Littérature scientifique sur le sujet « Didactic poetry, latin – history and criticism »
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Articles de revues sur le sujet "Didactic poetry, latin – history and criticism"
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Manning, Patricia W., et Yasmin Annabel Haskell. « Loyola's Bees : Ideology and Industry in Jesuit Latin Didactic Poetry ». Sixteenth Century Journal 36, no 4 (1 décembre 2005) : 1198. http://dx.doi.org/10.2307/20477658.
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Haskell, Yasmin. « The Vineyard of Verse ». Journal of Jesuit Studies 1, no 1 (2014) : 26–46. http://dx.doi.org/10.1163/22141332-00101003.
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This review of scholarship on Jesuit humanistic literature and theater is Latin-oriented because the Society’s sixteenth-century code of studies, the Ratio Studiorum, in force for nearly two centuries, enjoined the study and imitation in Latin of the best classical authors. Notwithstanding this well-known fact, co-ordinated modern scholarship on the Latin poetry, poetics, and drama of the Old Society is patchy. We begin with questions of sources, reception, and style. Then recent work on epic, didactic, and dramatic poetry is considered, and finally, on a handful of “minor” genres. Some genres and regions are well studied (drama in the German-speaking lands), others less so. There is a general scarcity of bilingual editions and commentaries of many “classic” Jesuit authors which would, in the first instance, bring them to the attention of mainstream modern philologists and literary historians, and, in the longer term, provide a firmer basis for more synoptic and synthetic studies of Jesuit intertextuality and style(s). Along with the interest and value of this poetry as world literature, I suspect that the extent to which the Jesuits’ Latin labors in the vineyard of the classroom formed the hearts and minds of their pupils, including those who went on to become Jesuits, is underestimated.
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Haskell, Yasmin. « Renaissance Latin didactic poetry on the stars : wonder, myth, and science ». Renaissance Studies 12, no 4 (décembre 1998) : 495–522. http://dx.doi.org/10.1111/j.1477-4658.1998.tb00057.x.
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Haskell, Yasmin. « Renaissance Latin Didactic Poetry on the Stars : Wonder. Myth, and Science ». Renaissance Studies 12, no 4 (décembre 1998) : 495–522. http://dx.doi.org/10.1111/1477-4658.00285.
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Hardie, P. « The Criticism of Didactic Poetry : Essays on Lucretius, Virgil, and Ovid. A Dalzell ». Classical Review 48, no 2 (1 février 1998) : 297–98. http://dx.doi.org/10.1093/cr/48.2.297.
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van den Berg, Robbert M. « PROCLUS ON HESIOD'S WORKS AND DAYS AND ‘DIDACTIC’ POETRY ». Classical Quarterly 64, no 1 (16 avril 2014) : 383–97. http://dx.doi.org/10.1017/s0009838813000773.
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In their introduction to the recent excellent volume Plato & Hesiod, the editors G.R. Boys-Stones and J.H. Haubold observe that when we think about the problematic relationship between Plato and the poets, we tend to narrow this down to that between Plato and Homer. Hesiod is practically ignored. Unjustly so, the editors argue. Hesiod provides a good opportunity to start thinking more broadly about Plato's interaction with poets and poetry, not in the least because the ‘second poet’ of Greece represents a different type of poetry from Homer's heroic epics, that of didactic poetry. What goes for Plato and Hesiod goes for Proclus and Hesiod. Proclus (a.d. 410/12–85), the productive head of the Neoplatonic school in Athens, took a great interest in poetry to which he was far more positively disposed than Plato had ever been. He wrote, for example, two lengthy treatises in reaction to Socrates' devastating criticism of poetry in the Republic as part of his commentary on that work in which he tries to keep the poets within the Platonic pale. This intriguing aspect of Proclus' thought has, as one might expect, not failed to attract scholarly attention. In Proclus' case too, however, discussions tend to concentrate on his attitude towards Homer (one need only think here of Robert Lamberton's stimulating book Homer the Theologian). To some extent this is only to be expected, since much of the discussion in the Commentary on the Republic centres on passages from Homer. Proclus did not, however, disregard Hesiod: we still possess his scholia on the Works and Days, now available in a recent edition by Patrizia Marzillo.
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Haskell, Yasmin. « Group Therapy for Venetian Adolescents ? Giannantonio Bernardi’s “Prudence, a didactic prolusion” (Venice, 1709) and Jesuit Moral Counselling in Verse ». Journal of Jesuit Studies 4, no 2 (10 mars 2017) : 186–208. http://dx.doi.org/10.1163/22141332-00402003.
