doi.org/10.1215/10829636-10416585.
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This article explores the nature and significance of geographical diagrams in medieval commentaries on classical Roman poems. It situates these diagrams within larger conversations about cartographic traditions and the pedagogical contexts for which these diagrams were originally designed. Modern scholars have only begun to address these geographical diagrams in histories of cartography, but not in textual studies. In surveying a range of ninth- to fifteenth-century manuscripts especially of Lucan's poetry, the article uncovers the sources of geographical diagrams that recur in cartography, encyclopedias, and other pedagogical tools, illustrating how medieval academics developed paratexts to shape an extensive program of geographical explication. Geographical diagrams and other textual annotations accompanying classical poems established a distinct pedagogical strand of cartography that served medieval students’ training in Latin composition and understanding of the ancient world.
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Silva, Rafael Guimarães Tavares da. "Between Eros and Love". Classica - Revista Brasileira de Estudos Clássicos 36 (6 de diciembre de 2023): 1–20. http://dx.doi.org/10.24277/classica.v36.2023.1059.
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Love is a common theme in the Western poetic tradition and gives rise to deep reflections on the vicissitudes of human existence at least since some works of Greco-Roman antiquity. This paper addresses the idea of poetry as a remedy for the affections caused by this feeling, based on what is suggested by the intertextual dialogue of two works: Idylls 11 by Theocritus, which presents the song of the amorous sufferings of Polyphemus in the face of Galatea; Eclogues 2 by Virgil, where the shepherd Coridon sings of his unrequited love for the puer delicatus Alexis. With the aim of presenting these ancient poets, interpreting their metapoetic reflections and proposing a parallel understanding of their works, I will proceed on a philological basis to advance an intertextual interpretation of their positions.
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Simonetti, Paolo. "Women and Literature in Thornton Wilder’s The Ides of March". Thornton Wilder Journal 4, n.º 1 (junio de 2023): 29–45. http://dx.doi.org/10.5325/thorntonwilderj.4.1.0029.
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Abstract Although of the approximately 120 fictional documents and letters composing Wilder’s epistolary historical novel The Ides of March slightly less than half are ostensibly written by female characters, the author had to defend his work from at least one accusation of being unfair to women. The aim of this article is to investigate how Wilder gives voice to four famous women of ancient Rome—Clodia Metelli (supposedly Catullus’s model for the Lesbia addressed in his poetry); Cleopatra, the queen of Egypt; Julius Caesar’s aunt Julia Marcia; and the actress and courtesan Cytheris—by subverting traditional stereotypes and rewriting their personalities according to modern issues. Wilder’s Roman women are multilayered, ambivalent characters struggling to overcome gender stereotypes and discriminatory attitudes toward them through a strong connection with art and literature.
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Vazquez, Adriana. "The cruelest harvest: Virgilian agricultural pessimism in the poetry of the Brazilian colonial period". Classical Receptions Journal 12, n.º 4 (26 de julio de 2020): 445–69. http://dx.doi.org/10.1093/crj/claa006.
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Abstract Classical imagery and mythological narratives provided ready literary analogues for framing European expansion into the New World in the colonial and early modern periods. This article examines the manipulation of classical images of agricultural fecundity and Virgilian pessimism in select works of two Brazilian poets working in the neoclassical tradition during the colonial period, José Basílio da Gama (1740–95) and Inácio José de Alvarenga Peixoto (1744–93), by which both poets advance a critique of Iberian expansion into Latin America. I argue that both poets, writing in dialogue with one another, activate an especially Virgilian agricultural imagery that sets war in contradiction to agricultural production in a post-colonial critique of European imperialist expansion into Brazil. The poetry of these figures exhibits a remarkable reversal of sympathies that distinguishes South American treatment of ancient material from that of European receptions that aligned imperial Europe with the Roman empire and its traditional heroes, a comparison established in order to justify colonialist expansion into the New World.
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Barbarzak, Dawid. "The Humanist at the Table". Tabula, n.º 17 (16 de noviembre de 2020): 21–46. http://dx.doi.org/10.32728/tab.17.2020.1.
