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Autore: Grafiati

Pubblicato: 26 luglio 2024

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1

Witczak, Krzysztof. "Rzymski elegik Serwiusz Sulpicjusz - znany czy nieznany?" Collectanea Philologica 1 (1 gennaio 1995): 113–18. http://dx.doi.org/10.18778/1733-0319.01.14.

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Libro quarto Corporis Tibulliani continentur ignoti poetae longa elegia, quae Panegyricus Messallae vulgo appeIlatur (IV, I), quinque elegiae auctoris, quem "Sulpiciae laudatorem" voco (IV, 2--6), sex brevia elegidia sub Sulpiciae nomine servata (IV, 7-12) et postremo duae elegiae TibuIlo adiudicatae (IV, 13-14). Multi viri docti iam diu disputant, qui fuerit "Sulpiciae laudator". Qui poeta talem distichi elegiaci structuram adhibere solebat, qualis ante Ovidium exculta est. Constat autem auctorem elegiarum IV, 2--6, quae de amore Sulpiciae erga Cerinthum narrant atque a muItis viris doctis Tibulli opera ducuntur, "Sulpiciae laudatorem" fuisse. Quisnam is esset et quare Matronalium die elegiam III, 8 Sulpiciae donasset, quaerebatur. Nova opinio ad ignoti poetae personam, eius vitae aetatem otiumque litterarium spectans nostro in opusculo proposita est. Ex meis investigationibus apparet Servium Sulpicium Quinti Horatii Flacci amicum aequalemque aetate (Hor., Sat., I, 10, 86), elegiarum scriptorem (Ovid., Trist., II, 441; Plin., Ep., V, 3, 5) se poetriae fratrem firmissimumque "Sulpiciae laudatorem" praestare.

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2

Kennedy, Duncan F. "WHAT’S IN A NAME? DELIA IN TIBULLUS 1.1". Classical Quarterly 67, n. 1 (15 marzo 2017): 193–98. http://dx.doi.org/10.1017/s0009838817000118.

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Delia, the name given to Tibullus’ mistress in five of the poems in the first book of his elegies (1.1, 1.2, 1.3, 1.5, 1.6), has long inspired curiosity. Two approaches have dominated discussion. The biographical approach takes its cue from theApologyof Apuleius (10), which regards Delia as a pseudonym:eadem igitur opera accusent C. Catullum, quod Lesbiam pro Clodia nominarit, et Ticidam similiter, quod quae Metella erat Perillam scripserit, et Propertium, qui Cynthiam dicat, Hostiam dissimulet, et Tibullum, quod ei sit Plania in animo, Delia in uersu.

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HOUGHTON, L. B. T. "TIBULLUS' ELEGIAC UNDERWORLD". Classical Quarterly 57, n. 1 (maggio 2007): 153–65. http://dx.doi.org/10.1017/s0009838807000146.

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4

Kronenberg, Leah. "Tibullus the Elegiac Vates". Mnemosyne 71, n. 3 (24 aprile 2018): 508–14. http://dx.doi.org/10.1163/1568525x-12342338.

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5

Maltby, Robert. "Tibullus 1.2 - Walter Wimmel: Tibull und Delia, Zweiter Teil: Tibulls Elegie 1, 2. (Hermes Einzelschriften, 47.) Pp. v +130. Wiesbaden: Franz Steiner, 1983. Paper, DM. 44." Classical Review 35, n. 2 (ottobre 1985): 279–81. http://dx.doi.org/10.1017/s0009840x00108807.

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6

Oliveira, Luiza Wanderley Miranda. "Uma crítica bermanina da elegia 1.9, de Tibulo, traduzida por João Paulo Matedi Alves". Simbiótica 10, n. 3 (26 dicembre 2023): 227–41. http://dx.doi.org/10.47456/simbitica.v10i3.39734.

