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Bracken, Damian. "Virgil the Grammarian and Bede: a preliminary study". Anglo-Saxon England 35 (diciembre de 2006): 7–21. http://dx.doi.org/10.1017/s0263675106000020.
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AbstractThe chapters in Bede's De temporum ratione begin with an etymology for the name of the subject to be examined. Sources and analogues for some have not hitherto been identified. This article shows that some of these etymologies of words for the divisions of time come ultimately, though perhaps not directly, from bk XI of Virgil the Grammarian's Epitomae. These accounts of the origins of calendrical and cosmological terms wound their way through early western computistical works and eventually into Bede's De temporum ratione. The article identifies examples of Virgil's influence on anonymous early medieval biblical commentaries and discusses their significance as pointers towards their place of composition.
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Fratantuono, Lee. "The Wolf in Virgil". Revue des Études Anciennes 120, n.º 1 (2018): 101–19. http://dx.doi.org/10.3406/rea.2018.6870.
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The wolf is among the most significant animals in the zoology of Virgil’s poetic corpus. A careful study of each appearance and reference to the animal in Virgil’s works will reveal how the poet employs lupine imagery to special effect in his narrative of the transformation of Trojan customs and culture into Roman.
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Lowe, Dunstan. "WOMEN SCORNED: A NEW STICHOMETRIC ALLUSION IN THE AENEID". Classical Quarterly 63, n.º 1 (24 de abril de 2013): 442–45. http://dx.doi.org/10.1017/s0009838812000742.
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Intense scrutiny can raise chimaeras, and Virgil is the most scrutinized of Roman poets, but he may have engineered coincidences in line number (‘stichometric allusions’) between certain of his verses and their Greek models. A handful of potential examples have now accumulated. Scholars have detected Virgilian citations of Homer, Callimachus and Aratus in this manner, as well as intratextual allusions by both Virgil and Ovid, and references to Virgil's works by later Roman poets using the same technique. (For present purposes I disregard the separate, though related, phenomenon of corresponding numbers of lines in parallel passages: G. Knauer, Die Aeneis und Homer (Göttingen, 1964) suggests several examples of such correspondences between Homer and Virgil, especially in speeches. Another purely formal mode of allusion faintly present in Roman poetry is homophonic translation (the technique which Louis Zukofsky's 1969 translations of Catullus pursue in extenso); thus Virgil's fagus, beech, corresponds with Theocritus' phagos, oak.) If genuine, the phenomenon lacks any consistent method or regular pattern (and the degree of plausibility varies); if genuine, it is very rare, even if accidents in textual transmission could have obscured some examples; if genuine, it probably originated in the Hellenistic period, although such a case has yet to be made. Virgil presently seems the earliest and most copious practitioner of stichometric allusion. A previously undetected example in the Aeneid is proposed below.
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Brammall, Sheldon. "The Politics of the Partial Translations of the Aeneid by Dudley Digges and Marie de Gournay". Translation and Literature 22, n.º 2 (julio de 2013): 182–94. http://dx.doi.org/10.3366/tal.2013.0112.
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This is a comparative study of two almost exactly contemporary translations of Book 4 of Virgil's Aeneid: Marie de Gournay's of the last 500 lines (published 1620), and Sir Dudley Digges’ of the whole Book (published 1622). I show how these translators participated in what could be called ‘communities of Virgil translation’ in the early seventeenth century: they were both conspicuously part of local cultures of appropriating and translating Virgil, and these cultures provide the necessary context for reading these works. Second, I argue that one of the distinctive qualities of partial translations of the Aeneid in the early seventeenth century is that they make it possible to draw out particular political themes quickly and to enter them into the public debate. These themes are certainly not always the obvious ones.
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Cardigni, Julieta. "Tres versiones tardoantiguas de Virgilio: Servio, Macrobio y Fulgencio". Myrtia 35 (12 de noviembre de 2020): 347–70. http://dx.doi.org/10.6018/myrtia.455301.
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El presente trabajo realiza un recorrido representativo por la construcción de la figura de Virgilio en la Antigüedad Tardía, tomando como corpus las obras de Servio, Macrobio y Fulgencio, textos latinos. El objetivo supone un doble movimiento: por un lado, dilucidar las distintas versiones de Virgilio en las lecturas del Tardoantiguo, por otro, vislumbrar algunos problemas y preocupaciones comunes a las producciones literarias de la época, quesur gen a partir del eje de la construcción del poeta. The present paper aims to trace a path of some of the late antique representations of Virgil, particularly those present in the works of Servius, Macrobius and Fulgentius, which constitute a group of encyclopedic Latin texts. Our purpose implies a double movement: on one hand, we will try to elucidate the different versions of Virgil in Late Antique readings; on the other hand, we plan to perceive how some reflections, which are common to the all the Literature of the period, emerge anchored to the figure of the Mantuan poet.
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Myers, K. Sara. "THE CULEX’S METAPOETIC FUNERARY GARDEN". Classical Quarterly 70, n.º 2 (diciembre de 2020): 749–55. http://dx.doi.org/10.1017/s0009838821000045.
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The Culex is now widely recognized as a piece of post-Ovidian, possibly Tiberian, pseudo-juvenilia written by an author impersonating the young Virgil, although it was attached to Virgil's name already in the first century c.e., being identified as Virgilian by Statius, Suetonius and Martial. Dedicated to the young Octavian (Octaui in line 1), the poem seems to fill a biographical gap in Virgil's career before his composition of the Eclogues. It is introduced as a ludus, which Irene Peirano suggests may openly refer to ‘the act of impersonating Virgil’, and, like many of the poems in the Appendix Vergiliana, it seems to have a parodic intent. The Culex has been interpreted as a parody of neoteric style and the epyllion, as mock-epic, as Virgil parody (John Henderson called it a ‘spoof Aeneid in bucolic drag’), as pointed Augustan satire, as mock Ovidian ‘Weltgedicht’ and as just very bad poetry (Housman's ‘stutterer’). Glenn Most has observed that the poem's three ‘acts’ structurally recapitulate Virgil's three major works in chronological succession. Little attention, however, has been paid to the Culex's final lines, which contain a catalogue of flowers the pastor places on the gnat's tomb. Recent scholarship has reintroduced an older interpretation of the gnat's tomb as a political allegory of Augustus’ Mausoleum; in this paper I suggest instead that the tomb and its flowers serve a closural and metapoetic function at the end of the poem.
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Kearey, Talitha. "(MIS)READING THE GNAT: TRUTH AND DECEPTION IN THE PSEUDO-VIRGILIANCVLEX". Ramus 47, n.º 2 (diciembre de 2018): 174–96. http://dx.doi.org/10.1017/rmu.2018.13.
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TheCulex—the earliest and best attested of the purported minor works of Virgil, and the most outright in gesturing towards Virgilian authorship—poses a problem for modern classical scholarship. Since at least the seventeenth century scholars have been preoccupied with the poem's authenticity. Is it a piece of early Virgilianiuuenilia, as the ancient testimonies and mediaeval transmission of the text seem to assert, or a later production? If a later production, should we see it as a deliberate forgery, or as a poem severed in the course of transmission from its original author and helplessly swept up in Virgil's train? The authenticity problem has proven persistent: as recently as the 1970s, scholars tried to claim theCulexfor Virgil. Even among those who think it non-Virgilian, the apparent consensus of anonymous late-Tiberian authorship has been contested by Otto Zwierlein's suggestion of M. Julius Montanus and Jean-Yves Maleuvre's, even more unlikely, of Augustus.
