Tesi sul tema "Virgil"
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1
Mullan, Anna. "Virgil and Numerical Symbolism". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/811.
Testo completoAbstract (sommario):
In the final book of the Georgics, Virgil digresses into a nostalgic and regretful explanation of his inability to include a proper discussion of gardening because he is spatiis exclusus iniquis (147). Often deemed “the skeleton of a fifth book of the Georgics” the exact meaning and intent behind this passage is still largely contested. In this paper I will attempt to de-strange this passage by examining it philosophically and allegorically, particularly by means of numerical symbolism.
2
Hanganu, Georgeta. "Virgil Gheorghiu et l'autobiographie". Poitiers, 2003. http://www.theses.fr/2003POIT5006.
Testo completoAbstract (sommario):
Toute l'oeuvre de Virgil Gheorghiu s'enracine à l'évidence dans le vécu de l'auteur, l'espace autobiographique s'ouvrant dès lors aux romans qui s'inspirent tous de l'expérience vécue, essentiellement de celle qui livre Virgil Gheorghiu à la terreur de l'Histoire. Mais que ce soient les oeuvres proprement autobiographiques ou les romans, tous les écrits de Virgil Gheorghiu sont construits autour d'une volonté d'héroi͏̈sation, qui a impliqué un récit de formation et de vocation extrêmement ferme et cohérent. Cette volonté d'héroi͏̈sation pourrait paraître assez contestable si le narrateur ne parvenait à travers lui à exalter un homme idéal et à en narrer l'histoire poétique. En effet, c'est une autobiographie délibérément religieuse et poétique que Virgil Gheorghiu a entrepris d'écrire qui ne tend ni à la sincérité ni à la vérité littérale, mais à dresser les réalités de l'esprit et de l'âme face à la menace d'anéantissement portée par la terreur de l'Histoire
3
Navot, Alon. "Similes of the real in Virgil's Aeneid /". View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174648.
Testo completo
4
Quartarone, Lorina N. "Locus ambiguus : from otium to labor in Vergil's Eclogues and Georgics /". Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11478.
Testo completo
5
Davis, P. A. J. "The 'imaginary resistance' of Dryden's Virgil". Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598392.
Testo completoAbstract (sommario):
Locke ridiculed Filmer's account of the monarchist doctrine of passive resistance. Where 'Men may not strike again', he remarked, they are reduced to 'imaginary Resistance'. That 'imaginary' begs a question since when Locke was writing the word could still be used in the neutral sense of 'imaginative', though he himself was using it pejoratively to mean 'fanciful' or 'non-existent'. The question of what 'imaginary' defiance can achieve against real political 'Force' was pertinent at the time Locke's remark was published particularly to John Dryden, who, deprived for his Roman Catholicism of the public employments and salaries he had enjoyed as Poet Laureate and Historiographer-Royal, was committed then, as he said, to 'no Action, but that of the Soul'. This dissertation argues that Dryden put up substantial 'imaginary Resistance' against those 'unhappy Circumstances' in the main action of his soul after the Glorious Revolution - his translation of The Works of Virgil (1697). That resistance is apparent not in a sparse clutch of encoded criticisms of William III and his ministers (as though translating Virgil was just a cover for Dryden's Jacobite propaganda), but as a sustained abstention deep in and throughout the verse from the allurements of a self-involved poetic voice. In the troubled early decades of the seventeenth century English poets had (in common with the rest of their country men) been urged to such self-involvement, towards contracting the public scope of their imaginings, as peace was sought from the cacophony of voices raised in public which was the Civil War.
6
Christie, Camilla Rose. "Battle narrative in Virgil and Ovid". Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13700.