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Italian humanists’ discoveries of ancient texts and printed editions of such ancient works as Lucretius’ De rerum natura, Plato’s Symposium or Apicius’ De re coquinaria strongly influenced the renewal of the Epicurean category of pleasure (voluptas) and created a new approach to eating. Many Italian humanists began emphasizing bodily needs and stressed their importance. We can find these ideas in the works of Lorenzo Valla (De voluptate, 1431), Marsilio Ficino (De voluptate, 1457) or Bartolomeo Platina (the author of the first printed cookbook De honesta voluptate et valetudine, ca. 1465-68) who recognized that food could be also consumed for pleasure. The phenomenon of the philosophical and literary banquet became common practice among Italian, and later also Polish, humanists. Such associations as the Roman Academy, Florentine Academy, or Polish Sodalitas litteraria Vistulana were the place of humanistic discussion, which was valued more than luxurious food. It is reflected in 16th-century Polish poetry (Filippo Buonaccorsi „Callimachus”, Conrad Celtis; Paweł z Krosna; Jan Dantyszek „Dantiscus” and others) and philosophical treaties such as Mikołaj Rej’s Wizerunek własny, 1558, inspired by Palingenius’ Zodiacus vitae, or Łukasz Górnicki’s Dworzanin polski, 1566, inspired by Baldassare Castiglione’s Il corteggiano. The quoted authors recommend moderation in drinking and criticize Polish and German drunkenness. Dining with friends could also serve as remedy for vanitas or all kinds of sorrow, according to the tradition of Anacreontic and Horatian poetry. We can see it clearly in Foricoenia of Jan Kochanowski (1584), where the joy of drinking wine and singing at the table interweaves with reflection on the human condition and vanishing.
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Langlands, Rebecca. "Latin Literature". Greece and Rome 61, n.º 1 (4 de marzo de 2014): 118–22. http://dx.doi.org/10.1017/s0017383513000284.
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First up for review here is a timely collection of essays edited by Joseph Farrell and Damien Nelis analysing the way the Republican past is represented and remembered in poetry from the Augustan era. Joining the current swell of scholarship on cultural and literary memory in ancient Greece and Rome, and building on work that has been done in the last decade on the relationship between poetry and historiography (such as Clio and the Poets, also co-edited by Nelis), this volume takes particular inspiration from Alain Gowing's Empire and Memory. The individual chapter discussions of Virgil, Ovid, Propertius, and Horace take up Gowing's project of exploring how memories of the Republic function in later literature, but the volume is especially driven by the idea of the Augustan era as a distinct transitional period during which the Roman Republic became history (Gowing, in contrast, began his own study with the era of Tiberius). The volume's premise is that the decades after Actium and the civil wars saw a particularly intense relationship develop with what was gradually becoming established, along with the Principate, as the ‘pre-imperial’ past, discrete from the imperial present and perhaps gone forever. In addition, in a thought-provoking afterword, Gowing suggests that this period was characterized by a ‘heightened sense of the importance and power of memory’ (320). And, as Farrell puts it in his own chapter on Camillus in Ovid's Fasti: ‘it was not yet the case that merely to write on Republican themes was, in effect, a declaration of principled intellectual opposition to the entire Imperial system’ (87). So this is a unique period, where the question of how the remembering of the Republican past was set in motion warrants sustained examination; the subject is well served by the fifteen individual case studies presented here (bookended by the stimulating intellectual overviews provided by the editors’ introduction and Gowing's afterword). The chapters explore the ways in which Augustan poetry was involved in creating memories of the Republic, through selection, omission, interpretation, and allusion. A feature of this poetry that emerges over the volume is that the history does not usually take centre stage; rather, references to the past are often indirect and tangential, achieved through the generation and exploitation of echoes between history and myth, and between past and present. This overlaying crops up in many guises, from the ‘Roman imprints’ on Virgil's Trojan story in Aeneid 2 (Philip Hardie's ‘Trojan Palimpsests’, 117) to the way in which anxieties about the civil war are addressed through the figure of Camillus in Ovid's Fasti (Farrell) or Dionysiac motifs in the Aeneid (Fiachra Mac Góráin). In this poetry, history is often, as Gowing puts it, ‘viewed through the prism of myth’ (325); but so too myth is often viewed through the prism of recent history and made to resonate with Augustan concerns, especially