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While Jesuits composed more Latin didactic poetry than any other order or profession in the early modern period, they—perhaps surprisingly—rarely chose moral, political, or spiritual subjects for versification in this genre. One of the few exceptions to the rule is Prudentia, prolusio didascalica (Prudence, a didactic prolusion) by the Paduan-born Jesuit Giannantonio Bernardi (1670–1743), first published in Venice in 1709. Bernardi seems to have spent his whole life as a teacher, preacher, and confessor in northern Italy, apart from a stint accompanying his penitent, the Venetian envoy and future Doge, Carlo Ruzzini, to Constantinople. This paper sets Bernardi’s didactic poem in the context of some other Jesuit didactic poems of moral or spiritual counsel, especially Pierre Mambrun’s Psychourgicon: De cultura animi (La Flèche: ex officina Gervasii Laboe, 1661), as well as a selection of his other moral writings. It finds the Jesuit dimension to Bernardi’s poem more in its literary and institutional contexts and paratexts than in the bare philosophical doctrine it relays.
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Rick, Evelyn Patrick. « CICERO BELTS ARATUS : THE BILINGUAL ACROSTIC AT ARATEA 317–20 ». Classical Quarterly 69, no 1 (21 mars 2019) : 222–28. http://dx.doi.org/10.1017/s0009838819000235.
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That Cicero as a young didactic poet embraced the traditions of Hellenistic hexameter poetry is well recognized. Those traditions encompass various forms of wordplay, one of which is the acrostic. Cicero's engagement with this tradition, in the form of an unusual Greek-Latin acrostic at Aratea 317–20, prompts inquiry regarding both the use of the acrostic technique as textual commentary and Cicero's lifelong concerns regarding translation.
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REZNYK, Yana. « POETICS OF ORIENTIUS’ “COMMONITORIUM” ». Folia Philologica, no 1 (2021) : 62–69. http://dx.doi.org/10.17721/folia.philologica/2021/1/7.
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Poetry is a kind of discourse distinct from ordinary, everyday speech; it is an institution, a kind of speech that a society has marked as special, with special rules applying to its production and reception. Didactic poetry is a kind of poetry that it aims to instruct (Toohey, 2013: 2). In didactic poetry the reader is invited to consider not just the message and the brilliant language of its exposition, but what lies behind the message, the human values and the vision which the poem embodies. The article analyzes the work of Orientius “Commonitorium” and his role as an innovative writer of Latin didactic poetry as well as his position in the landscape of late antique literature of the 5th century AD. The aim of the article is to show to what extent the defining characteristics of the genre can be found in Orientius’ poem “Commonitorium” and to trace the permutations of these features throughout the text. A full range of issues, which scholarship on Orientius has hitherto neglected, will be studied: the “poetics” of the work, that is the poetic selfawareness expressed in the poem, as well as techniques of composition, rhetorical argumentation, strategies of persuasion and narration, intertextual allusions, relationship with contemporary works and other aspects. Scientific novelty. Whereas Latin poetry flourished under the reign of Augustus (27 BC – 14 AD) and the first century AD, only few poetic works survived which were produced in the later second and third century AD. After a long period of silence, Latin poetry had its comeback in late antiquity when in the 4th century AD various writers started composing poetic genres again. Instead of Rome, other locations became important breeding grounds for the production of literature, especially Gaul, where writers such as Ausonius, Paulinus of Nola, Sulpicius Severus, Sidonius Apollinaris and others were active. Whereas the genres composed by late antique writers were more or less the same as in Classical literature, most of their works differ in content and meaning (Gasparov, 1982: 2; Johnson, 2000: 335–337). Late antique writers were deeply familiar with their Classical literary predecessors, but due to the influence of Christian religion, the character of Latin literature produced in late antiquity also differs significantly from the works which were written by pagan writers in the preceding centuries. This article discusses the work of a poet who has been rarely studied so far. Orientius, whom the majority of scholars now identify with the homonymous bishop of Augusta Ausciorum (modern Auch, France) in Southern Gaul, is an important representative of didactic poetry and his work constitutes an important example in the history of the genre. His didactic poem with the title “Commonitorium”, in elegiacs was probably written around 430 AD. In conclusion, the “Commonitorium” presents itself as a serious poem concerned with issues of paramount importance to humanity. The question of what exactly the “Commonitorium” endeavours to teach is indeed of major importance for understanding the work. It claims to be truly universal work, encompassing everything that exists. Within two books, Orientius reveals to his readers/students the way to reach salvation, both gives us specific, concrete information and tells us how we should live our lives, how we should relate to our fellow human beings and to God.
