Articoli di riviste: "Aenid"

1

Conte, Gian Biagio. "Uno stile per l’Eneide". Hermes 150, n. 3 (2022): 351. http://dx.doi.org/10.25162/hermes-2022-0022.

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2

Lake, Keely. "Vergil Aeneid 1, and: Vergil Aeneid 2, and: Vergil Aeneid 3". Mouseion: Journal of the Classical Association of Canada 10, n. 1 (2010): 110–12. http://dx.doi.org/10.1353/mou.2010.0018.

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3

Bender, Henry V., e R. D. Williams. "The Aeneid". Classical World 83, n. 1 (1989): 71. http://dx.doi.org/10.2307/4350539.

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4

Perl, J. M. "The Aeneid". Common Knowledge 14, n. 1 (1 gennaio 2008): 175–77. http://dx.doi.org/10.1215/0961754x-2007-065.

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5

Barnes, W. R. "Aeneid VII". Classical Review 55, n. 1 (marzo 2005): 118–20. http://dx.doi.org/10.1093/clrevj/bni069.

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6

Hardie, Philip. "Aeneid XI". Classical Review 55, n. 1 (marzo 2005): 120–22. http://dx.doi.org/10.1093/clrevj/bni070.

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7

Goh, Ian. "THE END OF THE BEGINNING: VIRGIL'S AENEID IN OVID, AMORES 1.2". Greece and Rome 62, n. 2 (10 settembre 2015): 167–76. http://dx.doi.org/10.1017/s0017383515000042.

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Abstract (sommario):

It is well known that Ovid's Amores begin with a reference to Virgil's Aeneid in the very first word, arma (‘weapons’, Am. 1.1.1 = Verg. Aen. 1.1), which implies that the elegist had been composing epic before Cupid, by stealing a foot, apparently forced him to write elegy. In spite of this incapacitation at the hands of the love god, Ovid continues to toy with Virgil's epic by making the first two poems of his collection of elegiacs into a mini-Aeneid, or – to be precise – by making the second poem of the collection into the second half of the Aeneid. One result is that the three-book edition of Amores threatens to be over even before it has begun. Another is that Ovid can be identified with the Latin enemies, on the wrong side of history, from the Aeneid. I restrict the argument largely to what can be observed in Amores 1.2, leaving aside, for instance, the possibility that Ovid shot by Cupid's arrow in 1.1 might be thought comparable to Dido, similarly shot and causing Aeneas to dally in Carthage with her in Aeneid 4.

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8

Mitchell, Jack. "William Morris' Synthetic Aeneids: Virgil as Physical Object". Translation and Literature 24, n. 1 (marzo 2015): 1–22. http://dx.doi.org/10.3366/tal.2015.0181.

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William Morris' Aeneid translation of 1875 (The Aeneids of Virgil) is today criticized for its archaism and anachronism; it ought rather to be read as a deliberate layering of historical periods in the reception of the Roman epic. This strategy of historical layering is paralleled in Morris' other Aeneid project of the early 1870s, an original illuminated vellum codex of the poem in Latin, which also telescopes the historical trajectory of the source text by the layering of historical styles and details. Morris' translation should be understood as a similarly ambitious, if more democratic, attempt to create a ‘cumulative’ Aeneid.

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9

Scibetta, Concetta, e Enrique Eguiarte. "‘Confesiones’ 5, 15 de Agustín. Una reescritura a modo de palimpsesto". Augustinus 54, n. 212 (2009): 219–35. http://dx.doi.org/10.5840/augustinus200954212/21311.

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The article studies the lexical parallelism between the text of Conf 5,15 and the Aeneid. From this parallel, semantic and semiotic conclusions are drawn, to show that one of the texts which lies under Conf 5, 15 as an hypotext is the text of Virgil’s Aeneid, books IV-VI.

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10

Heerink, Mark. "Van Troje naar Rome". Lampas 50, n. 1 (1 gennaio 2017): 53–74. http://dx.doi.org/10.5117/lam2017.1.005.heer.

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Summary Book 3 of Virgil’s Aeneid has always been evaluated quite negatively, and scholars have been surprised by the Homeric fantasy world that is presented. This article will present a metapoetical reading of Aeneid 3, explaining the striking nature of the book, which is interpreted as commenting on Virgil’s relationship with Homeric epic.

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11

McRoberts, Stephen S. "CAESAR'S ‘VIRGILIAN’ KATABASIS AT TROY IN LUCAN BELLVM CIVILE 9.950–99". Ramus 47, n. 1 (giugno 2018): 58–77. http://dx.doi.org/10.1017/rmu.2018.7.