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Manczak, Witold. "József Herman, Vulgar Latin, translated by Roger Wright, The Pennsylvania State University Press, University Park, Pennsylvania, XIV+ 130 p." Linguistica 41, n.º 1 (1 de diciembre de 2001): 163–66. http://dx.doi.org/10.4312/linguistica.41.1.163-166.
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Selon l'auteur (p. 1), "the kind of language that must be taken to be the common origin for related words and similar phonetic and grammatical features in the Romance languages is often noticeably different from Classical Latin, as reflected in the works of Cicero or Virgil". Mais l'auteur passe sous silence le fait qu'en réalité, au sujet de l' origine des langues romanes, deux thèses s' affrontent, qui peuvent être représentées par les schémas suivants.
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Кусенко, Ольга Игоревна. "CURRENT RECEPTION OF VLADIMIR ZABUGINN’S WORKS IN ITALY". Вестник Тверского государственного университета. Серия: Философия, n.º 3(53) (30 de octubre de 2020): 248–56. http://dx.doi.org/10.26456/vtphilos/2020.3.248.
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В начале 2000-х гг. в Италии были переизданы два ключевых труда русского филолога, мыслителя Владимира Николаевича Забугина: «Вергилий в итальянском Возрождении: от Данте до Торквато Тассо» и «История христианского Возрождения в Италии». Переиздание этих работ повлекло за собой новую волну интереса к наследию русского автора первой четверти XX в., жившего и работавшего в Италии. После долгих лет забвения труды Забугина о Вергилии, Помпонии Лете, Данте, истории итальянского Возрождения признаны классикой итальянской науки и переоценена его роль в герменевтическом обновлении истории искусств, главными героями которого были Аби Варбург и его школа. Об актуальной рецепции творчества Забугина в Италии пойдет речь в настоящей статье. In the early 2000s, two main works of the key Russian figure in the field of Italian Studies, philologist and thinker Vladimir Nikolaevich Zabugin «Virgil in the Italian Renaissance: from Dante to Torquato Tasso» and «The History of the Christian Renaissance in Italy» were republished in Italy. These editions provoked a new wave of interest to historical and philosophical heritage of the Russian author of the first quarter of the 20th century, who lived and worked in Italy. Previously neglected and forgotten Zabugin’s works on Virgil, Pomponius Lete, Dante, on the history of the Italian Renaissance were recognized as outstanding by leading historians, philologists, philosophers. Finally, his contribution to the hermeneutical turn of art history (whose main characters are considered Abi Warburg and his school) was also appreciated. The paper guides the reader through this current rediscovery and reception of Zabugin’s work in Italy with particular focus on his contribution to the field of renaissance studies.
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Putnam, Michael C. J. "Virgil and Sannazaro's Ekphrastic Vision". Ramus 40, n.º 1 (2011): 73–86. http://dx.doi.org/10.1017/s0048671x00000205.
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If the Neapolitan humanist Jacopo Sannazaro (1458-1530) receives any recognition in scholarly circles these days, it is usually for his Arcadia, an elaborate pastoral in twelve books, each combining prose and verse, that forms one of the most important links between the work of Petrarch, its inspiration, and that of Sir Philip Sidney. The Arcadia, published first authoritatively in 1504, is written in Italian, as are the hundred or so surviving Rime (songs and sonnets), largely products of the last decade of the fifteenth century. But Sannazaro was also a prolific writer in Latin. It is a question worth asking why, after the success of his vernacular magnum opus, he opted to use primarily a classical language for the major poetry that occupied his attention for the opening decades of the subsequent century. Perhaps a confirmation of his allegiance to Christian humanism is one reason. Perhaps also it was his devotion to Virgil whose three great works provided him with the most telling impetus for his own achievements in the Augustan poet's tongue.
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VALLAT, DANIEL. "VARRO IN VIRGILIAN COMMENTARIES: TRANSMISSION IN FRAGMENTS". Bulletin of the Institute of Classical Studies 60, n.º 2 (1 de diciembre de 2017): 92–107. http://dx.doi.org/10.1111/2041-5370.12059.
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Abstract: This paper analyses the transmission of Varro in late antique Virgil commentaries. Various problems are identified and discussed: the reliability of authors' names and titles of works in citations and testimonies; different forms of quotation; complications entailed by manuscript transmission; the delimitation of the fragments; the indirect transmission of Varro already in antiquity; the status and function of Varro in a Virgil commentary. Finally I suggest that Varro had a special if implicit status in fourth-century ideological debates, in the tacit rivalry of grammarians with Christian polemicists.
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Song, Chang Hyun. "The Eschatology of Jesus and the Hellenistic View of History". Society of Theology and Thought 89 (31 de diciembre de 2023): 47–90. http://dx.doi.org/10.21731/ctat.2023.89.47.
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The purpose of this study is to examine the eschatology of Jesus and the Hellenistic view of history. Through this examination we would like to question the existing proposition that the Bible's view of time has a linear structure, and that the Hellenistic view of time has a cyclical structure. This research begins by examining the history and issues of historical Jesus research. This is because historical review is essential for understanding the background of our research topic and applying strict methodology.
This study analyzes the works of several writers from the Hellenistic, namely Greco-Roman, world. Specifically, we examine the texts of Hesiod, Polybius, Sura, Ovid, and Virgil. This reveals that the Hellenistic view of time not only has a cyclical structure, but also a linear structure. In particular, Virgil presents the reign of Augustus, the second coming of the Golden Age, as the end realized within the present. This eschatological and teleological view of history has a linear structure. Here we discover ‘realized eschatology’ in Virgil.
And this study critically analyzes Jesus' words and actions related to the Kingdom of God. Jesus is located in continuity with the Old Testament and the apocalyptic tradition of the Second Temple Judaism. At the same time, Jesus's originality is presented in his eschatological thoughts. Through this analysis, we suggest that Jesus' main concern and emphasis is on ‘realizing eschatology’ in the present. If the ‘realized eschatology’ in the present of Virgil is static, the ‘realizing eschatology’ in the present of Jesus is dynamic.
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Gouvêa Júnior, Márcio Meirelles. "O Carmen Sacrum de Proba". Nuntius Antiquus 5 (30 de junio de 2010): 57–68. http://dx.doi.org/10.17851/1983-3636.5..57-68.
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The Carmen Sacrum of Proba, a Roman aristocrat christianized in the fourth century, intends to evangelize, according to the concepts of orthodox soteriology, and is also based on metric juxtapositions of fragments from the works of Virgil. Here, we describe both aspects of this curious work.
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Trinacty, Christopher V. y C. Michael Sampson. "VERBA ALITER INSTRVCTA: SENECAN POETICS". Ramus 46, n.º 1-2 (diciembre de 2017): 1–15. http://dx.doi.org/10.1017/rmu.2017.1.
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Seneca recognizes the power of poetry. In his prose works, he discusses how poetry adds punch to moral sententiae, and he peppers his letters and dialogues with lines from Virgil, Ovid, and others. Seneca is there typically concerned with ethical matters and so seldom has much to say about poetics specifically. But, in a fragment preserved by Gellius (12.2.2-13), he faults Ennius as old-fashioned, and elsewhere writes that it is best to be alive and writing now (i.e. the first century CE) because of the many great works of literature one can draw upon: ‘one discovers words already prepared, which, when positioned differently, create a new form.’ The predilection for novelty is not blind to tradition, though poetry is a resource that requires careful handling: poets compose lines worthy of philosophers (Ep. 8.8, Nat. 4a.pr.19), but sometimes their words can be dangerous, arousing our passions (Ep. 115.12), our fears (Dial. 6.19.4), or even propagating misinformation (Dial. 7.26.6).