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Resumo O objetivo do presente ensaio é utilizar o método que Antoine Berman postula em Pour une critique des traductions: John Donne (1995), para criticar a tradução de João Paulo Matedi Alves (2014) para a elegia 1.9, de Tibulo; e, desta maneira, contribuir para a valorização do gênero discursivo (Crítica da Tradução) proposto por Berman. Para tanto, faremos uma breve introdução sobre o gênero elegíaco – principalmente à luz do livro A elegia erótica romana: o amor, a poesia e o ocidente, de Paul Veyne (1985) – e sobre o método bermaniano, para, em seguida, tecermos a crítica em si. Palavras-chave: Antoine Berman, crítica da tradução, elegia erótica romana, tradução. ABSTRACT This essay aims to apply Antoine Berman’s methodology, as established in Pour une critique des traductions: John Donne (1995), in an analysis of João Paulo Matedi Alves’ translation of Tibullus 1.9 (2014), thus contributing to advancing the discursive genre proposed by Berman (i.e. the translation critical analysis). The essay provides a brief introduction to Roman love elegy based on Paul Veyne’s L'elégie érotique romaine (1985 [1983]), followed by an overview of Berman’s methodology and its application to the analysis of the indicated translation. Key-words: Antoine Berman, translation criticism, roman erotic elegy, translation. RESUMEN El objetivo del corriente ensayo es hacer uso del método que Antoine Berman postula en su libro Pour une critique des traductions: John Donne (1995), para criticar la traducción de João Paulo Matedi Alves (2014) para la elegía 1.9, de Tibulus; y, consecuentemente, aportar com la valorizatión del género textual (Critica de la Traducción) propuesto por Berman. Con esta finalidad, haceremos una pequeña intorducción sobre el género elegíaco – sobre todo, conforme el libro La elegía erótica romana, de Paul Veyne (1985) – y sobre el método bermaniano, para, después, escribirmos nuestra propria critica. Palabras-llave: Antoine Berman, crítica de la traducción, elegia erótica romana, traducción.

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7

BALL, ROBERT J. "Tibullus: Elegies by A. M. Juster". Classical Journal 110, n. 2 (2014): 250–53. http://dx.doi.org/10.1353/tcj.2014.0033.

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8

Putnam, Michael C. J., e Robert Maltby. "Tibullus: Elegies. Text, Introduction, and Commentary". Classical World 97, n. 4 (2004): 458. http://dx.doi.org/10.2307/4352890.

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9

Verstraete, Beert C. "The Originality of Tibullus' Marathus Elegies". Journal of Homosexuality 49, n. 3-4 (dicembre 2005): 299–313. http://dx.doi.org/10.1300/j082v49n03_10.

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10

Tzounakas, Spyridon. "Rusticitas Versus Urbanitas in the Literary Programmes of Tibullus and Persius". Mnemosyne 59, n. 1 (2006): 111–28. http://dx.doi.org/10.1163/156852506775455298.

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AbstractTibullus and Persius are characteristic examples of poets who in their programmatic poems take a stance as to the literary juxtaposition of rusticitas and urbanitas and side with the first. Thus, they express their opposition to the mores of urban society and support the rustic way of life, which points to moral probity, simplicity, frugality, an unaffected style, Roman thematology, an indifference towards praise and heroic action. Persius' views could be associated with Propertius' latent attack against Tibullus' rusticitas and can be interpreted as disagreement with Propertius' urbanitas. It is possible that in this way Persius expresses his disappointment in the replacement of some elegiac motifs of the past with elegidia and of the frugal, 'poor' Tibullus with the crudi proceres, who are praised in the aula Neroniana. Therefore, the fact that Persius is siding with Tibullus in his dispute with Propertius could suggest a poetic model more similar to his own.

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11

Myers, K. Sara. "The Poet and the Procuress: TheLenain Latin Love Elegy". Journal of Roman Studies 86 (novembre 1996): 1–21. http://dx.doi.org/10.2307/300420.