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Vardi, Amiel D. « Diiudicatio locorum : Gellius and the history of a mode in ancient comparative criticism ». Classical Quarterly 46, no 2 (décembre 1996) : 492–514. http://dx.doi.org/10.1093/cq/46.2.492.
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Comparison of literary passages is a critical procedure much favoured by Gellius, and is the main theme in several chapters of his Noctes Atticae: ch. 2.23 is dedicated to a comparison of Menander's and Caecilius′ versions of the Plocium; 2.27 to a confrontation of passages from Demosthenes and Sallust; in 9.9 Vergilian verses are compared with their originals in Theocritus and Homer; parts of speeches by the elder Cato, C. Gracchus and Cicero are contrasted in 10.3; two of Vergil's verses are again compared with their supposed models in ch. 11.4; a segment of Ennius′ Hecuba is contrasted with its Euripidean original in 13.27; Cato's and Musonius′ formulations of a similar sententia are confronted in 16.1; in 17.10 Vergil's description of Etna is compared to Pindar's; the value of Latin erotic poetry is weighed against the Greek in ch. 19.9, in which an Anacreontean poem and four Latin epigrams are cited; and finally in 19.11 a ‘Platonic' distich is set side by side with its Latin adaptation, composed by an anonymous friend of Gellius, though in this case no comparison of the poems is attempted.
Thèses sur le sujet "Didactic poetry, latin – history and criticism"
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Whelan, Fiona Elizabeth. « Morals and manners in twelfth-century England : 'Urbanus Magnus' and courtesy literature ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:4ccb50b9-7e0e-49c8-b9c5-104dfefa3fea.
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This thesis investigates the twelfth-century Latin poem entitled Urbanus magnus or 'The Book of the Civilised Man', attributed to Daniel of Beccles. This is a poem dedicated to the cultivation of a civilised life, aimed primarily at clerics although its use extends to nobility, and specifically the noble householder. This thesis focuses on the text as a primary source for an understanding of social life in medieval England, and uses the content of the text to explore issues such as the medieval household, social hierarchy, the body, and food and diet. Urbanus magnus is commonly referred to as a 'courtesy text'. This thesis seeks to understand Urbanus magnus outside of that attribution, and to situate the text in the context of twelfth and thirteenth-century England. Thus far, scholarship of courtesy literature has focused on later texts such as thirteenth-century vernacular 'courtesy texts' or humanist works as exemplified by Erasmus's De civilitate morum puerilium. This scholarship looks back to the twelfth century and sees texts such as Urbanus magnus as 'early Latin courtesy texts'. This teleological view relegates such earlier texts to positions at the genesis of the genre and blindly assumes that they belong to the corpus of 'courtesy literature'. This neglects both their individual importance and their respective origins. This thesis examines Urbanus magnus as a didactic text which contains elements of 'courtesy literature', but also displays moral and ethical concerns. At the heart of the thesis is the question: should Urbanus magnus be considered as part of the genre of courtesy literature? This question does not have a simple answer, but this thesis shows that some elements and sections of Urbanus magnus do conform to the characteristics of courtesy literature. However, there are further sections that reflect other literary traditions. In addition to morals and ethics, Urbanus magus reflects other genres such as satire, and also reveals social issues in twelfth-century England such as the rise of anti-curiale sentiment and resentment of upward social mobility. This thesis provides an examination of Urbanus magnus through the most prevalent themes in the text. Firstly, it explores the dynamics of the medieval household, along with issues such as social mobility and hierarchy. Secondly, it focuses on the depiction of the body and bodily restraint, covering topics such as speech, bodily emissions, and sexual activity. Thirdly, it discusses food and diet, including table manners, food consumption, and dietary effects of foodstuffs. The penultimate chapter looks at the manuscript dissemination of the text to investigate the different uses which Urbanus magnus found in subsequent centuries. The delineation of Urbanus magnus as part of the genre of courtesy literature ignores the social, cultural, and literary impact on the creation of the text. In response, this thesis has two aims. The first is to minimise the notion of genre, and treat Urbanus magnus as a text in its own right, and as a product of the twelfth century. The second shows that Urbanus magnus reflects both continuity and change in society in England following the Norman Conquest.
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Bunni, Adam. « Springtime for Caesar : Vergil's Georgics and the defence of Octavian ». Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/998.