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Ledda, Giuseppe. "Virgilio dalla 'Vita nova' al 'Convivio'". Quaderni di Gargnano, n.º 5 (7 de diciembre de 2022): 193–216. http://dx.doi.org/10.54103/quadernidigargnano-05-14.
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This paper explores the presence of Virgil in Dante's Vita nova and Convivio. While the Latin poet plays a fundamental role in the Commedia, he occupies a markedly less exceptional position in these earlier works, despite respectful references to his mastery of poetic style. A shift occurs in the Convivio's fourth book, which accords special importance to the figure of Aeneas and to the catabasis that will become a decisive source of inspiration for the Commedia. In Convivio IV, moreover, Virgilian references are fundamental to Dante's presentation of his new intuition that Providence authorized the foundation of the Roman empire by a divinely-elected people. Only after this decisive "Virgilian turn" does it become possible for Dante to imagine an imperial poem, with Virgil acting as guide for its protagonist along a journey through the afterworld. Il contributo esamina la presenza di Virgilio nella Vita nova e nel Convivio. Se nella Commedia una tale presenza sarà fondamentale, nelle prime opere di Dante, Virgilio, pur citato con rispetto come maestro di stilistica poetica, non assume invece un rilievo eccezionale. La svolta si ha nel IV trattato del Convivio, dove acquistano uno spazio speciale la figura di Enea e la sua catabasi, episodio che sarà decisivo nell'ideazione della Commedia. In questo trattato i riferimenti virgiliani svolgono poi una funzione basilare nella presentazione delle nuove idee di Dante sulla provvidenzialità della fondazione dell’impero e sulla divina elezione del popolo romano a tale missione. Solo dopo una tale "svolta virgiliana" diventa possibile per Dante immaginare un poema imperiale in cui Virgilio guida il protagonista in un viaggio nell'aldilà.
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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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Manzhula, Oksana V. "From Homer to Virgil: Interpretations of Achilles’s Image in Ascient Literature". World Literature in the Context of Culture, n.º 14 (20) (2022): 43–52. http://dx.doi.org/10.17072/2304-909x-2022-14-43-52.
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In the article it is made an attempt to analyze the variants of Achilles' image interpretation in the Ancient Greek and Roman literature. The author considers a number of works based on the plot of the Trojan War. The author notes the features typical for the given literary epoch, tendencies of representation of an ideal of heroism and courage embodied in the image of an ancient Greek hero, their importance and influence on the conception of the work is revealed. The author considers the tendencies of the image of the ancient hero depending on the requirements of the epoch.
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Hardie, Philip. "Flavian Epicists on Virgil's Epic Technique". Ramus 18, n.º 1-2 (1989): 3–20. http://dx.doi.org/10.1017/s0048671x00003015.
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Despite some notable recent essays in the rehabilitation of the Latin epic of the first century A.D., there remains a prejudice that post-Virgilian epicists are slavishly imitative in a way that Virgil (and his contemporaries in other genres) are not. The following three studies, in Valerius Flaccus, Statius, and Silius Italicus, are contributions to an argument, currently being conducted on a wide front, that imitation, even of a very close kind, may behave in a dynamic and creative way; in particular I wish to show how the epigone may function as an implicit literary analyst or critic, anticipating the results of twentieth-century criticism. My three examples take their starting-point from what I see as a general modern consensus about the nature of Virgilian epic, but the direction could be reversed, that is, we might use post-Virgilian epic as a critical aid toourreading of Virgil.I take individual passages from the Flavian epics in whichtwo(or more) passages of theAeneidare laid under contribution; analysis of such passages reveals that the later poets were reading Virgil with an eye to structural correspondences or contrasts, and to image-structures reaching from the small scale of the ‘multiple-correspondence simile’ to the large scale of patterns that arch over the whole text, features that have been at the centre of much modern Virgilian criticism. Repeated reading of theAeneidreinforces the impression of a vast structure of self-allusion and self-comment aiming for a maximal transparency of the text to itself, in so far as theprima materiaof language will allow, and demanding a ‘simultaneous reading’ that is more spatial than temporal. The fragmentary state of previous large-scale Hellenistic poetry makes it difficult to judge of the originality of Virgil in this extreme extension of the features of repetition and self-allusion that characterize all literary works; but, for example, every increase in our knowledge of Callimachus'Aitiamakes it seem more likely that it was constructed in a similar way.
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Miller, Philip Lieson. "Works by Paul Bowles, Lee Hoiby, Richard Hundley, Eric Klein, John Musto, and Virgil Thomson". American Music 9, n.º 3 (1991): 326. http://dx.doi.org/10.2307/3051438.
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Petrova, Maya. "History through Personality: the Romans on Imitation, Borrowing and Interpreting of Predecessor’s Texts". ISTORIYA 13, n.º 5 (115) (2022): 0. http://dx.doi.org/10.18254/s207987840021336-8.
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The paper raises and discusses the problem of the attitude of Roman authors to the practice of imitating the texts of their Latin and Greek predecessors; as well as to their interpreting of the plots of early works and borrowing from them. Based on ancient sources (including the texts of Suetonius, Cicero, Macrobius and others), an attempt is made to answer the questions whether it is possible to speak of plagiarism in relation to Antiquity and how the Romans themselves treated this phenomenon. Through the analysis of Macrobius’ The Saturnalia, it is demonstrated how the controversy around the texts of Virgil was built in Antiquity. It is noted why, despite extensive borrowings, the works of Roman authors were considered as original ones.
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Cardoso, Eduardo Wright. "From Art as a Science to the Death of Poetry". Aletria: Revista de Estudos de Literatura 30, n.º 2 (20 de mayo de 2020): 147–66. http://dx.doi.org/10.35699/2317-2096.2020.22090.
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This article reflects on the contacts and dialogues between literature and scientific thought in the works of Austrian writer Hermann Broch in the first half of the 20th century. His first novel, The Sleepwalkers [Die Schlafwandler] (1931-1932), points to certain interpretations, allusions and similarities in connection with thinkers such as Max Weber, Walter Benjamin and Hannah Arendt, which suggest the incorporation of literature to scientific and philosophical knowledge. Conversely, in his last fiction work, The Death of Virgil [Der Tod des Vergil] (1945), Broch seems to question and even to doubt the importance of literature as a way of reflecting on contemporary life. While prioritizing Broch’s early works, this article follows his trajectory as he incorporates philosophical, scientific, and religious considerations to fiction, while reflecting on the times in which he lived.
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Cardoso, Eduardo Wright. "From Art as a Science to the Death of Poetry". Aletria: Revista de Estudos de Literatura 30, n.º 2 (20 de mayo de 2020): 147–66. http://dx.doi.org/10.35699/2317-2096.2020.22090.
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This article reflects on the contacts and dialogues between literature and scientific thought in the works of Austrian writer Hermann Broch in the first half of the 20th century. His first novel, The Sleepwalkers [Die Schlafwandler] (1931-1932), points to certain interpretations, allusions and similarities in connection with thinkers such as Max Weber, Walter Benjamin and Hannah Arendt, which suggest the incorporation of literature to scientific and philosophical knowledge. Conversely, in his last fiction work, The Death of Virgil [Der Tod des Vergil] (1945), Broch seems to question and even to doubt the importance of literature as a way of reflecting on contemporary life. While prioritizing Broch’s early works, this article follows his trajectory as he incorporates philosophical, scientific, and religious considerations to fiction, while reflecting on the times in which he lived.