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This paper investigates the figure of thelenain the elegies of Tibullus (I.5; II.6), Propertius (IV.5), and Ovid (AmoresI.8). While each poet treats the character of thelenain importantly different ways, each has in common a deep interest in contrasting his own position as both lover and poet with the activities of thelena, a bawd or procuress. All three poets curse thelena, denouncing primarily her malevolent magical powers, hercarmina, which are directed against them and theircarmina. Thelenanot only preaches an erotic code which in its emphasis on remuneration and the denigration of poetry directly opposes that of the poet-lover, she also usurps his role as instructor and constructor of the elegiacpuella. It is the elegiac poet's prerogative to describe and construct the elegiac mistress. By usurping his role aspraeceptor, thelenathreatens the poet with both sexual and literary impotence. It is precisely because thelenachallenges the male poet-lover's control over these terms that she is such a potent enemy; the woman with a pen, as Pollack writes inThe Poetics of Sexual Myth, ‘threatens to undermine a system of signification that defines her both as vulnerable and as victim’. If the elegiac mistress can be said to play a more masterful role asdominain Roman love poetry than in conventional Roman ideology, it must nevertheless be qualified with the reminder that she only plays a role constructed for her by elegy's first-person narrator who demands complete control over the discourse of their relationship, of the rules of the amatory game.

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12

Breen, Carolyn C., e George W. Shea. "Delia and Nemesis: The Elegies of Albius Tibullus". Classical World 93, n. 2 (1999): 217. http://dx.doi.org/10.2307/4352405.

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13

James, Sharon L. "Powerplay in Tibullus: Reading Elegies Book 1 (review)". American Journal of Philology 123, n. 2 (2002): 308–12. http://dx.doi.org/10.1353/ajp.2002.0022.

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14

Günther, H. C. "Verse transpositions in Tibullus". Classical Quarterly 47, n. 2 (dicembre 1997): 501–9. http://dx.doi.org/10.1093/cq/47.2.501.

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After having been for some while the butt of conservative critics, verse transpositions in Propertius have, mainly thanks to the work of G. P. Goold, again become respectable among scholars. In his edition of Catullus, Tibullus, and Propertius J. J. Scaliger (first edition: Paris 1577,2Antwerp 1582, several times reprinted), the great archeget of the method, had subjected the other great elegist of Propertius’ generation to the same treatment,2 and in fact one of Scaliger's transpositions is supported by external evidence: 1.5.71–6 belong after 6.32; this is confirmed by Ovid's imitation in Trist. 2.447ff. Trist. 2. 459–60 (scit, cui latretur, cum solus obambulet, ipsel cui totiens clausas excreet ante fores) echo Tib. 1.6.31f. (ille ego sum, nee me iam dicere uera pudebit.l instabat tola cui tua node canis) and 5.73 (et simulat transire domum, mox deinde recurritl solus et ante ipsas exscreat usque fores). That Ovid should have brought together in one distich verses from two different Tibullian poems may not seem wholly impossible, but much less likely than that the lines in Tibullus were also consecutive, in particular because the distich immediately preceding 459f. clearly refers to the situation of Tib. 1.6.

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Jansson, Victoria. "Towards a ‘Political’ Tibullus: Ceres and Grain in Elegies Books 1 and 2". New England Classical Journal 48, n. 1 (14 maggio 2021): 20–35. http://dx.doi.org/10.52284/necj/48.1/article/jansson.

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This article argues that unfulfilled prayers to Ceres in Tibullus’ elegies are symptomatic of Rome’s grain crises at the end of the Republic and beginning of Empire. My approach includes philological, socioeconomic, and psychoanalytic analysis of the elegies, in which the poet examines the shifting definition of a ‘Roman’ in his day. I seek to demonstrate the ways in which the poet grapples with the political and economic forces at work during the most turbulent period of Roman history: a time when income inequality was roughly equivalent to that of the U.S. and E.U. today.1

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16

Arndt, Aleksandra. "Perskie oko Rzymianina - groteska, absurd i ironia w elegiach miłosnych Tibullusa". Collectanea Philologica 14 (1 gennaio 2011): 134–47. http://dx.doi.org/10.18778/1733-0319.14.11.

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L’élégie érotique de Tibulle comporte de nombreux éléments humoristiques. Grâce au grotesque le poète fait diminuer la signification de son amour aux filles – Délie et Nemezis, ainsi que son estime pour Venus. Son comportement absurde en tant qu’amant démontre la fiction des sentiments présentés dans les poèmes. Enfin, l’ironie à l’aide de laquelle Tibulle décrit des événements mythologiques et la déesse Pax montre son désintérêt pour la politique de l’empereur Auguste. C’est surtout à Tibulle qu’Ovide doit la vis comica dans ses Amores.