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Caesar's visit to Troy has always been something of an enigma. Historically, the episode is unattested. Caesar wanders through a congeries of sites at Troy ranging from Ajax's grave on the Rhoetium promontory at its beginning to Priam's Herceian altar at the end. Numerous interpretations have been offered. Bruère has argued for Aeneas' tour through the future site of Rome in Aeneid 8 as a backdrop. Ahl has noted the connection between the ruins of Italy described in Bellum Ciuile (B.C.) 7 and the ruins of Troy in B.C. 9. Rome/Italy and Troy merge in essence as vanishing fabulae, which the poet keeps alive. Zwierlein sees Caesar's visit as modeled on Alexander the Great's visit nearly three hundred years earlier. Caesar through this scene is established as a destroyer of empires, inferior only to Alexander. Ormand stresses Caesar as an authoritative reader of the ruins of Troy, where Caesar reads the Aeneid instead of the Iliad. Rossi similarly focuses on Caesar as reading Troy's ruins to the advantage of the Julian dynasty. Gergo has opened up the passage with the correct observation that Lucan has in mind Aeneas’ katabasis in Aeneid 6. But the relationship between the brief tour at Troy and Aeneid 6 is both more comprehensive and precise. Indeed this essay will present a systematic interpretation of Caesar's tour as a parallel to Aeneid 6 in its entirety, a parallel to which Lucan most likely does not give his character Caesar access.

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12

Župarić, Drago. "Tajna sudbine i svemoćni Jupiter u Eneidi / The secret of destiny and the almighty Jupiter in the Eneid". Journal of BATHINVS Association ACTA ILLYRICA / Godišnjak Udruženja BATHINVS ACTA ILLYRICA Online ISSN 2744-1318, n. 5 (24 dicembre 2021): 81–97. http://dx.doi.org/10.54524/2490-3930.2021.81.

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This paper analyses the topic of destiny and almighty Jupiter in Virgil’s Aeneid. Destiny is the central topic and one of the most important forces, so Aeneid can be understood as a hymn to destiny, which leads the chosen people (the Trojans) through numerous perils to the promised land. It is inevitable, but difficult for Aeneas. Destiny controls events, it is predetermined and unavoidable; it cannot be changed or influenced by. Although in Aeneid characters use their free will to escape destiny, their effort is ultimately futile. Jupiter’s role in Aeneid is intermediary, to the advantage of the Trojans while promising them an inheritance. Although it seems that in Aeneid Jupiter is another word for destiny, because he wants destiny to be fulfilled, it seems that Jupiter and destiny are one and the same. The structure of future events, that provoked Juno’s wrath, cannot be ascribed to Jupiter; instead, he is only a guarantor of realizing the plot constructed by destiny, and he acts only as the messenger of destiny. At the council of the gods, where they accuse each other, Jupiter as the father almighty (pater omnipotens) begins his sermon saying that he leaves his decision to destiny, meaning that Jupiter and destiny are one and the same. The idea of conscious subjugation is visible in the character of Aeneas, who does not have as much active view of life because he is driven by destiny and does not have personal motives for his actions.

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13

Ware, Catherine. "CLAUDIAN'S ARMA: A METALITERARY PUN". Classical Quarterly 65, n. 2 (12 agosto 2015): 894–96. http://dx.doi.org/10.1017/s0009838815000129.

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In his article ‘On the shoulders of giants', Don Fowler argues for the identification of the Aeneid with its opening arma, saying that in post-Augustan Latin verse arma is always seen as significantly intertextual. The word may apply to the Aeneid itself, or, more generally, to imperial epic or epic in the style of Virgil.

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14

West, David. "Translating the Aeneid". Translation and Literature 1, n. 1 (aprile 1992): 97–103. http://dx.doi.org/10.3366/tal.1992.1.1.97.

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15

Huxley, H. H., e David West. "Virgil: The Aeneid". Phoenix 47, n. 1 (1993): 70. http://dx.doi.org/10.2307/1088920.

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16

Putnam, Michael C. J., e K. W. Gransden. "Virgil: The Aeneid". Classical World 84, n. 6 (1991): 477. http://dx.doi.org/10.2307/4350924.

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17

O'Hara, James J., Vergil e S. J. Harrison. "Vergil: Aeneid 10". Classical World 86, n. 3 (1993): 246. http://dx.doi.org/10.2307/4351338.

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18

Glazewski, Johanna, Virgil e K. W. Gransden. "Virgil: Aeneid XI". Classical World 87, n. 3 (1994): 252. http://dx.doi.org/10.2307/4351485.