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Holzberg, Niklas. "FROM PRIAPUS TO CYTHEREA: A SEQUENTIAL READING OF THECATALEPTON". Classical Quarterly 68, n.º 2 (22 de octubre de 2018): 557–65. http://dx.doi.org/10.1017/s000983881800037x.
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In an article published thirteen years ago, I tried to break new ground by showing that the texts transmitted under the titleCataleptonas the work of Virgil can be seen to form an elaborately arranged and highly allusive book of verse written by a single author. This latter, I argued, was identical with the anonymous poet who, in an epilogue, represents the preceding poems as the juvenilia of the author later known for hisBucolics,GeorgicsandAeneidand, consequently, is himself speaking in the alleged early works asVirgil impersonator. This anonymous poet, however, cannot rightly be labelled a literary forger, since he repeatedly and quite unmistakably recalls each of Virgil's threeoperaas well as other texts written after the year 19b.c. Evidently, then, he is inviting his readers to take part in a literarylusus, one in which they are expected to be familiar not only with the texts ofBucolics,GeorgicsandAeneidbut also with the life of the man who wrote them. The fiction of a young Virgil is created, one who wrote his first poems—the verses referred to in the epilogue aselementaandrudis Calliope(Catal.18[15])—primarily under the influence of Catullus, the said poems being, with the exception ofCatal.12(9) and 16(13), epigrams. My interpretation has borne fruit, with Irene Peirano and Markus Stachon each devoting, in 2012 and 2014 respectively, a monograph to this approach and offering what are often very thorough analytical readings of the poems as the creations of aVirgil impersonator. However, neither of these two Latinists has considered one particular interpretative aspect, which I myself had only been able to introduce very briefly into my paper: the recognition that, as many more recent studies have now further corroborated, Roman poetry books were designed for linear, sequential reading, that they have, as it were, a story to tell. Peirano, moreover, disregards in her study the threePriapeapositioned in editions before the other fifteen epigrams and shown there with their own separate numbering. In the manuscripts, however, the titleCataleptonrefers without exception to a unit comprising the threePriapeaand the fifteen epigrams. The titlePriapea, found in the catalogue of the Murbach manuscripts and in some codices (for example the Graz fragment), is always attached solely to the poemQuid hoc noui est?In theVita Suetoniana-Donatiana(VSD), the termsCatalepton,PriapeaandEpigrammatawere evidently used as three different titles; the author (or his source) may not have seen thatCataleptonis the title of all the poems. Furthermore, I should like to point out that, counted together, ‘Virgil's’Priapeaand epigrams come to a total of seventeen poems and so match precisely both the total of seventeen books in the real Virgil's three works and the total number of Horace's epodes, of the poems, that is, which the not-so-real Virgil quite conspicuously evokes in his own penultimate poem (Catal.16[13]). More significantly, however, a sequential reading of thePriapea et Epigrammatacan in fact build a watertight case for taking the texts to be, as it were, a composite whole, and that is what I intend to argue in the rest of the article.
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Millar, Fergus. "Ovid and the Domus Augusta: Rome Seen from Tomoi". Journal of Roman Studies 83 (noviembre de 1993): 1–17. http://dx.doi.org/10.2307/300975.
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The greatest works of what we normally call ‘Augustan’ literature were produced by writers who came to maturity in the Triumviral period, and were already established as major authors before January 27 B.C., when ‘Imperator Caesar Divi filius’, whom we like to call ‘Octavianus’, gained the unprecedented cognomen ‘Augustus’. By that moment the Eclogues and Georgics of Virgil, the Epodes and Satires of Horace, and Book 1 of the Elegies of Propertius were already written. Livy had composed his sombre Praefatio, and probably the whole first pentad, in the later Triumviral period, perhaps around the time of Actium or soon after.
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Deremetz, Alain. "Les récits d’Achéménide et de Macarée dans le livre XIV des Métamorphoses d’Ovide". Vita Latina 183, n.º 1 (2011): 150–60. http://dx.doi.org/10.3406/vita.2011.1718.
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The stories told by Achaemenides and Macareus, in the fourteenth book of Ovid’s Metamorphoses, through an intertextual dialogue with two episodes of the virgilian opus, perfectly illustrate the specific place that Ovid claims to occupy in the development of a new conception of epics. This conception is at the same time breaking up and negotiating with what Ovid considers to be the «traditional » conception of epics illustrated by Virgil in his Aeneid. In his Metamorphoses, as well as elsewhere in his works, and often where one is not expecting it, the text is exposing what it is as much as what it says.
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Ivinskiy, Alexander D. "M.N. Muravyov and Ancient Poets: Unpublished Translations". Studia Litterarum 6, n.º 2 (2021): 358–85. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-358-385.
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The article is devoted to the translations of M.N. Muravyov. We present more than ten unpublished texts from his Notebook, which is preserved at the Manuscripts Department of the Russian State Library: a number of works of Horace, Virgil, Anacreon, Martial, Callimachus, Lucretius and Lucan. Secondary in this context, but no less important, is the translation of a fragment from the famous poem Jerusalem Delivered by T. Tasso. These texts do not exhaust the subject (many of Muravyov’s translations still remain unpublished), but, along with others, may become the basis for the reconstruction of Muravyov’s literary position, which can already be characterized as oriented towards European “classicism.”
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Ivinskiy, Alexander D. "M.N. Muravyov and Ancient Poets: Unpublished Translations". Studia Litterarum 6, n.º 2 (2021): 358–85. http://dx.doi.org/10.22455/2500-4247-2021-6-2-358-385.
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The article is devoted to the translations of M.N. Muravyov. We present more than ten unpublished texts from his Notebook, which is preserved at the Manuscripts Department of the Russian State Library: a number of works of Horace, Virgil, Anacreon, Martial, Callimachus, Lucretius and Lucan. Secondary in this context, but no less important, is the translation of a fragment from the famous poem Jerusalem Delivered by T. Tasso. These texts do not exhaust the subject (many of Muravyov’s translations still remain unpublished), but, along with others, may become the basis for the reconstruction of Muravyov’s literary position, which can already be characterized as oriented towards European “classicism.”
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Savula, Andriy. "ABSOLUTE COMPARATIVE AND SUPERLATIVE IN THE POETRY OF HORACE, VІRGIL AND OVID: SEMANTICS, STRUCTURE, FUNCTIONALITY". Inozenma Philologia, n.º 135 (15 de diciembre de 2022): 113–20. http://dx.doi.org/10.30970/fpl.2022.135.3811.
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The semantic, structural and functional features of the absolute comparative and superlative in the poetry of Horace, Virgil and Ovid are investigated and described in the article. The cases of using the absolute comparative and superlative in the Latin text are considered. The subject of research was the morphological means of transmission for comparative and superlative. The study used a descriptive method for inventory, classifi cation and interpretation of means for absolute intensifi cation and contextual analysis to determine the functional features of comparative and superlative in a particular microtext. Together with component analysis, this method allows analyzing words by semantic nature. The analysis of the text allowed us to reveal that comparativus absolutus, superlativus absolutus belong to the morphological means of expressing the intensity of the attributive feature and are irrelevant (non-relative) to comparison, because their denotation is the feature of the object and its measure. They express only the increased excess of the degree of sign of object in relation to the norm and represent only the elative (large) degree of intensity of the sign. Absolute comparative and superlative are considered in a simple construction (phrase), in combination with the denoted word: noun-subject or noun-object (rarely pronoun). They can stand in the preposition or the postposition in relation to the denoted word. In addition to simple two-membered constructions, poets use more complex three-membered or four-membered ones. Complex types of constructions enrich the content of the context with additional attributive qualities, and as well as two-membered ones help to strengthen the image of the poem. Comparativus absolutus in works of the authors was found less than superlativus absolutus. Virgil did not use it at all. Combined with the denoted words, both degrees belong to six lexical-semantic groups (LSG). Among them there are two major groups: 1) LSG with the expression of the intensity of physical quantity, quantity, weight, physical and spatial volume; 2) partial-evaluation and evaluation adjectives. Key words: absolute comparative, absolute superlative, intensity, degrees of comparison of adjectives, elative.