Testo completoAbstract (sommario):
Includes bibliograpical references.The intent of this thesis is to examine the stylistics of Latin epic narrative as used to narrate and describe extended battle sequences, and to explore the way in which Latin authors working during the Augustan Era engaged with Homeric techniques of oral narrative while composing written epic. A total of six extended battle sequences from the Aeneid of Virgil and the Metamorphoses of Ovid are examined and analysed with regard to their use of word order, simile, catalogue, and other such stylistic features. The overall aim is to consider Ovid’s literary debt to his immediate epic predecessor Virgil, together with the debt of both poets to Ancient Greek epic narrative, in such a way as to explore the various techniques of generic allusivity practised by both poets on a stylistic level. The first chapter provides a brief overview of Homeric technique, defines the distinction between primary and secondary epic, and serves as an introduction to Virgilian and Ovidian concerns. The second chapter contains analysis of Virgil’s Aeneid. Battle sequences from Book 2, Book 9, and Book 10 are examined and discussed from a stylistic perspective, and the extent to which Virgil has drawn on and reformulated Homeric epic technique is established. Book 2 is examined for the manner in which it engages with and reconstructs Homeric ideals of heroism. Book 9, constituting as it does the first instance within the second half of the Aeneid of Homeric battle narrative, is analysed as a transitional episode, and its motifs of literary and cultural inheritance discussed. Book 10 provides an extended example of Homeric battle narrative. The third chapter engages with Ovid’s Metamorphoses. Extracts of notably epic tone from Book 5, Book 8, Book 12 are discussed in such a way as to highlight their literary allusivity, and in particular their contrast with the Virgilian model of adapting epic technique. Book 5 is examined as an introductory example of extended Ovidian battle narrative. The analysis of Book 8 demonstrates how epic narrative may be enriched by the intrusion of alternate poetic genres. Book 12 is contrasted with Book 2 of the Aeneid, and the manner in which it, too, engages with Homeric ideals of heroism, is discussed. The thesis concludes that while both poets utilised and expanded upon specific stylistic elements of Greek epic narrative, they did so in a notably different fashion. Ovid contrasts sharply with his predecessor Virgil and often incorporates elements of alternate genres in order to establish his own allusive technique.
7
Rupprecht, Kai. "Cinis omnia fiat : zum poetologischen Verhältnis der pseudo-vergilischen "Dirae" zu den Bucolica Vergils". Göttingen Vandenhoeck & Ruprecht, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015492366&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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8
Matters, Emily Helene. "AENEAS IN THE ANTIPODES The teaching of Virgil in New South Wales schools from 1900 to the start of the 21st century". University of Sydney. Classics and Ancient History, 2005. http://hdl.handle.net/2123/716.
Testo completoAbstract (sommario):
Aeneas in the Antipodes offers an Australian perspective on the teaching of Virgil�s poetry in the secondary school. The study examines practices in the State of New South Wales from 1900 to the early years of the twenty-first century. The changing role of Latin in the curriculum is traced through a historical account showing the factors which caused a decline in the status and popularity of the subject from the beginning of the century to the 1970s. This decline, not confined to Australia, stimulated the introduction of new teaching methods with different emphases which were, to some extent, successful in preserving Latin from extinction in schools. Against this background of change, Virgil remained the Latin author most frequently studied in the final year of school. Because this poetry was so consistently prescribed for public examinations, a detailed investigation is made of the questions set and of the examiners� comments on candidates� performance, as evidence of changes in expectations and hence, in teaching methods. The influence of trends in Virgilian scholarship is assessed by means of a review of all the officially recommended commentaries and secondary works. The growth of literary criticism from the 1960s is shown to have had a marked effect on syllabuses and examinations, and consequently on the approach taken in the classroom. The role of local professional organizations in supporting the teaching of Virgil has been documented, showing how the disappearance of official support for Latin teaching was to some extent counterbalanced by an increase in voluntary effort. The resources and methods used to introduce Virgil to comparative beginners are classified and reviewed. An assessment is also offered of approaches made to teaching Virgil in English at both junior and senior secondary levels. The final chapter reviews the changes brought about since 2000. Current teaching practices are documented through classroom observations and teacher surveys, substantiating the impression that while most students at the beginning of the twenty-first century are less prepared than their predecessors to translate Virgil independently, they are expected to attempt a far more sophisticated analysis of the literary features Note: For appendix 3-10 please see hardcopy edition.
9
Nicolescu-Malgras, Emilia. "Virgil C. Gheorghui : les "écritures du moi"". Nancy 2, 1997. http://www.theses.fr/1997NAN21017.