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19

Bond, Barbara. "Virgil's the Aeneid". Explicator 61, n. 2 (gennaio 2003): 66–69. http://dx.doi.org/10.1080/00144940309597757.

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20

Jacobson, Howard. "AENEID 11.45-8". Mnemosyne 55, n. 1 (2002): 94–95. http://dx.doi.org/10.1163/156852502753777019.

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21

Jacobson, Howard. "Aeneid 12.570–1". Classical Quarterly 54, n. 2 (dicembre 2004): 636. http://dx.doi.org/10.1093/clquaj/bmh070.

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22

Fuller, Mary. "Forgetting the Aeneid". American Literary History 4, n. 3 (1992): 517–38. http://dx.doi.org/10.1093/alh/4.3.517.

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23

Jacobson, Howard. "Aeneid 4.622–3". Classical Quarterly 48, n. 1 (maggio 1998): 313–14. http://dx.doi.org/10.1093/cq/48.1.313.

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R. G. Austin's translation of these famous imprecations of Dido's seems to me perfectly representative, ‘and then do you, my Tyrians, hound with hate and hate again all his stock and all his race to be’. I see no strong arguments against such an interpretation of this sentence, but I think that an alternative—and very different—understanding of these words is likely.

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24

Jacobson, Howard. "Aeneid 1.567–8". Classical Quarterly 54, n. 1 (maggio 2004): 299–300. http://dx.doi.org/10.1093/cq/54.1.299.

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25

Jacobson, H. "Aeneid 12.570-1". Classical Quarterly 54, n. 2 (1 dicembre 2004): 636. http://dx.doi.org/10.1093/cq/54.2.636.

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26

Jacobson, Howard. "AENEID 1.647–55". Classical Quarterly 55, n. 2 (dicembre 2005): 650–52. http://dx.doi.org/10.1093/cq/bmi070.

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27

Dyson, M. "Vergil, Aeneid 4.543". Classical Quarterly 40, n. 1 (maggio 1990): 214–17. http://dx.doi.org/10.1017/s0009838800026914.

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In his vigorous analysis of Dido's soliloquy J. Henry confronts the problem of line 543: ‘How comes it that, having just decided that she will not go with the Trojans, that they would not even receive her if she went, she so immediately inquires shall she go with them, alone or accompanied?’ He suggests that the words introduce ‘a new category of objections’; hitherto the issue has been between herself and the Trojans, but now she reflects that the Trojans are not the only people she has to deal with. To go alone is but to run away from her own people, and she cannot in the circumstances of their recent arrival at Carthage ask them to sail with her. ‘Even more impossible to leave Carthage than to go with Aeneas.’

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28

Virgil e Ian Ganassi. "Aeneid Book 7". New England Review 37, n. 2 (2016): 74–88. http://dx.doi.org/10.1353/ner.2016.0046.

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29

Cox, Fiona. "Translating the Aeneid to the Nouveau Roman: Pierre Klossowski's Aeneid". Translation and Literature 6, n. 2 (settembre 1997): 203–15. http://dx.doi.org/10.3366/tal.1997.6.2.203.

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30

Heckenlively, Timothy S. "Clipeus Hesiodicus: Aeneid 8 and the Shield of Heracles". Mnemosyne 66, n. 4-5 (2013): 649–65. http://dx.doi.org/10.1163/156852512x617632.

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Abstract In this paper I argue that the ecphrasis of Aeneid 8 contains an extensive pattern of allusion to the Ps.-Hesiodic Shield of Heracles. Other scholars have noted several of these references, but the frequency of such echoes and the scope of this subtext have, thus far, passed largely undetected. These recollections are not isolated nor are they merely learned allusions. Rather, they should be read in connection with the use of Herculean themes and imagery as a foil for Aeneas and, by extension, Augustus elsewhere in the Aeneid. As such, they are a vital complement to the Iliadic motifs that are also present in Aeneid 8. The resulting synthesis captures the celebratory optimism of the early principate while simultaneously acknowledging the strife whence it was born.

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31

Beck, Deborah. "Music, Craft, and Technology in the Similes in Vergil’s Aeneid". Greek and Roman Musical Studies 6, n. 1 (22 marzo 2018): 61–78. http://dx.doi.org/10.1163/22129758-12341312.

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Abstract Human beings in epic similes often rely on forms of specialized expertise to make new things and to create order in the world around them. The ways that the similes in a given epic poem represent craft and technology convey fundamental points about the larger world view of that poem in relation to human beings and the contours of epic poetry. A simile featuring a singer or poet in particular invites the audience of a poem to draw parallels between the musical simile and the epic poem in which it appears. The single musical simile in the Aeneid, 7.699-702, creates a portrait of the limits of human agency, the nature of group identity and musical performance, and the qualities of the Aeneid as an epic poem. The themes and modes of presentation in this simile are characteristic of the ‘song’ that Vergil has created with his own Aeneid.