about the later Republic. The volume raises some important questions, several of which are articulated in Gowing's afterword. One central issue, relating to memory and allusion, has also been the subject of some fascinating recent discussions focused on ancient historiography, to which these studies of Augustan poetry now contribute: How and what did ancient writers and their audiences already know about the past? What kind of historical allusions could the poets be expecting their readers to ‘get’? Answers to such questions are elusive, and yet how we answer them makes such a difference to how we interpret the poems. So Jacqueline Febre-Serris, for instance, argues that behind Ovid's spare references to the Fabii in his Fasti lay an appreciation of a complex and contested tradition, which he would have counted on his readers sharing; while Farrell wonders whether Ovid, by omitting mention of Camillus’ exile and defeat of the Gauls, is instructing ‘the reader to remember Veii and to forget about exile and the Gauls’ or whether in fact ‘he counts on having readers who do not forget such things’ (70). In short this volume is an important contribution to the study of memory, history, and treatments of the past in Roman culture, which has been gathering increasing momentum in recent years. Like the conference on which it builds, the book has a gratifyingly international feel to it, with papers from scholars working in eight different countries across Europe and North America. Although all the chapters are in English, the imprint of current trends in non-Anglophone scholarship is felt across the volume in a way that makes Latin literature feel like a genuinely and excitingly global project. Rightly, Gowing points up the need for the sustained study of memory in the Augustan period to match that of Uwe Walter's thorough treatment of memory in the Roman republic; Walter's study ends with some provocative suggestions about the imperial era that indeed merit further investigation, and this volume has now mapped out some promising points of departure for such a study.
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Rossiyanova, Kristina S. "Cynthia and Propertius, Haemon and Antigone: Prop. 2. 8, 21–24". Philologia Classica 17, n.º 2 (2022): 277–84. http://dx.doi.org/10.21638/spbu20.2022.207.
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The piece deals with the interpretation of Prop. 2. 8. 21–24. These verses seem to be problematic and illogical over the years. In the poem, the speaker, deserted by his beloved Cynthia, imagines himself dead and then describes the heroine’s reaction to this disastrous event. Propertius thinks that she will be happy about his death and defile his grave. Then he suddenly turns to Haemon, who commits suicide in despair of the Antigone’s death, and after that threatens Cynthia to kill her. Firstly, it is incorrect to compare the righteous Antigone with the unfaithful Cynthia. Secondly, the decision to kill the beloved is inept. Some scholarstranspose the verses in order to avoid the incoherence. Others try to interpret the passage, leaving the lines in their initial order, but they usually think that Propertius compares himself with Haemon and Cynthia with Antigone. The author of the article reconsiders gender roles in this comparison and suggests a new interpretation. There are also some examples from the Catullan and Propertian poetry, which show that the gender-inverted comparisons are widely used in ancient literature and especially in Roman love poetry of the 1st century B. C., in which they, probably, are part of a new literary strategy.
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Cordellier, Dominique. "Blason de la Vénus de Breuilhamenon : un tableau de Luca Penni au musée de Bourges". Studiolo 6, n.º 1 (2008): 39–64. http://dx.doi.org/10.3406/studi.2008.1211.
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The emblem of the Venus of Breuilhamenon : a painting by Luca Penni in the musée de Bourges. A painting depicting Venus and Cupid, kept in the musée du Berry in Bourges, is one of the most important works from the first school of Fontainebleau that has not yet been definitively attributed. It comes from the castle of Breuilhamenon, once owned by Guillaume Bochetel, secrétaire du Roi under Francis I. and Henry II. A humanist and translator of ancient languages, Bochetel also wrote poetry, whose amorous and erotic sentiment astutely echoes that expressed by the present painter. The latter, judging from the similarities between this work and both known and unpublished drawings as well as engravings bearing a clear invenit, could very well be Luca Penni, called "the Roman", one of the most notable Italian painters active in Fontainebleau and Paris between 1530 and 1557.
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Isayev, Elena. "Representation of Whom? Ancient Moments of Seeking Refuge and Protection". Humanities 12, n.º 2 (7 de marzo de 2023): 23. http://dx.doi.org/10.3390/h12020023.