Testo completoAbstract (sommario):
Cet ouvrage se propose de faire connaitre l'œuvre de Virgil C. Gheorghiu, longtemps ignorée. Parmi les thèmes susceptibles d'attirer l'attention du lecteur et du chercheur, celui des "écritures du moi" présente un intérêt majeur. Nous voulons montrer que les composantes des "écritures du moi" - autobiographie, témoignages, mémoires, romans - peuvent constituer des outils efficaces pour le créateur qui, orgueilleusement se propose de construire et de reconstruire sa vie et sa personnalité, menacées d'être mal comprises ou sous-estimées par ses contemporains. Ainsi, les frontières entre l'autobiographie et les genres avoisinants deviennent floues, l'auteur se servant de chaque composante des "écritures du moi" pour aboutir à son but : la reconstruction de sa vie et de sa personnalité. L’écrivain n'est donc pas le sujet de sa vie (de son texte littéraire), mais son objet. Les mécanismes qui provoquent et alimentent ce thème sont analysés afin de montrer l'importance de ce genre littéraire pour Virgil C. Gheorghiu, cet exile en quête de ses racines. Le sujet traite s'inscrit dans le contexte de la littérature française et universelleThis piece of work intends to bring the long unknown work by Virgil C. Gheorghiu to light. Among the subjects likely to appeal to the attention of the reader and the researcher, this components of "écritures du moi" - autobiography, evidence, memoirs, novel - can be useful tools for the creator who proudly intends to build and rebuild his life and personality which are threatened to be misunderstood or underestimated by his contemporaries. The limits between autobiography and related styles become vague since the author uses each of the components of "écritures du moi" to achieve his goal. The technics which induce and feed this subject are dealt with in order to show the importance of this literary style for Virgil C. Gheorghiu, this exile in quest of his roots. The subject is dealt with in the context of French and universal literature
10
Westman, Daron. "Camilla and the image of women in Virgil". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66241.
Testo completo
11
Ellis, V. E. "The poetic map of Rome in Virgil Aeneid 8". Thesis, University of Newcastle Upon Tyne, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382957.
Testo completo
12
Scarth, Elizabeth-Anne. "Mnemotechnics and Virgil the art of memory and remembering". Saarbrücken VDM Verlag Dr. Müller, 2007. http://d-nb.info/989291030/04.
Testo completo
13
Nash, Calypso. "Philosophical readings in Virgil's Aeneid". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:0a5a33f4-fe6b-4e7e-a712-41731a7ac42c.
Testo completoAbstract (sommario):
This study examines how and why Virgil makes reference to philosophy and engages with contemporary philosophical debate in the Aeneid. Each of the six chapters has a different philosophical focus, and offers literary analyses of the poem that are supported and enriched by situating it within its philosophical context. Cicero and Lucretius are our principal sources for Roman philosophy during the 1st c. BC, and Stoics, Epicureans and Academics were the most influential philosophical schools. The topics I explore include: the relationship between words, especially names, and their referents; the characterization of fate in the Aeneid as Stoic, and the meaning of F/fortuna; Virgil's engagement with Lucretius' explanation of visual perception, which I argue embodies a refutation of the materialism integral to Epicurean philosophy; and, given that Cicero and Lucretius provide the first extant references to 'free will' (libera ... voluntas Lucr. 2.256-7; voluntate libera Cic. Fat. 20) in Western literature, the articulation of this concept in the Aeneid. I conclude that Virgil's use of philosophy is both politically and poetically motivated: he shows that poetry and literature are valuable philosophical and political tools by demonstrating that our experience of reality is fundamentally mediated through language and texts.
14
Sundman, Alexandra Gail. "The making of an American expatriate composer in Paris : a contextual study of the music and critical writings of Virgil Thomson, 1921-1940 /". Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659587v.
Testo completo
15
Falconer, Rachel. "Some aspects of the influence of Virgil on Milton's style". Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304915.
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16
Widmer, Matthias. "Virgil after Dryden : eighteenth-century English translations of the Aeneid". Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8109/.