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17

Miller, Paul Allen. "Powerplay in Tibullus: Reading "Elegies" Book One. Parshia Lee-Stecum". Classical Philology 95, n. 4 (ottobre 2000): 494–98. http://dx.doi.org/10.1086/449518.

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18

ÖZTÜRK, Rukiye. "Latin Aşk Elegeiasında Paraclausithyron". Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi 60, n. 1 (22 giugno 2020): 335. http://dx.doi.org/10.33171/dtcfjournal.2020.60.1.17.

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Tarih boyunca, âşıklar sevgilerini ifade etmek için çeşitli yöntemler bulmuşlardır. Bu yöntemlerden biride, gece vakti sokakta sevgilinin penceresi önünde yapılan serenattır. Serenadın ilk yazınsal biçimi diyebileceğimiz paraclausithyron, 2500 yıl önce de sevgiliye aşk ilanı etmek için başvurulan bir yöntem olmuş ancak serenat gibi romantik değil, trajik bir tarza bürünmüştür. Bu çalışmada, öncelikle paraclausithyronun Yunan yazınındaki kökenine ve özeliklerine değinilecek ardından Latin yazınının ünlü lirik ozanı Horatius'un bu izleğin yer aldığı şiirleri üzerinde durulacak ve Tibullus, Propertius ve Ovidius gibi elegeia ozanlarının bu izleği ele alış ve işleyişleri arasındaki benzerlikler ve farklılıklar vurgulanacaktır.

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Delbey, Évrard. "Le motif élégiaque de l’ira : une écriture progressive du passionnel dans le politique (II)". Vita Latina 187, n. 1 (2013): 73–87. http://dx.doi.org/10.3406/vita.2013.1755.

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Anger is a motif which Latin Elegy takes back in Homeric Epic and rewrites. This motif is not exclusively psychological. Catullus registers the pathetic anger of Ariadne in the political time which begins when the Golden Age comes to an end. Ovid distingues himself from Tibullus and Propertius by representing passionate angers and the anger of the Princeps. So the question of the exercise of power, important in the Metamorphoses, cannot be dissociate from the one of the double presence of passionate and political anger, in the Ovidian elegies : is it legitimate to exercise power by being dominated by passion ?

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Cairns, F. "Tibullus - Robert J. Ball: Tibullus the Elegist. A Critical Survey. (Hypomnemata, 77.) Pp. 253. Göttingen: Vandenhoeck & Ruprecht, 1983. Paper, DM 59." Classical Review 37, n. 2 (ottobre 1987): 180–82. http://dx.doi.org/10.1017/s0009840x00110261.

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ÖZTÜRK, Rukiye. "Amores I.1: Amores'in İzdüşümü". Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi 59, n. 1 (26 giugno 2019): 256. http://dx.doi.org/10.33171/dtcfjournal.2019.59.1.13.

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Romalı ünlü elegeia ozanı Ovidius'un yirmili yaşlarının başlarında yazdığı ilk yapıtı Amores, üç kitapçık ve aşk elegeia'sı türünde yazılmış 49 şiirden oluşur. Bu türde yapıtlar veren Gallus, Tibullus ve Propertius'tan sonra dördüncü ve son sırada gelen Ovidius'la birlikte aşk elegeia'sı da en parlak dönemini görerek son bulur. Amores'in ilk şiiri, yapıtın tamamının genel özelliklerini barındırır. Bu bağlamda şiirde altı öge tespit edilmiştir. (Hellenistik Dönem Şiirinin etkisi, retorik ögeler içermesi, komik dil, durum ve mantık üzerine kurulmuş espriler bulunması, inanç ve mitolojinin kullanılma biçimi, Ovidius'un ozan kimliği ve sanatına verdiği değeri göstermesi ve de âşık ozan karakterini yansıtması). Bu çalışmada her bir öge, kısaca tanıtıldıktan sonra Amores'in ilk şiiri ve yapıtın tamamında Ovidius'un tutumu örneklerle açıklanacaktır. Bu sayede ilk şiirin Amores'in genel yapısını nasıl yansıttığı gösterilecektir.