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Within the ancient corpus we find depictions of people seeking refuge and protection: in works of fiction, drama and poetry; on wall paintings and vases, they cluster at protective altars and cling to statues of gods who seemingly look on. Yet the ancient evidence does not lend itself easily to exploring attitudes to refugees or asylum seekers. Hence, the question that begins this investigation is, representation of whom? Through a focus on the Greco-Roman material of the Mediterranean region, drawing on select representations, such as the tragedies Medea and Suppliant Women, the historical failed plea of the Plataeans and pictorial imagery of supplication, the goal of the exploration below is not to shape into existence an ancient refugee or asylum seeker experience. Rather, it is to highlight the multiplicity of experiences within narratives of victimhood and the confines of such labels as refugee and asylum seeker. The absence of ancient representations of a generic figure or group of the ‘displaced’, broadly defined, precludes any exceptionalising or homogenising of people in such contexts. Remaining depictions are of named, recognisable protagonists, whose stories are known. There is no ‘mass’ of refuge seekers, to whom a single set of rules could apply across time and space. Given these diverse stories of negotiation for refuge, another aim is to illustrate the ways such experience does not come to define the entirety of who a person is or encompass the complete life and its many layers. This paper addresses the challenges of representation that are exposed by, among others, thinkers such as Hannah Arendt, Liisa Malkki and Gerawork Gizaw.
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Cullhed, Anders. "Avatars of Latin Schooling: Recycling Memories of Latin Classes in Western Poetry: Five Paradigmatic Cases". Journal of Latin Cosmopolitanism and European Literatures, n.º 1 (12 de junio de 2019): 17–33. http://dx.doi.org/10.21825/jolcel.v0i1.8249.
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This paper tries to elucidate the significance of Latin schooling for the production of poetry by lining up five typical cases of recycling Roman texts, from the Middle Ages to the twentieth century. The French poet Baudri de Bourgueil (ca 1050–1130) rewrote Ovid’s Heroides 16–17 within a cultural context, characteristic of the incipient “Ovidian age,” aetas ovidiana, based on classroom practices such as paraphrase, accessus and glosses, presupposing a sense of historical continuity – or translatio studii et imperii – from Antiquity down to the twelfth century. In his great work, The Comedy, the Florentine Dante Alighieri (1265–1321) reused Ovid in a quite different way, representative of the allegorizing tendencies noticeable in Italy and France towards the end of the Ovidian age. The Early Modern motto ad fontes, on the other hand, presupposed a breach between ancient and present times, none the less possible (and surely commendable) to bridge by means of imitation within the framework of studia humanitatis and a new philological culture, made possible by the printing press. This cultural paradigm shift is illustrated by a look at a famous sonnet by the Spanish Golden Age poet Francisco de Quevedo (1580–1645). Finally, our modern and postmodern era, characterized by an ambivalent attitude to the classical heritage, is represented by the Anglo-American poet T.S. Eliot (1888–1965) and his Swedish successor Hjalmar Gullberg (1898–1961), both of whom remembered their Latin classes in their mature poetry, marked by irony, distance and, probably, nostalgia.
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Dos Passos, Lucas. "Elementos de retórica e oralidade em duas odes horacianas". CODEX – Revista de Estudos Clássicos 4, n.º 1 (19 de junio de 2016): 18. http://dx.doi.org/10.25187/codex.v4i1.2852.
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<p>Este trabalho pretende analisar as odes <em>I, 25</em> e <em>III, 9</em>, de Horácio, considerando sua intrínseca relação com a oralidade e retórica antigas. Nesta observação serão necessárias: [a] a tradução de ambos os poemas e [b] uma pequena exposição da presença de elementos de oralidade na poesia romana, atentando para a conexão entre a segunda ode e o <em>carmen amoebaeum</em>.</p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>Elements of rhetoric and orality in two Horace’s odes </strong></p><p><strong>Abstract </strong></p><p><span>This paper aims to analyze the odes </span><span>I, 25 </span><span>and </span><span>III, 9</span><span>, of Horace, considering their intrinsic relationship with the ancient rhetoric and orality. In this observation it will be required [a] [b] a small exposure of the presence of orality on roman </span>poetry, carmen amoebaeum.</p><p><strong>Keywords:</strong> Horace; orality; carmen amoebaeum </p></div></div></div>