Testo completoAbstract (sommario):
John Dryden’s 1697 translation of Virgil’s Aeneid is often seen as the pinnacle of an English tradition that read the Roman poet in primarily political terms and sought to relate his epic to contemporary matters of state. The present thesis takes a different approach by examining Dryden’s influence on his eighteenth-century successors to determine, on the one hand, what they hoped to accomplish by retranslating the same original and, on the other hand, why none of them was able to match his success. Dryden’s impact as a stylistic (rather than an ideological) model was balanced not only against a newly emphasised ideal of literalism but also against a whole range of other creative forces that posed at least an implicit challenge to his cultural dominance. Chapter 1 demonstrates Dryden’s systematic refinement of the couplet form he inherited from his predecessors and draws on his theoretical writings to suggest how it can be seen as a key aspect of his particular approach to Virgil. Chapter 2 discusses Joseph Trapp’s blank verse Aeneid and its debt to Dryden’s couplet version; I will show that the translator’s borrowings from the precursor text run directly counter to his declared ambitions to remain faithful to Virgil. Chapter 3 focusses on Christopher Pitt, the Virgil translator who came closest to paralleling Dryden’s popular acclaim; encouraged by fellow men of letters, Pitt published his translation in gradually revised instalments that reflect Dryden’s growing influence over time. Alexander Strahan, the subject of Chapter 4, aligned himself with a parallel tradition of Miltonic renderings by absorbing numerous expressions from Paradise Lost into his blank verse translation of the Aeneid and frequently used them to foreground thematic connections between the two epics; however, his revisions, too, show him moving closer to Dryden as time went by. James Beresford, discussed in Chapter 5, stands out among the other Miltonic translators by virtue of giving his borrowings in quotation marks – a practice that will be illuminated in connection with the multidisciplinary work of the artist Henry Fuseli and the equally Mil-tonic Homer translation that William Cowper composed under the latter’s supervision. Chapter 6, finally, offers an analysis of William Wordsworth’s failed attempt at translating the Aeneid. Given that he was one of the key reformers of English poetry, Wordsworth’s return to the traditional couplet form at a later stage in his career is surprising, as is the fact that his style became more Drydenian the further he proceeded.
17
Wentzel, Rocki Tong. "Reception, gifts, and desire in Augustine's Confessions and Vergil's Aeneid". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1198858389.
Testo completo
18
Lipka, Michael. "Four studies in the language of Vergil's Eclogues". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313113.
Testo completo
19
Ricks, Catherine. "The weight of a whole author on my shoulders : Dryden's Virgil". Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.665300.
Testo completoAbstract (sommario):
One of the few monographs on Dryden's Aeneis cites Earl Miner: 'The definitive study of Dryden's Virgil remains to be written, but it seems beyond question that it is the most important translation in the language' (Corse, 1991). The aim of this thesis is to reopen the following questions: Why did Dryden undertake it? What qualities did he bring to this venture, at what he calls his 'great Clymacterique'? What in retrospect makes this work such a significant literary landmark? The main contribution I seek to make is a fuller consideration of Dryden's Virgil as a unitary work, and virtually unique as a complete translation of Virgil by a major poet. The Introduction provides contexts for my argument: a summary of current Dryden criticism , and of current Virgil scholarship. Chapter 1 considers Dryden's translation in the context of contemporary and later conceptions of Virgil in English poetry. Chapter 2 examines Dryden's trans-historical perspective and the formative role of his Lucretius (1685), and the influence (to a lesser degree) of Plutarch. Chapter 3 examines the neglected Pastorals, focusing on their tonal complexity and the quest for poetic sublimity in 'hard Iron Times'. Chapter 4 considers the Georgics, 'the best poem of the best Poet', its generic originality and contribution to the cultivation of English verse, and as an articulation of Virgil's Lucretian dimension. Finally, Chapter 5 discusses heroic ambivalence and 'tragical satyre', and Lucretian elements in Dryden's Aeneis. The Conclusion draws together unifying features of the work, the 'secret Beauties' of Dryden's translation that vindicate his aim to bear the 'weight of the whole Author' and show his responsiveness to 'Virgil's Design'. I argue that it is through this translation that Dryden finds his English voice.
20
Chomse, Siobhan Mary. "Sublime structures : architecture, instability and ruins in Virgil, Lucan and Tacitus". Thesis, University of Cambridge, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709505.
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Platt, Mary Hartley. "Epic reduction : receptions of Homer and Virgil in modern American poetry". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9d1045f5-3134-432b-8654-868c3ef9b7de.
Testo completoAbstract (sommario):
The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.
22
Drãgãnoiu, Claudia. "La Prose littéraire d'exil : Vintila Horia, Constantin Virgil Gheorghiu et L.M.Arcade". Strasbourg, 2011. http://www.theses.fr/2011STRA1028.