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22

Gibson, R. K. "How to win girlfriends and influence them: amicitia in Roman love elegy". Proceedings of the Cambridge Philological Society 41 (1996): 62–82. http://dx.doi.org/10.1017/s0068673500001930.

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It is often said that amicitia, so prominent in the love poetry of Catullus, plays a negligible role in the elegies of Propertius, Tibullus and Ovid: the elegists avoid the vocabulary of amicitia and prefer to describe the relationships with their beloveds in terms of militia and seruitium amoris. In this paper, however, I shall show that this is mistaken. While the elegists do not use the vocabulary of amicitia systematically, they clearly do continue to appeal to its protocols and moral code – Ovid above all. It will be seen that Catullus and the elegists share the use of the ideology of amicitia to pressurize their beloveds to accept or make a return on the benefacta which they as lovers bestow.

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Booth, Joan, e Robert Maltby. "Light and Dark: Play on Candidus and Related Concepts in the Elegies of Tibullus". Mnemosyne 58, n. 1 (2005): 124–32. http://dx.doi.org/10.1163/1568525053420699.

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Drinkwater, Megan O. "THE WOMAN'S PART: THE SPEAKING BELOVED IN ROMAN ELEGY". Classical Quarterly 63, n. 1 (24 aprile 2013): 329–38. http://dx.doi.org/10.1017/s0009838812000626.

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Roman elegy is well known for its reversal of traditional Roman gender roles: women are presented in positions of power, chiefly but not exclusively erotic, that bear little or no relation to women's lived experience in the first centuryb.c.e. Yet the way elegy presents the beloved in a position of power over her lover, as Sharon James has observed, ‘retains standard Roman social and power structures, thus suggesting an inescapable inequity even within a private love affair: rather than sharing goals and desires, lover and beloved are placed in a gendered opposition … Hence resistant reading by thedominais an anticipated and integral part of the genre’. James's remark is indeed correct for each of the instances in which thedomina, or female beloved, speaks directly. When she does so, as James also shows, she speaks at cross-purposes with her lover, following a script that is designed ‘to destabilize him’ in an attempt to keep his interest. Yet what has not been noticed is that when the beloved is instead male, the situation is quite different. Tibullus' Marathus in poem 1.8, our sole example of a male elegiac beloved-turned-speaker, is the exception that proves the fundamental rule of gender inequity. Marathus, that is, when given the opportunity to speak, does in fact share the aims of a male lover, albeit in pursuit of his ownpuella. When the gendered opposition so integral to elegy is erased, the beloved no longer protests against the strictures of the genre; when both are male, lover and beloved alike are entitled to speak as elegiac lovers.

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Kuhlmann, Peter. "Odysseus, Theokrit und Tibull: Die Ironisierung des sprechenden Ich bei Tibull am Beispiel der Elegie I,3". Hermes 134, n. 4 (2006): 419–41. http://dx.doi.org/10.25162/hermes-2006-0035.

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Döpp, Siegmar. "Iam modo, iam possim contentus uiuere paruo! Die Struktur von Tibulls Elegie 1,1". Hermes 133, n. 4 (2005): 458–74. http://dx.doi.org/10.25162/hermes-2005-0040.

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MÜLLER, CARL WERNER. "Imaginationen des Todes in den Elegien des Tibull und Properz". Antike und Abendland 41, n. 1 (31 dicembre 1995): 132–41. http://dx.doi.org/10.1515/9783110241532.132.

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Morgan, J. D. "Cruces Propertianae". Classical Quarterly 36, n. 1 (maggio 1986): 182–98. http://dx.doi.org/10.1017/s0009838800010648.