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Savula, Andriy. "INFREQUENT MEANS OF EXPRESSION OF THE INTENSITY OF ATTRIBUTIVE FEATURE IN THE WORKS BY HORACE, VIRGIL AND OVID". Inozenma Philologia, n.º 128 (12 de septiembre de 2015): 224–29. http://dx.doi.org/10.30970/fpl.2015.128.133.
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Eichel, Roxana. "Un arhipelag dizarmonic – postmodernismul și tirul aversiunilor critice". Romanian Studies Today 2, n.º 2/2018 (1 de diciembre de 2018): 1–15. http://dx.doi.org/10.62229/rst/2.1/1.
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The text sets out to present a critical context where the debate surrounding the representations of postmodernism is regarded as still engaging. Virgil Nemoianu provides a troublesome image of cultural postmodernism as an epitome of chaos menacing traditional values or as a dangerous network of egalitarian views on literature, art, and religion. His book Postmodernism and Cultural Identities (Spandugino, 2018) seems to bring forth a series of critical outlines which can be read as oppositions to Matei Calinescu’s “fifth face of modernity” (if we employ the framework of Romanian-American critical discourse as a reading background). My paper seeks to identify the “faces” of critical conservatism in Nemoianu’s discourse, to find some of their sources in the author’s previous works or in other theoretical approaches to postmodernism.
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Faje, Florin. "Managingfuria latina:the making of a Romanian football system and style of play". Nationalities Papers 44, n.º 6 (noviembre de 2016): 904–18. http://dx.doi.org/10.1080/00905992.2016.1221917.
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This article investigates the creation of a Romanian football style and system of play, best espoused by the Romanian national teams of the 1990s. It does so by engaging the works of Virgil Economu (1896–1978), undoubtedly the leading Romanian practitioner in the field. The analysis develops around the notions offuria latina– Latin fury – and “élan” and traces their elaboration and implication at two different historical periods, the interwar and the postwar. Premised on these notions, Economu sought to develop a distinctly Romanian style of football play, one emphasizing speed and individual technique. The successes of Romanian football in the 1980s and early 1990s, the rise of the midfielder Gheorghe Hagi, and the popular meanings attached to them are all intimately connected with Economu's contributions. Overall, my arguments document football's crucial role for modern Romanian nationalism.
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Hubbs, Nadine. "Homophobia in Twentieth-Century Music: The Crucible of America's Sound". Daedalus 142, n.º 4 (octubre de 2013): 45–50. http://dx.doi.org/10.1162/daed_a_00237.
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Challenging notions of the composer as solitary genius and of twentieth-century homophobia as a simple destructive force, I trace a new genealogy of Coplandian tonal modernism–“America's sound” as heard in works like “Rodeo,” “Appalachian Spring,” and “Fanfare for the Common Man” – and glean new sociosexual meanings in “cryptic” modernist abstraction like that of Gertrude Stein and Virgil Thomson's opera “Four Saints in Three Acts.” I consider gay white male tonalists collectively to highlight how shared social identities shaped production and style in musical modernism, and I recast gay composers' close-knit social/sexual/creative/professional alliances as, not sexually nepotistic cabals, but an adaptive and richly productive response to the constraints of an intensely homophobic moment. The essay underscores the pivotal role of the new hetero/homo concept in twentieth-century American culture, and of queer impetuses in American artistic modernism.
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Belousova, Ol'ga Geral'dovna. "Quote "Echo" of J. Keats in the Late Lyrics of Anna Akhmatova". Филология: научные исследования, n.º 10 (octubre de 2022): 8–16. http://dx.doi.org/10.7256/2454-0749.2022.10.39038.
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The subject of the study is explicit and hidden references to the work of John Keats in the works of Anna Akhmatova "Poem without a hero" and the cycle of poems "From a burnt notebook". The object of the study is the principle of "mirror writing" implemented through references to Keats, which allows using embedded references to various works of world culture located one inside the other. The author examines in detail such aspects of the topic as the use of quotations in the text and in the frame of the text, the roll call of citations among themselves and with other works. Special attention is paid to the motive of meeting with a dead lover formed with the help of allusions, which is present both in Keats' poems and in the "Poem without a Hero", and due to the principle of "mirror writing" is formed in the implicature of the cycle "From a burnt notebook". The main conclusions of the study are the detailed references to the form and content of John Keats' poems in the works of Anna Akhmatova. A special contribution of the author to the study of the topic is the connection established for the first time between the image of "embalming" mentioned in the Poem without a Hero and in Keats' poem "A Pot of Basil", the epigraph from which is used in the cycle "From a burnt notebook". The novelty of the research lies in clarifying the principle of "mirror writing", the quote "echo", implying the reflection of one quote in another and building a kind of chain of references in the work: Keats refers to Boccaccio, Boccaccio to Virgil, etc.
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Kuran, Michał. "Epidemie dalekie i bliskie: mór pod piramidami i w wiejskiej chacie w XVI wieku – Mikołaja Krzysztofa Radziwiłła „Peregrynacyja do Ziemi Świętej…" i „Victoria deorum” Sebastiana Fabiana Klonowica – konwencje opisu na tle literatury klasycznej". Tematy i Konteksty 16, n.º 11 (2021): 128–52. http://dx.doi.org/10.15584/tik.2021.8.
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The aim of the article is to present outlook specificity to the topic of epidemics process described in two works Mikołaj Krzysztof Radziwiłł’s “Peregrination to the Holy Land” and “Victoria deorum” of Sebastian Fabian Klonowic on the background of Thucydides, Lucretius, Ovid and Boccacio. As the contexts are summoned relations of Homer and Virgil. Elements creating convention are following: description of symptoms, treatment attempts, medics’ hopelessness, mass death of population, consequences of social stratification during the plague, an increase of religious worship or escape into hedonistic use of life, loosening moral principles, population migrations, families’ fall, lack of respect for bodies and mass burials. Radziwiłł describes, from a distant perspective, a several-year dynamics of the epidemic’s development largely omitting conventions, Klonowic focuses on its process among the poorer classes, only partially taking up well known plots. Referring to literary tradition, he introduces new ones.
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SPERL, STEFAN. "Crossing enemy boundaries: al-Buhturī's ode on the ruins of Ctesiphon re-read in the light of Virgil and Wilfred Owen". Bulletin of the School of Oriental and African Studies 69, n.º 3 (19 de septiembre de 2006): 365–79. http://dx.doi.org/10.1017/s0041977x06000164.