Testo completoAbstract (sommario):
Le problème posé par la littérature d'exil après la chute du régime communiste, en 1989, n'est plus de la rendre familière aux lecteurs roumains. Notre but maintenant devrait être la synchronisation de cette littérature, ayant souvent des dimensions impressionnantes, avec la création artistique du pays d'origine, bref en trouver un canon littéraire commun. Les auteurs qui font l'objet de cet ouvrage - Vintilă Horia, Constantin Virgil Gheorghiu et L. M. Arcade - ont fait de l'exil le point de départ de leur œuvre, en affirmant que l'exil est par excellence la condition de l'homme au XXème siècle. Un des buts de cet ouvrage est de trouver des éléments communs dans les oeuvres, bien différentes, des trois écrivains roumains (Horia, Gheorghiu, Arcade) pour lesquels le sentiment de dépaysement est devenu le signe du tragisme existential ; l'autre vise à établir une correspondance entre l'évolution de la littérature écrite à l'étranger et celle soumise aux rigueurs communistes, ayant comme critère initial la période de créationThe challenge raised by exile’s literature nowadays is not only to become familiar with it. Our main purpose should be now to synchronize this literature, impressive in size, with the artistic creation from Romania, briefly to find a common literary canon. The writers subjected to analyze -Vintilă Horia, Constantin Virgil Gheorghiu and L. M. Arcade – created their literary work based on the notion of exile. The authors applied this notion to other domains and came to the conclusion that it represents the leading feature of 20th century man. One of the main purposes of this thesis is to find common elements in the literary work of three Romanian writers (Horia, Vintila and Arcade) for whom the feeling of alienation from their own country represents a sign of tragic existence; my other goal aims to establish a connection between the evolution of the literature written abroad and the one subjected to the rigors of the communist regime, considering the criterion of the creation period
23
Baker, Jennifer. "Like a Virgil: Georgic Ontologies of Agrarian Work in Canadian Literature". Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39179.
Testo completoAbstract (sommario):
In this dissertation, I argue that two dominant perspectives on farming in Canada—the technoscientific capitalist perspective on modern industrial farming and the popular vision of hard-won survival on the family farm—both draw on narrative and aesthetic strategies that have deep roots in distinct, but related variations of the georgic tradition, which arrived in Canada in the eighteenth century and continues to shape literary representations and material practices today. Critics of Canadian literature have tended to subsume the georgic under the category of pastoral, but I argue that the georgic is a separate and more useful category for understanding the complex myths and realities of agricultural production in Canada precisely because it is a literary genre that focuses on the labour of farming and because it constitutes a complex and multi-generic discourse which both promotes and enables critique of dominant agricultural practices. I argue that, despite its sublimation beneath the pastoral, the georgic mode has also been an important cultural nexus in Canadian literature and culture, and that it constitutes a set of conventions that have become so commonplace in writing that deals with agricultural labour and its related issues in Canada that they have come to seem both inevitable and natural within the Canadian cultural tradition, even if they have not been explicitly named as georgic.
By analyzing a variety of texts such as Oliver Goldmith’s The Rising Village, Isabella Valancy Crawford’s Malcolm’s Katie, Susanna Moodie’s Roughing It in the Bush, Frederick Philip Grove’s Settlers of the Marsh, Martha Ostenso’s Wild Geese, Al Purdy’s In Search of Owen Roblin, Robert Kroetsch’s “The Ledger,” Christian Bok’s Xenotext, Rita Wong’s Forage, and Phil Hall’s Amanuensis, I recontextualize Canadian writing that deals with agrarian work within two distinct but related georgic traditions. As Raymond Williams and others have shown, the georgic’s inclusion of both pastoralizing myths and material realities makes it useful for exploring ecological questions. The georgic is often understood in terms of what Karen O’Brien has called the imperial georgic mode, which involves a technocratic, imperialist, capitalist approach to agriculture, and which helped theorize and justify imperial expansion and the technological domination of nature. But as ecocritics like David Fairer, Margaret Ronda, and Kevin Goodman have argued, the georgic’s concern with the contingency and precariousness of human relationships with nonhuman systems also made it a productive site for imagining alternatives to imperial ways of organizing social and ecological relations. Ronda calls this more ecologically-focused and adaptable georgic the disenchanted georgic, but I call it the precarious georgic because of the way it enables engagement with what Anna Tsing calls precarity.