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32

Meban, David. "James J. O’Hara. Vergil, Aeneid Book 8. Focus Vergil Aeneid Commentary". Mouseion 17, n. 1 (settembre 2020): 85–87. http://dx.doi.org/10.3138/mous.17.1.br4.

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33

Fratantuono, Lee. "Homer's First Battle Supplication and the End of Virgil's Aeneid". Acta Classica Universitatis Scientiarum Debreceniensis 58 (1 settembre 2022): 53–66. http://dx.doi.org/10.22315/acd/2022/4.

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One of the less appreciated literary influences on the Virgilian depiction of Aeneas' decision to slay Turnus at the end of the Aeneid is the first battle supplication scene in Homer's Iliad, the encounter of Adrestus with Menelaus and Agamemnon. Close consideration of Virgil's response to the Homeric scene sheds light on the poet's concerns in his presentation of the choice his Trojan hero Aeneas confronts in light of Turnus' appeal. Acrostics at the end of the Aeneid invite further reflection.

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34

Fratantuono, Lee. "The Head of Medusa: Gorgon Imagery in Virgil’s Aeneid". Acta Antiqua Academiae Scientiarum Hungaricae 60, n. 1-2 (24 giugno 2021): 71–81. http://dx.doi.org/10.1556/068.2020.00006.

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SummaryThe poet Virgil in his Aeneid employs Gorgon imagery and its attendant connection to the goddess Minerva as part of his explication of one of the key themes of his Augustan epic, namely the progress from a Trojan past to a Roman future. Close analysis of the references to the Perseus myth and related Gorgon legends in the Aeneid reveals a carefully constructed web of intratextual allusions that serve in part to underscore the end of the Trojan order and the advent of the Roman.

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35

DYMSKAYA, D. D. "Catiline in the "Aeneid"". Ancient World and Archaeology 19 (18 dicembre 2019): 69–80. http://dx.doi.org/10.18500/0320-961x-2019-19-69-80.

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The paper examines the portrayal of Catiline in the Aeneid. For Virgil, Catiline is obviously a villain and a symbol of civil strife. This attitude however doesn't extend to other members of the gens Sergia since their legendary ancestor Sergestus in spite of his somewhat questionable behaviour during the funerary ship race, is still depicted as one of Aeneas' main and most loyal companions. Thus Virgil possibly wanted to show that the Sergii shouldn't be blamed for Catiline's crimes and that they too can be good citizens and loyal servants to the state just as Sergestus was to his leader.

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36

Racette-Campbell, Melanie. "Virgil: Aeneid Book VIII". Mouseion 16, n. 1 (giugno 2019): 188–91. http://dx.doi.org/10.3138/mous.16.1-12.

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37

Bottone, Carlo. "‘Sideshadowing’ in Virgil’s ‘Aeneid’". ERGA-LOGOI - Rivista di storia, letteratura, diritto e culture dell’antichità, n. 3.1 (giugno 2015): 65–82. http://dx.doi.org/10.7358/erga-2015-001-bott.

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38

Properzio, Paul, Virgil e Philip Hardie. "Virgil: Aeneid: Book IX". Classical World 90, n. 4 (1997): 292. http://dx.doi.org/10.2307/4351941.

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39

Monitto, Gary. "Vergil's Aeneid 4.169–72". Explicator 62, n. 1 (gennaio 2003): 2. http://dx.doi.org/10.1080/00144940309597833.

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40

Ferry, D. "Vergil: Aeneid 1.64-124". Literary Imagination 8, n. 3 (1 gennaio 2006): 438–39. http://dx.doi.org/10.1093/litimag/8.3.438.

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41

Virgil. "Aeneid, II. 816-80". Literary Imagination 14, n. 2 (29 giugno 2012): 143–45. http://dx.doi.org/10.1093/litimag/ims040.

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42

Sansone, David. "Virgil, Aeneid 5.835–6". Classical Quarterly 46, n. 2 (dicembre 1996): 429–33. http://dx.doi.org/10.1093/cq/46.2.429.