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This article seeks to gain a better understanding of a famous ode by the ‘Abbāsid court poet al-Buhturī (d. 897) by comparing it with two other works which exhibit a similar thematic development. One is an extract from The Aeneid by Virgil (d. 19 BC), the other a poem by Wilfred Owen (d. 1918). The three texts emanate from imperial identities (Roman, Arab and British) in a state of crisis, which in turn paves the way for cathartic encounters with an alien other that each involves an act of recognition. The comparison uncovers certain similarities in the psychological impact of this encounter and thereby throws a new light on the carefully crafted structure of al-Buhturī's ode. The experience described by the three texts emerges as an expression of man's universal quest for his lost self, and its recovery—however momentarily—in the very heart of his supposed foe.
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Liudmila, Iurievna Makarova. "The role of title and epigraph in the essay “The Vision of Mirza” by Joseph Addison". Филология: научные исследования, n.º 12 (diciembre de 2021): 37–45. http://dx.doi.org/10.7256/2454-0749.2021.12.37204.
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The object of this research is the essay “The Vision of Mirza” by Joseph Addison. The relevance of studying J. Addison's essay is substantiated by undue attention to his works in the Russian literary studies, as well as the need for tracing the dynamics in the genre of vision in the Age of Enlightenment. The subject of this research is the title and epigraph as parts of the work that determine its structure and artistic distinctness. Analysis is conducted on the images of the viewer, visionary hero, and his guide, chronotope of the essay and allusive links. The essay is based on the combination of systemic-structural, comparative-historical, and hermeneutic methods. The novelty consists in the fact that the comprehensive examination of the role of the title ensemble within the structure of the essay allows reconstructing the link of the essay with the traditions of the medieval genre of vision manifested in the traditional topic and consistent motifs, imagery system, space and time arrangement, and dialogical structure of the text. The author provides interpretation to the allusive links between J. Addison's essay and Greco-Roman mythology, epic poem “The Aeneid” by Virgil, and psalms from the New Testament, and “The Voyage of St. Brendan”. It is established that the dialogue set by the epigraph passes through the entire plotline of the essay and reveal the characters of its participants. The extensively presented Christian theme alongside the images from ancient mythology and Virgil’s texts are essential for the author to express the enlightening program.
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Kelly, Peter. "CRAFTING CHAOS: INTELLIGENT DESIGN IN OVID, METAMORPHOSES BOOK 1 AND PLATO'S TIMAEUS". Classical Quarterly 70, n.º 2 (diciembre de 2020): 734–48. http://dx.doi.org/10.1017/s0009838821000094.
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Many attempts have been made to define the precise philosophical outlook of Ovid's account of cosmogony from the beginning of the Metamorphoses, while numerous different and interconnected influences have been identified including Homer, Hesiod, Empedocles, Apollonius Rhodius, Lucretius and Virgil. This has led some scholars to conclude that Ovid's cosmogony is simply eclectic, a magpie collection of various poetic and philosophical snippets haphazardly jumbled together, and with no significant philosophical dimension whatsoever. A more constructive approach could see Ovid's synthesis of many of the major cosmogonic works in the Graeco-Roman tradition as an attempt to match textually his all-encompassing history of the universe that purports to stretch from the first beginnings of the world up to the present day (Met. 1.3−4). Furthermore, if the beginning of the Metamorphoses is designed to be both cosmologically and intertextually all-encompassing, it is surprising that the influence of arguably the major philosophical work on cosmogony from the ancient world, Plato's Timaeus, remains to be evaluated.
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Davis, P. J. "Allusion to Ovid and others in Statius' Achilleid". Ramus 35, n.º 2 (2006): 129–43. http://dx.doi.org/10.1017/s0048671x00000849.
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It has become a commonplace of Statian criticism that, if Thebaid invokes Virgil as model, then Achilleid sees Statius using Ovid. Important work has been done in this field, most notably by Rosati and Hinds: Rosati has explored the relationships between Achilleid and several Ovidian texts, while Hinds has insisted on the centrality of Metamorphoses to understanding Achilleid: ‘it is an epic: a markedly Ovidian, markedly metamorphic epic’. This essay aims to extend that discussion through consideration of the differences between Statius and his Ovidian models in his handling of a number of key episodes.The most obvious connection between Ovid's works and Statius' Achilleid is the story of Achilles' rape of Deidamia, for these are the only extant classical poets to narrate the story at any length. That Statius' account actually alludes to Ovid's account in Art of Love is clear. For example, both poets use marked alliteration when describing Achilles' violence:uiribus ilia quidem uicta est, ita credere oportet:sed uoluit uinci uiribus ilia tamen.(Ars 1.699f.)
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Buda, Attila y Anna Tüskés. "Horatius, Ovidius és Vergilius művei a fóti Károlyi-kastély egykori és a keszthelyi Festetics-kastély ma is látogatható Helikon könyvtárában". Magyar Könyvszemle 133, n.º 2 (7 de noviembre de 2017): 174–96. http://dx.doi.org/10.17167/mksz.2017.2.174-196.
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The aim of the study is the analysis of the presence of the three classic Latin author’s works in two aristocratic libraries of the 18th–19th centuries. The motivations of reading and collecting books are similar and more catalogues make possible the comparison of the two collections. The members of the Károlyi family were significant in distributing education and culture in the 17th-18th centuries. Two remaining manuscript catalogues (1830, 1843) shows that the Fót library was a live collection throughout its existence. It was constantly growing and diminishing, it served to entertain and inform its owners. Therefore seeking philological or bibliophile aspects in its composition is not worthwhile. Concerning the items of the manuscript catalogues: the subsequent researcher can more or less identify the individual works based on the fragmented descriptions but doesn’t hold the copy that served as a base for the previous categorisation. The two library catalogues can surely be linked to István Károlyi who studied in the Piarist high school in Vienna, later in Pest. The first catalogue contains one edition of Horace and two of Virgil, the second attests eight Horace, three Ovid and seven Virgil. The Keszthely Library is a baronial library like the one in Fót. For the Festetics family, who moved to Keszthely in the second half or the 1740s, books were important. The Hungarian National Archives conserves twelve library catalogues of the Festetics estates in one and a half century, between 1746 and 1894. On the basis of these twelve catalogues, five Horatius, twelve Ovidius- and five Vergilius-editions can be identified from the 16th–18th-centuries. The currant collection contains also several 19th-century editions. In the Helikon Library of the Festetics Castle there is an unpublished two sheet print in Hungarian and German, titled ‘The adaptation of Virgil’s known poems for the Hungarian coronation”. The distich believed to be written by Virgil, the starting point of the pamphlet published in Pest in the printing house of Mátyás Trattner in 1792, on the coronation of Ferenc I. The version of the poem adapted for the coronation is as follows: “Rain by night: We are crowning our King in the morning: / With Nature shares thus our beloved Ferenc”. And in German: “Des Nachts ein Regen: des Morgens fröhliche Krönung: / So theilt Theurer FRANZ mit dir die Zeit – die Natur ein.” At the bottom of the sheet this note can be read: “NB. That all happened like so, can those present in Buda and Pest attest.” As a work of propaganda it is intended to bolster the image of the king himself. The epigram ascribed to Vergil by the so-called Vita Vergilii by Donatus was frequently used in the Middle Ages. The hexameter furnishes the standard example for 'spectaculum' in the Latin grammar manuals. It was imitated for example in the Silva by the Milanese doctor and humanist Bernardino Rincio which narrates the splendid festival of the reign of Francis I, the Bastille festival of 1518. “Luce pluit tota, redeunt spectacular nocte, Imperium iunctum cum Iove Rex habeas.” “It has rained throughout the day, the spectacles return with the night, may you O King have your empire joined with Jupiter.”