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Vergil’s Georgics was published in 29 BCE, at a critical point in the political life of Octavian-Augustus. Although his position at the head of state had been confirmed by victory at Actium in 31, his longevity was threatened by his reputation for causing bloodshed during the civil wars. This thesis argues that Vergil, in the Georgics, presents a defence of Octavian against criticism of his past, in order to safeguard his future, and the future of Rome. Through a complex of metaphor and allusion, Vergil engages with the weaknesses in Octavian’s public image in order to diminish their damaging impact. Chapter One examines the way in which the poet invokes and complements the literary tradition of portraying young men as destructive, amorous creatures, through his depiction of iuvenes in the Georgics, in order to emphasise the inevitability of youthful misbehaviour. Since Octavian is still explicitly a iuvenis, he cannot be held accountable for his actions up to this point, including his role in the civil wars. The focus of Chapters Two and Three of this thesis is Vergil’s presentation of the spring season in the Georgics. Vergil’s preoccupation with spring is unorthodox in the context of agricultural didactic; under the influence of the Lucretian figure of Venus, Vergil moulds spring into a symbol of universal creation in nature, a metaphor for a projected revival of Roman affairs under Octavian’s leadership which would subsequently dominate the visual art of the Augustan period. Vergil’s spring is as concerned with the past as it is the future. Vergil stresses the fact that destructive activity can take place in spring, in the form of storms and animal violence; the farmer’s spring labor is characterised as a war against nature, which culminates in the horrific slaughter of oxen demanded by bugonia. In each case destruction is revealed as a necessary prerequisite for some form of creation: animal reproduction, increased crop yield, a renewed population of bees. Thus, the spring creation of a new Rome under Octavian will come as a direct result of the bloodshed of the civil wars, a cataclysm whose horrors are not denied, but whose outcome will ultimately be positive. Octavian is assimilated to Jupiter in his Stoic guise: a providential figure who sends fire and flood to Earth in order to improve mankind.
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Franklinos, Tristan Emil. « Me iuaat in gremio doctae legisse puellae : mindful reading in the elegies of Propertius ». Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:b4ce7524-b6a8-42f0-9a67-b42c5df0285b.
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In a critical climate that privileges the hermeneutic position of a reader of a text over the irretrievable intentions of its author, this thesis challenges the status quo by considering the elegist Propertius as his own first reader. Through an exploration of what I have called 'mindful reading' - how Propertius appears to engage intratextually with his own poetic material, recasting parts of it lexically and thematically - alongside his interaction with the works of his peers and predecessors and wider cultural discourses, we, as readers, are able to appreciate how he may have understood aspects of his own poetry at a given moment. This particular mode of reading is encouraged, in part, by the repeated treatment of certain themes and ideas by Propertius, and, most conspicuously, by the inherently repetitive nature of the amorous discourse in which he is implicated with Cynthia. There are seven chapters. (1) A rhythm of intratextual reading is established in the generically important funerary elegies of Book I, setting this against the poet's amatory discourse. An analysis of II.i shows that mindful reading is a phenomenon that occurs between, as well as within, books. (2) Consideration is given to editorial division of the canonically named 'Book II', and the ordering of poems; the latter part of the chapter considers the important programmatic elegy, II.xiii. (3) A close reading of III.i and III.ii, and their response to Propertius' predecessors and contemporaries is considered, particularly through a (re)reading of II.xxxiv. (4) Poems treating lovers' brawls and lucubratio are discussed. (5) Propertius' engagement with Maecenas, and his continued adherence to his poetic creed are explored in III.ix and III.x. (6) The notion that Propertius appears to 'un-write' his amatory discourse with Cynthia through mindful reading in the closing cycle of Book III is treated. (7) The place of Cynthia within Book IV, and the elegist's generic explorations are explored through mindful reading.
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Wong, Alexander Tsiong. « Aspects of the kiss-poem 1450-1700 : the neo-Latin basium genre and its influence on early modern British verse ». Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708782.
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Atanassova, Rossitza I. « Doctrine, polemic and literary tradition in some hexameter poems of Prudentius ». Thesis, University of Oxford, 2001. http://ora.ox.ac.uk/objects/uuid:f74b5c1a-7b1d-42ae-afe7-bebd9aa7caf7.