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This has all the appearance of being a straightforward, even conventional, transition. Indeed, the conceit of Night′s chariot is common and has a history stretching back at least as far as the beginning of the fifth century B.C. Night is elsewhere described by Virgil as umida, the epithet reflecting the traditional view that Night, like Dawn (cf. Theocr. 2.148), arises from and sinks back into the stream of Ocean. In fact, the chariot of Night had been referred to as recently as lines 721 and 738 of this book, in the latter instance with the epithet umida applied to Night. What is new and interesting in our passage is the ‘meta caeli’ round which Night′s chariot turns. The effect of this novelty is to make of Night′s vehicle a racing chariot, as it is the chariots in the Circus that must negotiate a meta. The programmatic reasons for Virgil′s having done this in Book 5 are obvious. Earlier in the book Virgil had described the games held in honour of the anniversary of Anchises′ death. The first and most elaborately portrayed event in these games had been the boat-race, which is plainly modelled on the chariot-race in Iliad 23, the first and most elaborately portrayed event in the funeral games for Patroclus. Just as Achilles had required the competing chariots to race once around a distant turning-post, so Aeneas requires the competing ships to race once around a rock out at sea, which rock is three times called a meta (5.129, 159, 171). A simile comparing the sailors and their ships to charioteers and their teams (5.144–7) makes the connection explicit.

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43

Jacobson, Howard. "Vergil, Aeneid 5.458–60". Classical Quarterly 49, n. 1 (maggio 1999): 329–30. http://dx.doi.org/10.1093/cq/49.1.329.

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44

Trappes-Lomax, J. M. "Virgil, Aeneid 10.366–7". Classical Quarterly 55, n. 1 (maggio 2005): 315–17. http://dx.doi.org/10.1093/cq/bmi028.

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45

Laird, Andrew. "ESSAYS ON THE AENEID". Classical Review 53, n. 1 (aprile 2003): 100–102. http://dx.doi.org/10.1093/cr/53.1.100.

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46

JACOBSON, HOWARD. "AENEID 3. 635–7". Classical Quarterly 58, n. 2 (dicembre 2008): 698–99. http://dx.doi.org/10.1017/s0009838808000803.

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47

RING, ABRAM. "REREADING AENEID 10.702–6". Classical Quarterly 60, n. 2 (19 novembre 2010): 486–96. http://dx.doi.org/10.1017/s0009838810000212.

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48

FLETCHER, K. F. B. "AMPHRYSIA VATES (AENEID 6.398)". Classical Quarterly 62, n. 2 (20 novembre 2012): 863–65. http://dx.doi.org/10.1017/s0009838812000389.

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49

Small, Carolinne Dermot. "Virgil, Aeneid 7.620–2". Classical Quarterly 36, n. 1 (maggio 1986): 278–80. http://dx.doi.org/10.1017/s0009838800010818.

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Abstract (sommario):

Virgilian scholars appear not to have appreciated the full dramatic significance of this passage, which provides a further example of Virgil's use of divine intervention in events which he wishes to mark as particularly significant in the course of the poem. These three lines signal the onset of the war with which the remainder of the Aeneid will be concerned; since line 607, Virgil has been working towards them by means of a detailed description of the gates of war themselves and of the tradition attached to them. But at this point in Italian history there is an ominous departure from the traditional procedures regarding the declaration of war. Latinus, who according to what Virgil depicts as the already well-established tradition was bound to open the gates in order to mark the beginning of war against the Trojans, has refused in horror to carry out his duty, opposed as he is to the turn recent events have taken in Latium. At this point Juno intervenes dramatically, as she had intervened before to sow the seeds of the ‘horrida bella’ (6.86, 7.41) between the Trojans and the indigenous population (323ff.). Virgil depicts her as sweeping down from heaven in person in order to push open the gates. The reader is shown how at her touch the gates burst open (‘rumpit’) without the involvement of any human or visible agency. It is an action which apparently has only a supernatural explanation, clearly described to the reader as the work of Juno.

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50

Gardiner, Jill. "Virgil, Aeneid 2.349–50". Classical Quarterly 37, n. 2 (dicembre 1987): 454–57. http://dx.doi.org/10.1017/s0009838800030652.

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A textual problem in Virgil, Aen. 2.349–50 has puzzled scholars since antiquity and still divides editors and commentators today. Aeneas is exhorting his comrades to join him in the final battle for Troy, but the variants audendi and audentem leave it uncertain whether he says, ‘si vobis audendi extrema cupido/ certa sequi, quae sit rebus fortuna videtis’, or ‘si vobis audentem extrema cupido/ certa sequi, quae sit rebus fortuna videtis’. The variant audendi has been discussed and defended in several commentaries and articles, whereas audentem, though often the choice of editors, has yet to receive a detailed defence. In this note, I will demonstrate that audentem is the correct reading and that the false reading audendi came about through a common scribal error.

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Articoli di riviste sul tema "Aenid"

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