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In classical antiquity Propertius' eloquence was renowned. His successor Ovid referred to theblandi praecepta Properti(Trist.2.465) and toblandi…Propertius oris(ibid. 5.1.15). Quintilian (10.1.93) stated that to his taste the mosttersusandelegansLatin elegist was Tibullus, butsunt qui Propertium malint. Martial (14.189) mentioned thefacundi carmen iuuenale Properti.Turn now from the opinions of ancient authors to those of some modern commentators as they try to elucidate various passages as presented in the extant manuscripts, and you encounter not the adjectivesblandus, tersus, elegans, andfacundus, but ‘strange’, ‘obscure’, ‘odd’, ‘slovenly’, and the like.A major reason for such striking differences of opinion should be evident. Ovid, to whom Propertius wasblandi oris, read a text separated from Propertius' autograph by at most a few decades. Modern scholars, however, must form their text from a few relatively late manuscripts, none earlier thanc.1200, in which Propertius' eloquence has been obscured by over twelve centuries of careless blundering and deliberate interpolation by a succession of scribes.A generally accepted example of deliberate interpolation in the Propertian archetype is found at 2.32.3-6:nam quid Praenesti dubias, o Cynthia, sortes,quid petis Aeaei moenia Telegoni?cur tua te Herculeum deportant esseda Tibur?Appia cur totiens te uia †ducit anum†?(ducitFLP,dicitN), where the name of some neighbouring town is required in the fourth verse to balance Praeneste, Tusculum, and Herculeum in the preceding three.

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Constanze, Wünscher. "Tibull in Russland zur produktiven rezeption der elegie i 1 in Russland am beginn des 19. jahrhunderts". Acta Antiqua Academiae Scientiarum Hungaricae 56, n. 4 (dicembre 2016): 547–63. http://dx.doi.org/10.1556/068.2016.56.4.11.

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Arndt, Aleksandra. "From Tibullus’s Palette of Literary Genres. Prayer and Religious Hymn as Exponents of the Poetic Program of the Elegiac Poet". Symbolae Philologorum Posnaniensium Graecae et Latinae 27, n. 3 (15 dicembre 2017): 237. http://dx.doi.org/10.14746/sppgl.2017.xxvii.3.13.

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Herrera, Gregorio Rodríguez. "Mujer y tradición clásica en los Ex Elegiis Tibulli, Propertii et Ouidii Selecti Versus (1504) de J. Murmelio". Graeco-Latina Brunensia, n. 2 (2017): 269–82. http://dx.doi.org/10.5817/glb2017-2-16.

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Elliot, Alistair. "Tibullus: Elegies. Translated by A. M. Juster. With an introduction and notes by Robert Maltby. Pp. 129. Oxford: Oxford University Press, 2012 (World's Classics). Pb. £8.99." Translation and Literature 21, n. 2 (luglio 2012): 232–35. http://dx.doi.org/10.3366/tal.2012.0070.

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Holzberg, Niklas. "P. Lee-Stecum, Powerplay in Tibullus: Reading Elegies Book One (Cambridge Classical Studies). Cambridge: Cambridge University Press, 1998. Pp. xii + 328. ISBN 0-521-63083-5. £40.00." Journal of Roman Studies 89 (novembre 1999): 242. http://dx.doi.org/10.2307/300780.

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Holzberg, Niklas. "P. Lee-Stecum, Powerplay in Tibullus: Reading Elegies Book One (Cambridge Classical Studies). Cambridge: Cambridge University Press, 1998. Pp. xii + 328. ISBN 0-521-63083-5. £40.00." Journal of Roman Studies 89 (novembre 1999): 242. http://dx.doi.org/10.1017/s0075435800060482.

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Murgatroyd, P. "G. W. SHEA: Delia and Nemesis: The Elegies of Albius Tibullus. Introduction, Translation and Literary Commentary. Pp. xiii + 150. Lanham, New York, and Oxford: University Press of America, 1998. Paper, $26.50. ISBN: 0-7618-1226-1." Classical Review 49, n. 2 (ottobre 1999): 568. http://dx.doi.org/10.1017/s0009840x99410054.

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Wray, David. "TIBULLUS IN AMERICA - R.G. Dennis, M.C.J. Putnam (trans.) The Complete Poems of Tibullus. An en face bilingual edition. With an introduction by Julia Haig Gaisser. Pp. x + 159. Berkeley, Los Angeles and London: University of California Press, 2012. Paper, £13.95, US$19.95 (Cased, £50, US$34.95). ISBN: 978-0-520-27254-5 (978-0-520-27253-8 hbk). - A.M. Juster (trans.) Tibullus: Elegies, with Parallel Latin Text. With an introduction and notes by Robert Maltby. Pp. xxxiv + 129. Oxford: Oxford University Press, 2012. Paper, £8.99, US$14.95. ISBN: 978-0-19-960331-2." Classical Review 63, n. 2 (12 settembre 2013): 427–32. http://dx.doi.org/10.1017/s0009840x13000553.