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The thesis, the topic of which is restricted to the polemical didactic poems, Apotheosis, Hamartigenia and Contra Symmachum 1-2, aims to establish the attitudes of Prudentius to the literary tradition and argues for his relationship with the Latin classical poets. Its main argument is that the hexameter poems as a group can be profitably studied from a stylistic angle, since they show how Prudentius combined, and used with innovation, the styles of several poets, namely Lucretius, Virgil and Juvenal, and in many cases engaged with the literary tradition as a whole. Chapter I surveys, as reflected in the poems, Prudentius' awareness of the political, religious and literary milieu in the Christian Empire of the West in his day. Chapter II examines how Prudentius employed the style of argument and imagery in the D.R.N. to present Christian doctrines on the body and the soul, and to reject pagan superstition. Chapter III shows how with much imagination and respect Prudentius adapted Virgil's phraseology and techniques to give new Christian interpretations of some mythical and historical themes in the Aen., such as the 'Golden Age' and the battle of Actium, and of topics on agriculture from the Georg. Chapter IV argues that, like other fourth century Christian writers, the poet entered into the spirit of Satire and alluded to Juvenal's themes and language in his treatment of the topics of sin and sexuality. Finally, in Chapter V Prudentius' adaptations of the biblical accounts in Gen. 19 and of Ps. 136 are used to demonstrate how allegory, which is a main feature of his poetry, was combined successfully with different classical techniques. In conclusion, the hexameter poems demonstrate that Prudentius did not reject classical poetry on the basis of its content, but used both its themes and poetic techniques in order to merge the ancient with the Christian literary tradition.
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Buglass, Abigail Kate. « Repetition and internal allusion in Lucretius' 'De Rerum Natura' ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:b20951f7-d299-4c5f-8470-5e67be1340ff.
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This thesis aims to solve the apparent problem of the frequent repetitions in Lucretius' De Rerum Natura (DRN). Verbal repetitions of many different lengths pervade DRN, and are noted in the scholarship. Yet a consensus has not been reached as to their purpose and function, or even if they rightly belong in the text. Multi-linear repetitions are viewed as a temporary stop-gap which Lucretius would have removed or adjusted had he lived long enough to effect it; or as later interpolations; while shorter repetitions are underplayed or even ignored altogether. But repetitions and internal allusions in DRN are part of a purposeful, meaningful didactic and rhetorical strategy, and they form much of the intellectual structure of the poem. These internal connections combine in DRN to form a remarkably complex intratextual network. The thesis argues that repetition is a crucial way in which Lucretius conveys his arguments and persuades the reader to pursue a rational life. Chapter 1 analyses the ways in which Lucretius' epic predecessors used repetition and how Lucretius may have applied these models. Chapter 2 looks at the internal evidence for the alleged unfinished state of the poem and examines the function of long repetitions in DRN. Chapter 3 investigates the rhetorical background to and functions of different kinds of repetition in DRN. Chapter 4 explores the didactic and psychological effects of repetitions and internal allusions. Chapter 5 shows how repetition creates an image of the world Lucretius describes: just as Lucretius tells us that atoms and compounds make up different substances depending on their arrangement in combination, so repetitions perform different functions and produce different outcomes depending on their placement in the text. Throughout the poem, repetition serves again and again to reinforce Lucretius' message, creating argumentative unity, and bringing order from chaos.
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Lacki, Glenn Christopher. « A conspiracy of love : exile and the double Heroides ». Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669896.
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Silva, Mariana Musa de Paula e. « Artesque locumque : espaços da narrativa no livro V das Metamorfoses de Ovidio ». [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270799.
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Orientador: Isabella Tardin CardosoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-10T09:23:00Z (GMT). No. of bitstreams: 1 Silva_MarianaMusadePaulae_M.pdf: 1948062 bytes, checksum: 33f6385152e545e7296c107cea7da676 (MD5) Previous issue date: 2008
Resumo: O presente trabalho apresenta uma tradução anotada do livro V da obra Metamorfoses do poeta latino Públio Ovídio Naso, acompanhada de um estudo introdutório que versa basicamente sobre esses aspectos selecionados para nossa análise: a coesão e coerência das narrativas presentes no livro; o caráter épico, bem como as implicações desse caráter para a sua construção poética; o papel que desempenha o espaço, isto é, de que modo o cenário em que se desenrolam as histórias influencia a construção dessas narrativas; e a presença constante da metadiegesis, entendida como a reflexão que faz o vate, e as personagens a quem ele cede a voz, sobre a própria arte do fazer poético
Abstract: The current work presents an annotated translation of Ovid¿s Metamorphoses, book V, followed by an introductory study that deals with the following selected aspects: the cohesion and coherence between the narratives that constitute this book; the epic character, as well as the implications of this feature to the poetic construction of the poem; the role space plays, i.e., how the setting in which the stories take place affects the construction of these narratives; and finally, the constant presence of metadiegesis, understood as the poet¿s reflection ¿ as well as the reflection of the characters to whom he gives his voice ¿ on the art of poetry making itself
Mestrado
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Mestre em Linguística
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Hacksley, Timothy Christopher. « A critical edition of the poems of Henry Vaux (c. 1559-1587) in MS. Folger Bd with STC 22957 ». Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1704/.
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Kotze, Annemare. « The protreptic-paraenetic purpose of Augustine's Confessions and its Manichean audience ». Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53665.