Precarity, as Tsing explains, describes life without the promise of mastery or stability, which is a condition that leaves us in a state of being radically dependent on other beings for survival. “The challenge for thinking with precarity,” she writes, “is to understand the ways projects for making scalability have transformed landscape and society, while seeing also where scalability fails—and where nonscalable ecological and economic relations erupt” (42). By tracing the interplay between imperial and precarious georgic modes in Canadian texts that have mistakenly been read as pastoral—from Moodie’s settler georgic to the queer gothic georgic of Ostenso’s Wild Geese to the provisional and object-oriented georgics of Robert Kroetsch and Phil Hall—I argue that the precarious georgic strain has always engaged in this process of thinking with precarity, and that it holds the potential for providing space to re-imagine our ecological relations.
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Kendal, Gordon McGregor. "Translation as creative retelling : constituents, patterning and shift in Gavin Douglas' 'Eneados' /". St Andrews, 2008. http://hdl.handle.net/10023/554.
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Lo, Dico Mauro. "Augustanism in Henry James : his reception of Horace, Virgil, Livy & Tacitus". Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/53739/.
Testo completoAbstract (sommario):
This thesis examines the influence of Latin literature and values on the fiction of Henry James, with particular reference to the authors who wrote under Augustus, the first emperor of Rome. The similarities between their works and his are analysed in terms of structure, style, setting, plot, theme, imagery, characterisation and didacticism by close readings and comparisons of the texts. The writings to be compared are Horace's Odes with James's “Daisy Miller,” Virgil's Aeneid with The Ambassadors, and the histories of Livy and Tacitus with The Golden Bowl. In the end, this dissertation attempts to demonstrate how the morals that James sought to commend to his young and burgeoning America were based on those of the ancient Augustan age, a period that he may have believed bore a strong resemblance to his own times, while he may also have felt that emulation and appropriation of these canonical classical writers could help him to become a classic himself. The results of this enquiry are offered as a contribution to both classical reception studies and Jamesian studies.
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Calvert, Ian Charles. "Servant to His Majesty : John Dryden and the Augustan reception of Virgil". Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.665459.
Testo completoAbstract (sommario):
This dissertation is divided into three parts. The first part, 'Copious Dryden', considers the various inter-connected factors which inform the noticeably expansive status of Dryden's translations of Virgil. It argues that the underlying principle behind these factors is Dryden's desire to demonstrate how his own approach to Virgil has been shaped by various key poets who acted as intermediaries for the original texts. These poets stretch across a broad chronological range, from Virgil's near-contemporaries (Horace, Ovid) to Dryden's (Denham, Cowley, Milton) and a range of figures in between (Lucan, Statius, Spenser), including Dryden's own younger self. It subsequently identifies three distinct strands of Virgil's reception - the Prosodic, Laureate, and Lacrimose Virgil - before discussing their origins and their influence on Dryden's Virgil. The second part, 'Footfalls', discusses how Dryden's first translations from the Aeneid in the 1680s are noticeably self-reflexive: they use a number of characters from the poem to explore the nature of his own inheritance from Virgil, both as a poet and as a translator, a relationship which incorporates erotic, fraternal and filial aspects. The third part, 'Original Copies', explores how Dryden concentrated on a number of father-son pairings in Virgil as a means of meditating on questions of political and poetical succession, and the frequent points of contact between these spheres. It argues this ultimately allowed Dryden not only to proclaim his political loyalties to the displaced Jacobite branch of the House of Stuart, but also to allot himself a central, if fluid, role within a poetical dynasty, thanks to his conviction that poetical tradition is bestowed as well as inherited. This dissertation concludes with a brief consideration of Dryden's own poetic successors, Congreve and Pope, and the manner in which they claimed their place within this poetic dynasty.
27
Nelis, Damien P. "The Aeneid and the Argonautica of Apollonius Rhodius". Thesis, Queen's University Belfast, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297280.
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Canitz, Auguste Elfriede Christa. "Gavin Douglas's Prologues to his Eneados : the narrator in quest of a new homeland". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28634.
Testo completoAbstract (sommario):
In translating the Aeneid as faithfully as possible, Gavin Douglas saw himself as an innovator, breaking with the tradition of adaptation and instead presenting a faithful literary translation. In the Prologues to his Eneados Douglas discusses his theoretical principles, comments on the work of his predecessors in the transmission of Virgil in English, and raises issues pertinent to the contents of the Books of the Aeneid. However, the Prologues also reflect Douglas's perception of a conflict between his religious and artistic impulses, and show his gradual resolution of this conflict inherent in his dual role as critical artist and churchman.