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Arndt, Aleksandra. "Trzy elegie Tibullusa". Meander, 24 febbraio 2023. http://dx.doi.org/10.24425/118279.

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Prado, João Batista Toledo. "UM CONCEITO DE EQUIVALÊNCIA NA EXPRESSÃO VERNÁCULA DA POESIA LATINA". Organon 13, n. 27 (4 luglio 2012). http://dx.doi.org/10.22456/2238-8915.30431.

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Abstract (sommario):

Taking Joseph Brodsky’s concept of “equivalence” as far as translating foreign poems intoliterary forms plausible to the translator’s mother tongue and culture, this paper offers a possibleapplication of that concept to the latin love elegy lesser constituent unit, the elegiac couplet, and on theprosodic elements peculiar to the metres which it is made up of: the hexametre and the pentametre. Theintention here is to study the poetic nature of the latin love elegy, through the latin linguistic systemcharacteristics which provide the very basis for its metrical poetic system. That posture has driven us toa revaluation of the latin metric system through the prism of linguistic investigation, on all thatconcerns at least the elegiac couplet and its prosodic specificities, what has allowed to uncover anentire new range of possibilities to reading elegiac expressivity, as it was attempted to show with oneexemple taken from the roman elegiac poet Tibullus, from the century I b. C.

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Burns, Patrick J. "Measuring and Mapping Intergeneric Allusion in Latin Poetry using Tesserae". Journal of Data Mining & Digital Humanities Special Issue on..., Towards a Digital Ecosystem:... (2 agosto 2017). http://dx.doi.org/10.46298/jdmdh.3821.

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Abstract (sommario):

Most intertextuality in classical poetry is unmarked, that is, it lacks objective signposts to make readers aware of the presence of references to existing texts. Intergeneric relationships can pose a particular problem as scholarship has long privileged intertextual relationships between works of the same genre. This paper treats the influence of Latin love elegy on Lucan’s epic poem, Bellum Civile, by looking at two features of unmarked intertextuality: frequency and distribution. I use the Tesserae project to generate a dataset of potential intertexts between Lucan’s epic and the elegies of Tibullus, Propertius, and Ovid, which are then aggregrated and mapped in Lucan’s text. This study draws two conclusions: 1. measurement of intertextual frequency shows that the elegists contribute fewer intertexts than, for example, another epic poem (Virgil’s Aeneid), though far more than the scholarly record on elegiac influence in Lucan would suggest; and 2. mapping the distribution of intertexts confirms previous scholarship on the influence of elegy on the Bellum Civile by showing concentrations of matches, for example, in Pompey and Cornelia’s meeting before Pharsalus (5.722-815) or during the affair between Caesar and Cleopatra (10.53-106). By looking at both frequency and proportion, we can demonstrate systematically the generic enrichment of Lucan’s Bellum Civile with respect to Latin love elegy.

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Pandolfo, Piergiuseppe. "An Ambiguity in limine: faveo in Two Incipit of Tibullus and Propertius". Num. 42 (n.s.) – Giugno 2024 – Fasc. 1, n. 1 (3 luglio 2024). http://dx.doi.org/10.30687/lexis/2724-1564/2024/01/012.

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Abstract (sommario):

The article aims to analyse an intertextual link in the ambiguous use of faveo between Tib. 2.1.1 and Prop. 4.6.1, both elegies classifiable as ‘mimetic’ hymns and both ‘thresholds’ of the respective two books of elegies. It is intended to show how Tibullus, inspiring Propertius in this, understood the implicit resources of a verb like faveo in the context of ‘mimetic’ fiction, by which the officiating poet can simultaneously address the imaginary participants of the religious ceremony and the actual readers of the poem. The aim is to show how this Tibullian use of faveo, suggested by the poeta-sacerdos mimesis, not only instilled in Propertius, also in the role of officiant, the need to enfranchise a sequence such as favete linguis from its formular rigidity, but illustrated the expressive potential of the verb in the incipit position of an elegy as a source of metapoetic reflection, being able to subtly express an ambivalence suitable for defining an angle of privileged sharing between poet and readers, carved out at crucial points in Tibullus’ second book and Propertius’ fourth in which precisely faveo can make itself the bearer of a message transcended from the literal plane.