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Thesis (DLitt)--Stellenbosch University, 2003.ENGLISH ABSTRACT: In this dissertation I attempt to open up new perspectives on the literary qualities and the unity of Augustine's Confessions by reading the work in the light of the context within which it first functioned. Part 1, Prolegomena, consists of a survey of secondary literature (in chapter 1) that focuses on research on the literary characteristics of the work, followed by a theoretical exploration of the two aspects that constitute the focus of this study, the genre and the audience of the Confessions. Chapter 2.1 examines how the literary practices and generic conventions of late Antiquity should inform our reading of the work. This is achieved through a discussion of the implications of genre analysis in general (2.1.1), followed by an examination of the conventions of the ancient protreptic genre (2.1.2), a look at the parallels between the Confessions and three of its literary antecedents and between the Confessions and Augustine's Contra Academicos (2.1.3), and an evaluation of the perspectives offered on the unity of the work by this procedure (2.1.4). Chapter 2.2 starts with a discussion of the concept of intended audience (2.2.1) and proceeds to provide the background needed to follow the arguments on the specific segment of Augustine's audience that I consider here, the Manicheans (2.2.2). Part 2 of the dissertation consists of the analyses of selected passages but attempts at the same time to give an accurate account of how genre and intended audience are embodied in the text as a whole. In chapter 3 I show that Augustine's meditation on Ps 4 in the central section of the Confessions (9.4.8-11) is a protreptic that targets a Manichean audience (3.1) through Augustine's identification with this audience (3.2) and the prevalent use of Manichean terminology and categories (3.3). In chapter 4 I analyse in a more systematic way the expression of protreptic purpose through various devices throughout the Confessions: foreshadowing in the opening paragraph (4.1), the use of a shifting persona (4.2), allusion to Matt 7:7 (4.3), and the theme of the protreptic power of reading and listening (4.5). I evaluate how pervasive the expression of protreptic intent is (4.4) and end with an examination of the protreptic-paraenetic purpose of the first section of the allegorical exposition of the creation story in book 13 (4.6). Chapter 5 examines the degree to which the Manicheans are targeted by the text as a whole as an important segment of its intended audience. I examine the use of the theme of friendship to evoke Augustine's erstwhile Manichean friendships and the history of failed communication with this group (5.1), the role Augustine intends curiositas to play in coaxing the Manicheans into reading yet another attempt to convert them (5.2), and once again how pervasive the concerns with a Manichean audience is (5.3). I conclude this chapter, like the previous one, with an analysis of the last section of the allegory in book 13, where I discern towards the end an intensification of indications that Augustine is preoccupied with his Manichean audience (5.4).
AFRIKAANSE OPSOMMING: Hierdie proefskrif probeer om nuwe perspektief te bied op die literêre eienskappe en die eenheid van Augustinus se Confessiones deur die werk te lees in die lig van die konteks waarbinne dit aanvanklik gefunksioneer het. Deel 1, Prolegomena, is In oorsig oor die sekondêre literatuur (in hoofstuk 1) wat fokus op studies van die literêre tegnieke in die werk, gevolg deur In teoretiese verkenning van die twee aspekte wat die fokuspunt van die studie vorm, naamlik die genre en die gehoor van die Confessiones. Hoofstuk 2 ondersoek hoe literêre praktyke en genre-verwante konvensies van die laat Antieke die lees van die werk behoort te beïnvloed. Dit word gedoen aan die hand van In bespreking van die implikasies van genre-analise in die algemeen (2.1.1), gevolg deur In oorsig oor die konvensies van die antieke protreptiese genre (2.1.2), In bespreking van die paraIIele tussen die Confessiones en drie literêre voorlopers daarvan asook tussen die Confessiones en Augustinus se Contra Academicos (2.1.3) en In evaluering van die perspektiewe wat hierdie werkwyse bied op die eenheid van die werk (2.1.4). Hoofstuk 2.2 behels In bespreking van die konsep teikengehoor (2.2.1), gevolg deur In opsomming van die agtergrondinligting wat nodig is om die argumente oor die spesifieke segment van Augustinus se gehoor wat hier oorweeg word (die Manicheërs), te volg (2.2.2). Deel 2 van die proefskrif bestaan uit die analises van geselekteerde passasies maar probeer terselfdertyd om In getroue weergawe te bied van hoe genre en gehoor in die teks as geheel beliggaam word. Hoofstuk 3 toon dat Augustinus se oordenking van Ps 4 in die sentrale gedeelte van die Confessiones (9.4.8-11) In protreptiese werk gerig op In Manichese gehoor is (3.1). Augustinus vereenslewig hom met sy teikengehoor (3.2) en gebruik deurgaans Manichese terminologie en kategorieë (3.3). Hoofstuk 4 ondersoek hoe die protreptiese doelwit in die Confessiones uitgedruk word deur die gebruik van verskeie tegnieke: voorafskaduing in die aanvangsparagraaf (4.1), die gebruik van In verskuiwende persona (4.2), verwysing na Matt 7:7 (4.3) en die tema van die protreptiese uitwerking van lees en luister (4.5). Ek evalueer hoe verteenwoordigend ten opsigte van die geheel die uitdrukking van die protreptiese doelwit is (4.4) en sluit met In analise van die protrepties-paranetiese funksie van die eerste deel van die allegoriese interpretasie van die skeppingsverhaal in boek 13 (4.6). Hoofstuk 5 ondersoek die mate waarin die teks as geheel die Manicheërs as die teikengehoor van die werk aandui. Dit toon hoe Augustinus die tema van vriendskap gebruik om sy vroeëre Manichese vriendskappe op te roep en verwys na die geskiedenis van onsuksesvolle kommunikasie met hierdie groep (5.1); dit toon hoe curiositas 'n rol speel om die Manicheërs oor te haalom nog 'n poging om hulle te bekeer te lees (5.2) asook hoe verteenwoordigend ten opsigte van die geheel die bemoeienis met 'n Manichese gehoor is (5.3). Die hoofstuk sluit af, soos die vorige een, met 'n analise (nou van die tweede deel) van die allegorie in boek 13, met klem op die sterker wordende aanduidings dat Augustinus hier 'n Manichese gehoor in die oog het (5.4).
Livres sur le sujet "Didactic poetry, latin – history and criticism"
1
Dalzell, Alexander. The criticism of didactic poetry : Essays on Lucretius, Virgil, and Ovid. Toronto : University of Toronto Press, 1996.
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2
Cadili, Luca. Viamque adfectat Olympo : Memoria ellenistica nelle "Georgiche" di Virgilio. Milano : LED, 2001.
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3
Cadili, Luca. Viamque adfectat Olympo : Memoria ellenistica nelle Georgiche di Virgilio. Milano : LED, 2001.
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4
Viamque adfectat Olympo : Memoria ellenistica nelle Georgiche di Virgilio. Milano : LED, 2001.
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5
Kilpatrick, Ross S. The poetry of criticism : Horace, Epistles II, and Ars poetica. Edmonton : University of Alberta Press, 1990.
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H, Green R. P., dir. The works of Ausonius. Oxford [England] : Clarendon Press, 1991.
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7
Cambridge Society for Neo-Latin Studies. Symposium. Poets and teachers : Latin didactic poetry and the didactic authority of the Latin poet from the Renaissance to the present : proceedings of the Fifth Annual Symposium of the Cambridge Society for Neo-Latin Studies, Clare College, Cambridge, 9-11 September, 1996. Bari : Levante, 1999.
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8
Foscolo, Ugo. Letture di Lucrezio : Dal De rerum natura al sonetto Alla sera. Milano : Guerini, 1990.
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9
The imagery and poetry of Lucretius. Norman : University of Oklahoma Press, 1994.
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Formicola, Crescenzo. Studi sull'esametro del Cynegeticon di Grattio. Napoli : Loffredo, 1995.
Trouver le texte intégralChapitres de livres sur le sujet "Didactic poetry, latin – history and criticism"
1
Stotz, Peter. « Chapter 5. Switzerland ». Dans Comparative History of Literatures in European Languages, 121–34. Amsterdam : John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxiv.05sto.
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The territory now known as Switzerland was a contact zone for a range of ethnicities, linguistic areas and literary influences. There was no such thing as a specifically Swiss literary landscape in the Latin Middle Ages. Nor did the first beginnings of the formation of a state come into view until the late Middle Ages. In the western areas, significant influence from Gaul/France can be detected. The south-east belongs to the Rhaeto-Romance cultural area. In the east, settled by the Alemanni, the environs of Lake Constance, with the abbeys of St. Gall and Reichenau, were highly productive. Basel was oriented towards the north and the Upper Rhine. Literature was first produced in monasteries and bishoprics, later increasingly in towns. The most popular genres were hagiography and regional historiography, followed by spiritual poetry, theological and profane literature, and didactic poetry.
2
Moss, Ann. « Theories of poetry : Latin writers ». Dans The Cambridge History of Literary Criticism, 98–106. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.010.
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Hutchinson, G. O. « Conceptions Of Genre : Criticism in Prose Poetry ». Dans Latin Literature from Seneca to Juvenal, 4–39. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198146902.003.0002.