By placing Douglas's Prologues in the context of prologues by other medieval writers, Chapter I shows that Douglas's new approach to faithful literary translation is matched by his independence in the employment of conventional literary devices, which he revitalizes by using them in a meaningful way rather than applying them because custom so dictates. Chapter II focuses on the narrator in his various and divergent roles, especially those of the poet and priest; while these two roles initially seem to make conflicting demands on the translator-narrator, he eventually resolves the conflict and recognizes a sublime harmony between divine and human artistry. Chapter III examines Douglas's practice of translation in light of his own theory; even though Douglas tends to "modernize" Virgil, he produces a genuine translation in which his avowed aims are largely realized. Chapter IV focuses on the connexions of the individual Prologues with their respective Books and demonstrates that even though the translation itself is generally accurate, the interpolation of the Prologues with their re-interpretation of common archetypes as foreshadowings of Christian doctrine causes a radical transvaluing of the Aeneid as a Christian allegory. Chapter V shows that there is not only a linkage between the Prologues and Books, but that the Prologues are also connected to each other by the narrator's search for a theologically acceptable yet also artistically satisfying re-creation of a non-Christian work. Aeneas and the translator-narrator are thus engaged in parallel quests during which they have to overcome physical obstacles and resolve inner conflicts before they can reach their final destinations.Arts, Faculty of
English, Department of
Graduate
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Steenkamp, Johan Virgil. "Die goueverhouding in die struktuur van Vergilius se Ecloga-boek". Pretoria : [s.n.], 2002. http://upetd.up.ac.za/thesis/available/etd-07242003-164104.
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BERTIN, EMILIANO. "CONTIBUTI ALL'EDIZIONE CRITICA DELL'ENEIDE IN COMPENDIO VOLGARIZZATA". Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/289.
Testo completoAbstract (sommario):
La tesi di dottorato riporta alcuni contributi (tra cui un saggio di edizione critica) riguardanti i volgarizzamenti dell'Eneide in compendio (sec. XIV), opera più volte associata con il nome del fiorentino Andrea Lancia, celebre per i suoi interessi danteschi.The doctoral thesis quotes several studies (among which an essay of critical edition) about transmission of the Aeneid's abridgement's translations (XIVth century): these works have been often associated with the name of the Florentine notary Andrea Lancia, who is famous because of his interests in Dante.
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BERTIN, EMILIANO. "CONTIBUTI ALL'EDIZIONE CRITICA DELL'ENEIDE IN COMPENDIO VOLGARIZZATA". Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/289.
Testo completoAbstract (sommario):
La tesi di dottorato riporta alcuni contributi (tra cui un saggio di edizione critica) riguardanti i volgarizzamenti dell'Eneide in compendio (sec. XIV), opera più volte associata con il nome del fiorentino Andrea Lancia, celebre per i suoi interessi danteschi.The doctoral thesis quotes several studies (among which an essay of critical edition) about transmission of the Aeneid's abridgement's translations (XIVth century): these works have been often associated with the name of the Florentine notary Andrea Lancia, who is famous because of his interests in Dante.
32
FOGLI, Anna. ""...in ventos vita recessit": la Didone di Giovan Battista Giraldi Cinzio fra invenzione drammaturgica e progetto per la scena". Doctoral thesis, Università degli studi di Ferrara, 2012. http://hdl.handle.net/11392/2389465.
Testo completoAbstract (sommario):
On the basis of an innate predisposition to tragic reading, already well established by ancient and modern critics, we tried to identify in Virgil's episode dedicated to Dido that dimension of accomplished pièce, so to speak, extrapolated from the context of narrative epic, through the reconstruction of the mantuan poet's theatrical imaginary. From the evidence of a direct experience and a probable knowledge of contemporary performing arts practice, we have attempted the origins of virgilian "directing skills" that helped develop the myth sub species ragoediae, in terms of drama, vision and representation.
Reflection on the generative nucleus of the legend's tragic declination has been used as a path through which summarize the different forms of dramatization of the episode from the late antiquity and medieval experiences, to the exploit in the Renaissance that sees the synchronous and geographically transversal combination of different tragedies entitled to the queen of Carthage.
Among the various possible outcomes in the theater of the XVI century we chose the tragic experience of Giovan Battista Giraldi Cinthio for his dramatic and scenic features and his ability to grasp the inherent theatricality of the virgilian narrative episode.