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Myers, Micah Young. "Saturno Rege Reconsidered: Golden Age and Elegiac Fantasy in Tibullus 1.3". SSRN Electronic Journal, 2010. http://dx.doi.org/10.2139/ssrn.1608135.

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Nikoloutsos, Konstantinos. "Gender B(L)Ending and Elegiac Composition: A Queer Reading of Tibullus 1.8". SSRN Electronic Journal, 2010. http://dx.doi.org/10.2139/ssrn.1608261.

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Olfman, Heva. "Love and Death in Latin Elegy". Past Imperfect 23 (30 novembre 2021). http://dx.doi.org/10.21971/pi29377.

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Abstract (sommario):

Love and death is a common and shared human experience that many poets of the ancient world explored in their various poetic works. The elegists of Rome famously wrote love poems in which each pined for a specific mistress or lover, and in some of these poems, love and death were simultaneously prominent themes. In this article I examine the relationship between the concepts of love and death in Propertius 4.7, Tibullus 1.3 and Ovid’s Amores 3.9. From this study it is evident that each poet, through means of their own style, depicted the ideal that love had the ability to overcome death. To support my analysis of these texts and the issues surrounding them, I refer to Papanghelis, Hinds and Maltby. While these authors consider many aspects of Proptertius’, Tibullus’ and Ovid’s works, the relationship and connection present between love and death has not been significantly considered. In order to establish each poet’s personal style I begin with a brief overview of elegiac poetry; then, an examination of each poem’s tone, word usage and thematic distinctions. I will begin the discussion with Propertius’ poems; Tibullus’ and Ovid’s poems will then be considered, first separately, and then as a pair. The concepts of love, death and those affected by the death in the poem will be analyzed. In addition, I will consider how love and death interact with each other in the poems. To further supplement the discussion, I will analyze how these three poets’ write in the same genre and about the same topics, but in different contexts and styles. This analysis leads to an understanding that each poet expressed their unique style in their poems, while maintaining a similar theme and genre, that love has the ability to overcome the unavoidable and inevitable force of death.

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Steenkamp, Johan. "Jews in Republican Rome: The literary sources". In die Skriflig/In Luce Verbi 57, n. 1 (29 novembre 2023). http://dx.doi.org/10.4102/ids.v57i1.2943.

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Abstract (sommario):

There is considerable literary evidence that gives us some insight into the Jewish culture in the city of Rome from different perspectives after the destruction of the Second Temple in 70 CE. Yet, there are few primary accounts of Jews in the city of Rome during the 1st century BCE. In this article it is argued that there was already a significant Jewish population in Rome during the middle of the 1st century BCE and it already had a noted influence on daily life in the capital city. In the wake of the Roman Republic’s imperialistic successes, the city saw an influx of foreign peoples and cultures, including Jews, and they were mentioned in the literature of the time. The little that was written about Jews during this time pertain to those aspects of their culture and religion that appeared peculiar to the Romans, especially in the so-called higher genres of philosophical treatises or history. Yet, we also have texts describing everyday live in Republican Rome – lyric and elegiac poetry. These, too, feature references to Jewish culture. Although Roman poetry is never explicitly interested in Jews or Jewish people, it did paint a picture of Rome at street-level, so to speak, through the eyes of a literate citizen and this picture sometimes included Jews. In this article this type of evidence available to us will be reconsidered to fill in the gap in our historical knowledge.Contribution: This article presents an interpretation of Jews and Jewish practices mentioned during the 1st century BCE in Roman poetry. The poetry of Tibullus, Horace and Ovid, written from a Roman perspective, have been contextualised in their literary traditions and informed by the established philosophical opinions of the time from Cicero, Varro and Lucretius. The result is a useful discussion of how extensive and how reliable these sources are for the understanding of Jewish culture in Rome during the 1st century BCE.

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