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Abstract Genre is an evident fact of this literature. If we contemplate the literature as from the air, we must immediately be struck by stark and primary divisions and chasms, between poetry and prose, philosophy and history, epic and epigram. What these divisions of genre entail is a more complicated question; the book as a whole will only try to illuminate some of the differences and likenesses between some of the genres. In the first two chapters we will seek some preliminary orientation in this landscape, and in doing so will introduce the book’s principal themes of greatness (sublimity, grandeur) and reality (truth). (Cf. pp. r f) Our attention will be devoted almost exclusively to the Latin literature of this period, in the generic scene that it displays and in the comments on genre that it offers. This path has been chosen as one of special and immediate interest for this book, not as the only valid route. It will not be possible to consider either ancient literary criticism in general or the history of the individual genres; these topics, fundamental but enormous, would not lead us to very different conclusions.
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Ashe, Laura. « Historical and Political Changes ». Dans The Oxford History of Poetry in English, 15–36. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198827429.003.0002.
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Abstract During a period of warfare, nation-building, and complex political involvement with France, when Latin and French literature flourished, English poetry must have thrived in an oral culture largely lost to us. In the extant written record it emerges in three genres: didactic poetry, lyric, and narrative. The first was essential for pastoral care of a largely monolingual population; this necessity produced the earliest major work in Middle English verse, the Ormulum. Contemporaneously appear fragments of English devotional lyrics; thirteenth-century manuscripts preserve virtuosic religious lyrics in the affective tradition, alongside the emergent secular love lyric, all embedded in a multilingual, intertextual context. Most well known is narrative poetry, including romance and historiography; earliest here is Layamon’s immense Brut, a translation that is also an act of creation, clarifying the cultivation and aesthetic virtuosity now sought and achieved in English verse.
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« Pyrrha among Roses : Real Life and Poetic Imagination in Augustan Rome Review and discussion of Jasper Griffin, Latin Poets and Roman Life ». Dans Collected Papers on Latin Literature, sous la direction de S. J. Harrison, 213–26. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198149484.003.0016.
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Abstract The relation between literature and life concerns both the critic and the historian. The Romantic liked poetry that had in some sense been experienced: hence Fraenkel’s remarkable dictum ‘Horace never lies’ (Horace, 456, cf. 199f.). More up-to-date theorists emphasize the autonomy of the artefact; the poor author becomes a bloodless ghost whose actions and sufferings, even if ascertainable, are thought irrelevant to his product. Scholars of a more empirical temperament will draw distinctions between one writer and another in the use they make of real life; they will not be happy with any formulation that lumps together Leshia, Cynthia, Dido, the Dark Lady, and the first Mrs Hardy. And when they tum from literary criticism to social history they understand that works of imagination sometimes provide unique insights and sometimes lay particular traps.
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Janus, Katarzyna, et Maria R. Nenarokova. « Józef Andrzej Załuski as a Literary Historian ». Dans “The History of Literature” : Non-scientific sources of a scientific genre, 389–423. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-389-423.
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Józef Załuski, the bishop of Kiev and Chernihiv, is a librarian, publisher, writer, translator, commentator, bibliophile, and bibliographer. He acquired printed books and manuscripts for the Załuski Library, which he founded together with his brother, Andrzej Stanisław. He authored 74 editions of his own writings: speeches, poetry, plays, religious pieces as well as didactic, historical, and bibliographical texts; 46 translations, the majority of which are plays, and 17 works which he prepared and ensured the publication of. In addition, manuscript collections in the library of the Załuski brothers were used for numerous editions of historical, genealogical, legal, and literary texts. Apart from printed books, Józef Andrzej Załuski authored an enormous number of books devoted to various subjects and hundreds of letters, which have not yet been printed today. The method of narration adopted by Józef Załuski is literary in its form. The author used, first and foremost, their own experiences as readers. In performing the task of creating a library, and writing a historical literary synthesis, Załuski sought to obtain as much information as possible about all possible releases and manuscripts.The author shared his knowledge about the books in the 56-page Programma Litterarum..., often providing information neither scientific nor confirmed, yet attractive for a potential reader. The comments therein are important both due to the assessments formulated by Załuski and bearing the mark of his style and by indicating the common grounds between texts. The author commands a flowery rhetorical style of late Baroque. Another treatise by Zalusky, Bibliotheca Poetarum Polonorum, qui Patrio sermone scripserunt, was intended for a broader readership solely as a source of information on the condition of Polish literature. The fact that it was written in Latin was intended to make it available for use by a larger group of readers.