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Endress, Laura. "Counting the lions of Nemea". Reinardus / Yearbook of the International Reynard Society 32 (31 de diciembre de 2020): 71–88. http://dx.doi.org/10.1075/rein.00039.end.
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Abstract The “Twelve Labours” of Hercules are among the topics most often associated with the illustrious half-god of Graeco-Roman mythology. This series of heroic deeds includes the defeat of a monstrous lion that ravaged the countryside of Nemea in southern Greece, an episode from the life of ancient Hercules that was handed down to medieval Europe through the works of classical authors, such as Virgil, Ovid and Statius, and their commentators. As is often the case, this process of textual transmission gave rise to variation and multiple interpretations: the sole Nemean lion is, in some instances, replaced by a pair of two felines or even a leonine trio, a phenomenon that can be observed both in text and iconography. The present contribution aims to elucidate the history of a particular variational pattern involving three Nemean lions, as seen in Raoul Lefèvre’s 15th century Recoeil des Histoires de Troyes. By tracing the evolution of this particular version of the episode, we will consider commentaries, mythographic treatises and historiographical compilations.
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Gadamska-Serafin, Renata. "Norwid’s Roma antiqua in its full version". Studia Norwidiana 37 English Version (2020): 227–47. http://dx.doi.org/10.18290/sn.2019.37-13en.
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Magdalena Karamucka’s book Antyczny Rzym Norwida [Norwid’s Ancient Rome] is the first monographic study of the problem addressed in the title. Ancient Rome is presented in this valuable study from different perspectives: as a geographical, historical and cultural reality and as a literary topos. The starting point for the discussion is a chapter devoted to a Roman episode of Norwid’s biography and his Roman readings. Another subject of analysis are the poet’s political, religious and historiosophical reflections about Rome and his remarks on literature, art and Roman theatre. The main, comparative part is devoted to a meticulous analysis of reminiscences, quotations (paraphrases), titles, etc. taken from works of Roman authors (including Catullus, Horace, Juvenal, Ovid, Virgil), Norwid’s translational work and his Roman correspondence. However, Norwid’s Roma antiqua presented in the monograph is not frozen in a dead form. The author shows in an interesting and convincing way how this romanitas becomes a starting (or reference) point for the author of Quidam in his reflections on almost all aspects of his contemporary times.
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Costa, Dennis. "“incredibilis fama”: Some Remnants of Time in Virgilian Epic". Kronoscope 12, n.º 1 (2012): 7–15. http://dx.doi.org/10.1163/156852412x631619.
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AbstractThis paper reads out two very well-known moments in Books 3 and 1 of Virgil’s epic poem in order to address a Virgilian tactic, a poetic strategy, that has not been fully requited in the criticism. These are moments in which the poet chooses to foreground absurd, excessive, epiphenomenal and short-lived things that time seems to bring about. Aeneas, Virgil’s unlikely hero, struggles as much with such moments as he does with all the sworn enemies of the Trojans. He struggles especially with the temptation toward a poignant, nostalgic fixation on his tragic past. He is told that he must become devoted religiously to the greatest of Troy’s enemies, the goddess Juno. It is inside a Carthaginian temple dedicated to Juno that the hero experiences the ‘newness’ that a great work of art is always able to proffer. But Virgil knows that Carthage and Juno’s temple and the works of art themselves will all become follies of time, left in ruins by theromanitasthat Aeneas has just been encouraged to prepare.
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LEMNY, Ştefan. "Istoria ca o poveste: Istoria Imperiului Otoman de Cantemir". Analele Ştiinţifice ale Universităţii „Alexandru Ioan Cuza” din Iaşi, s.n., Istorie 69 (2024): 83–93. http://dx.doi.org/10.47743/asui-2023-0006.
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A part of European culture since the 18th century, the “History of the Ottoman Empire” of Dimitrie Cantemir calls for a new reading, especially since the erudite historian Virgil Cândea discovered its original manuscript, which scholars have long sought. Beyond the historiographical value of the work as documentation and critical wit, its clear and flowing “story-like” writing illustrates the indissoluble link between history and storytelling mentioned by Paul Ricœur. It is easier to understand why, thanks to this condition, it did not pose too complicated problems of translation, easing the effort of translators and offering itself to 18th-century (and later) readers as an instructive and enjoyable read. The criticism came especially from the angle of scholarship with the development of the critical spirit in historiography in the 19th century and the formation of new generations of scholars specializing in Ottoman studies. However, while Cantemir’s history of the Ottomans has given way to other later works as documentation and analysis, it retains the same interest as a narrative discourse, the mark of time contributing no less to its fascination.
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Knyazev, Pavel. "The Images of Power in the Public Space of Early Restoration England". ISTORIYA 13, n.º 1 (111) (2022): 0. http://dx.doi.org/10.18254/s207987840019015-5.
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The article deals with the main features of the public representation of the power images during the early Stuart Restoration. The problem is studied on the material of the solemn entry of the English King Charles II into London on the eve of his coronation, April 22, 1661. Prior to this event, four triumphal arches were built in the city center, using the main symbols and allegories associated with the restoration of the monarchy. Based on a wide range of sources (official descriptions of celebrations, engravings, poetic works and diaries), the authors study the characteristic features of the power images of the early Restoration. Firstly, an important role in the construction of these images was played by the use of the heritage of the Antiquity, mainly of the works of Virgil. England was represented as the new Rome, and Charles II was seen as the new Augustus. Secondly, like the early Stuarts, Charles II sought to present his rule as a new “Golden Age” — the era of prosperity and abundance. The latter, according to the architects of the arches, came to replace the chaos, desolation and discord of the civil wars and of the Interregnum. The symbolism of the arches helps us understand, how the legacy of that period was refracted in official rhetoric and in the minds of the Englishmen of the Restoration era. Finally, the images on the triumphal arches reflected the plans and aspirations of the new government, being a kind of “manifesto” of the new monarchy.
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Calvert, Ian. "Augustan Allusion: Quotation and Self-Quotation in Pope’s Odyssey". Review of English Studies 70, n.º 297 (9 de enero de 2019): 869–89. http://dx.doi.org/10.1093/res/hgy120.
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Abstract The status of Pope’s Homer as a text which engages with numerous seventeenth-century poems and translations of classical epics is well established. Much of the criticism on this topic has so far focused on Pope’s use of Paradise Lost and Dryden’s Works of Virgil. This article contends that Pope’s use of other writers in the translation, including Denham and Waller, has been under-appreciated. I examine some previously unacknowledged borrowings from Denham and Waller in Pope’s Odyssey and relate them to Pope’s use of Milton and Dryden. I suggest that, within the context of direct quotation of whole verse-lines, Pope was himself responsible for privileging the presence of certain seventeenth-century authors in his Homer translations over others. The quotations of complete lines from Milton and Dryden are designed as ‘outward-looking’, but those from Denham and Waller are more ‘inward-looking’ and represent moments where he is reflecting privately on the main characteristics of their allusive strategies. Pope acknowledges that where Denham’s primary intertextual relationship was with Waller, the key source for Waller himself was his own early poetry. Waller’s early poems had, in turn, frequently drawn on works by other poets, and I outline how, in his Homer translations, Pope too repeats certain quotations frequently enough that they begin to function as self-quotations. I subsequently connect this technique to Pope’s readiness to repeat lines across his Iliad and Odyssey that are (largely) of his own invention to suggest that, in general, Pope’s allusive poetics follow Waller’s intertextual practice more closely than those of his other antecedents.
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Płaszczewska, Olga. "Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts". Ruch Literacki 54, n.º 2 (1 de marzo de 2013): 145–60. http://dx.doi.org/10.2478/v10273-012-0068-1.
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Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.
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ROBINSON, SUZANNE. "“A Ping, Qualified by a Thud”: Music Criticism in Manhattan and the Case of Cage (1943–58)". Journal of the Society for American Music 1, n.º 1 (febrero de 2007): 79–139. http://dx.doi.org/10.1017/s1752196307070046.
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This article surveys the reception of concert performances in Manhattan of music by John Cage, from his arrival in 1942 until his gala retrospective held in Town Hall in 1958, in particular comparing responses from composer-critics such as Virgil Thomson, stabled at theNew YorkHeraldTribune, with that of music journalists based at theNew York Timesand other local dailies. Close reading of reviews and of an array of archival sources suggests that Cage's personal and professional relationships with composer-critics ensured that the reception of his music was uniquely well informed, and that his prepared piano works and early experiments with chance were treated with a remarkable degree of affirmation. Much of Cage's critical identity can be attributed to the aegis of Thomson, who, if he denied acting as “hired plugger” for Cage, nonetheless sympathetically construed him as Americanist, Francophile, post-Schoenbergian, and ultramodernist. Thomson's resignation from theTribunein 1954 coincided with a pronounced deterioration in Manhattan critics' appreciation of Cage. I argue that the reasons for this lie as much with the demise of the composer-critic—and a reversal of Cage's own attitude to criticism—as with conservative disaffection with new forms of experimentalism.
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Barnard, John. "The Large- and Small-Paper Copies of Dryden's "The Works of Virgil" (1697): Jacob Tonson's Investment and Profits and the Example of "Paradise Lost" (1688)". Papers of the Bibliographical Society of America 92, n.º 3 (septiembre de 1998): 259–71. http://dx.doi.org/10.1086/pbsa.92.3.24304447.
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Gassman, Mattias. "THE ROMAN KINGS IN OROSIUS’HISTORIAE ADVERSVM PAGANOS". Classical Quarterly 67, n.º 2 (2 de noviembre de 2017): 617–30. http://dx.doi.org/10.1017/s0009838817000702.
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We are ruled by judges whom we know, we enjoy the benefits | Of peace and war, as if the warrior Quirinus, | As if peaceful Numa were governing (Claud.IV Cons. Hon.491–3).With these words the poet Claudian lauds the Emperor Honorius on the occasion of his fourth consulship in 398 by comparing him to Rome's deified founder, Romulus-Quirinus, and to Numa Pompilius, its second king, who was proverbial for wisdom and piety. Claudian's panegyric stands in a long literary tradition in which the legendary Roman kings were depicted as models of statesmanship. This exemplary tradition left its mark on a broad array of late antique works, including historical compendia such as the pseudo-AurelianDe uiris illustribus, which narrates the kings’ deeds as soldiers and statesmen, and the writings of antiquarians such as Macrobius and Servius, who collected information on the kings’ invention of cults and calendars. Servius’ interest in the kings implies that they featured in the teaching provided by other late antiquegrammaticias well, and thus that most literate Latin-speakers would have had some knowledge of their deeds. Advanced education in rhetoric likewise drew on Virgil and other school texts for historicalexemplaincluding Romulus and Numa, who appear in panegyrics and in brief histories, such as Eutropius’Breviary, that probably served as reference texts for the political elite. The kings thus loomed large in Roman perceptions of the founding of their empire, which began with the heroic Romulus, was strengthened by Numa's establishment of the Roman cultic system, and was secured by the later kings’ political and military successes.
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Von Wobeser, Gisela. "Mitos y realidades sobre el origen del culto a la Virgen de Guadalupe". Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 10, n.º 1 (15 de enero de 2013): 148. http://dx.doi.org/10.26564/16926250.355.
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Resumen:El culto a la virgen de Guadalupe tiene su origen remoto en un santuario prehispánico situado en el cerro del Tepeyac, al norte de la ciudad de México, dedicado a la diosa Tonantzin. Hacia 1525, el santuario fue convertido por los frailes evangelizadores en una ermita católica, dedicada a la virgen María. Para dar culto a ésta última, los frailes colocaron en ella una pintura de la Virgen como Inmaculada Concepción, realizada por un indio de nombre Marcos, y a la que pronto se atribuyeron poderes milagrosos. Durante las primeras décadas la ermita fue visitada principalmente por indígenas, pero a mediados del siglo XVII, el culto a la virgen del Tepeyac se extendió a todos los grupos sociales. Durante la segunda mitad del siglo XVI, surgió entre indígenas educados a la usanza española una leyenda que daba cuenta del origen de la ermita y de la milagrosa imagen. La leyenda conjuga las dos tradiciones que confluyen en la cultura mexicana: la española y la indígena. Así, a la vez que se inscribe en el marianismo hispánico, fincado en el poder de las imágenes, y sigue un desarrollo narrativo parecido a las leyendas marianas españolas, contiene numerosos elementos de raigambre indígena que lo sitúan dentro de la tradición de los pueblos prehispánicos.Palabras clave: Virgen María, apariciones, culto mariano, leyendas fundacionales, imágenes marianas, vírgenes milagrosas, virgen de Guadalupe, evangelización.**********************************************************Myths and realities about the origen of the worship of Guadalupe’s virginAbstract:The worship of the Guadalupe’s virgin has its origins from the remote Pre-Hispanic sanctuary established on the hill of Tepeyac, in the north of Mexico City, consecrated to the female god Tonatzin. Around 1525, the Sanctuary was transformed by the evangelize friars in a catholic shrine dedicated to Virgin Mary. The legend conjugates two traditions that converge in the Mexican culture. So, at the time it is subscribed to the Hispanic Marians, supported on the power of the images and it continues a narrative development so similar with the Hispanic Marian legends; it contains, also, numerous elements from the indigenous culture, achieving a position of tradition in the Pre-Hispanic towns. Key words: Virgin Mary, apparition; Marian worship, founder legends, Marian images, miracle virgin, Guadeloupe’s virgin, evangelization.*********************************************************Mitos e realidades sobre a origem do culto à Virgem de GuadalupeResumo:O culto à virgem de Guadalupe tem sua origem remota num santuário pré-hispânico situado no cerro do Tepeyac, ao norte da cidade do México, dedicado à deusa Tonantzin. Pelo ano de 1525, o santuário foi convertido pelos freis evangelizadores num eremitério católico, dedicado à virgem Maria. Para cultuar a essa última, os freis colocaram nela uma pintura da Virgem como Imaculada Concepção, realizada por um índio de nome Marcos, e a qual rapidamente foram atribuídos poderes milagrosos. Durante as primeiras décadas o eremitério foi visitado principalmente por indígenas, mas nos meados do século XVII, o culto à virgem do Tepeyac se estendeu a todos os grupos sociais. Durante a segunda metade do século XVI surgiu entre indígenas educados à moda espanhola uma lenda que dava conta da origem do eremitério milagrosa imagem. A lenda conjuga as duas tradições que confluem na cultura mexicana: a espanhola e a indígena. Assim sendo, à vez que se inscreve no marianismo hispânico, fundamentado no poder das imagens, e segue um desenvolvimento narrativo semelhante às lendas marianas espanhoas, contem numerosos elementos de reminiscência indígena que o situam dentro da tradição dos povos pré-hispânicos. Palavras chave: Virgem Maria, aparições, culto mariano, lendas originárias, imagens marianas, virgens miraculosas, virgem de Guadalupe, evangelização.