Approaching to a deep investigation into Dido tragedy, it was established to propose a new edition, an interpretative one, using the only cinquecentina (posthumous) edited in 1583. Missing the manuscript and having no other prints but a recent diplomatic transcription made by the spanish scholar Irene Romera Pintor (Madrid, Editorial Complutense, 2008) – it has not been possible to proceed to the critical edition.
The accurate reconstruction of the text is the essential link between the successive enlargements with which we attempted to outline the trends of giraldian culture, to see its applications in his theories of drama, on his theatrical project , and directly on the play.
Starting from a contextual biography of the “uomo di teatro” with the purpose of evading the traditional and conventional literary measure and bring it instead to the socio-cultural complexity, to the conditions that have promoted, influenced and hindered his work, we attempted to probe the extended and expert performing practice of the ferrarese playwright, as well as his theoretical proposals, highlightened precisely through the connection with the dramatic production and with the "directing" practice.
Giraldi's Dido is not to be considered a mere deployment of compositional techniques, or even an erudite example set within a period of academic and theoretical debate about the nature of the tragic genre, but the result of many interests of its author.
The critical line we chose aims to stress the dialectic between theory and representation practice, between tradition and innovation, between fidelity to the models and watchful eye on the contemporary world, taking into account the personality of Giraldi Cinthio and his material needs addressed to the scene. For this purpose we decided to use the scenic and dramaturgical analysis through which probe the interrelationship between text and theater practice. This method has therefore been carried out on a tripartite path: the reconstruction of detailed references to the virgilian source and to the literary tradition that has allowed us to understand the philological work with which the ancient myth has been written and bowed to the contemporary demands; the recognition of moral,ideological civil instances, that show how giraldian Dido is a snippet of the history of civilization of the Sixteenth century Ferrara; and finally the reconstuction of the game of similarities and transgressions between theoretical works and elements of the spectacular text by which we can let emerge some of the real substance of the textual structure's scenic potential.
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Tate, Nahum Craven Robert R. "A critical old-spelling edition of Nahum Tate's Brutus of Alba". New York : Garland Pub, 1987. http://books.google.com/books?id=Dh1aAAAAMAAJ.
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Powell, James Edwin. "Images of Virgil : some examples of the creative approach to the Virgilian biography in antiquity". Thesis, Durham University, 2011. http://etheses.dur.ac.uk/3357/.
Testo completoAbstract (sommario):
This thesis explores the reception of the Virgilian biography in antiquity. The ancients were interested not only in the Virgilian oeuvre, but also in the man who created these works. The thesis will investigate the ways in which various authors respond to Virgil’s life, with an especial emphasis on how the Virgilian biography is something amenable to creative appropriation and manipulation. The authors we will be studying both respond to, and contribute towards the construction of, the biographical tradition of Virgil. Chapter 1 seeks to complicate the idea of Virgil’s poetic career by considering how certain writers broach the issue of the Culex as a putative piece of Virgilian juvenilia. The second chapter examines how Virgil’s tomb and the cult which surrounded it play a part in the biographies and autobiographies of his epic successors. The third chapter offers a fresh look at biographical readings of the Eclogues, focusing on the different ways in which this practice is carried out, and the different purposes to which it is put. The final chapter looks at Tacitus’ presentation of the Virgilian biography in the Dialogus de Oratoribus, examining how the historian raises the question of Virgil’s political allegiances, and how he interrogates the idealization of Virgil’s life.
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MARCUCCI, MARINA LETTI. "MANUEL ODORICO MENDES AND THE TRANSLATION OF THE CLASSICS: THE PARATEXTS IN A BRAZILIAN VIRGIL". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=32352@1.
Testo completoAbstract (sommario):
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
No Brasil oitocentista, além do desenvolvimento de uma literatura preocupada em pensar os elementos nacionais, é possível identificar a tradução dos clássicos com objetivo de instruir a sociedade letrada. Manuel Odorico Mendes foi significativo para esse movimento, optando pela tradução e emulação de Virgílio e Homero a fim de utilizá-los como ferramenta para um projeto político-pedagógico de formação. O maranhense foi o primeiro tradutor integral dos poetas latino e grego no Brasil e desenvolveu pequenos ensaios com considerações teóricas e historiográficas, ainda que não de forma sistemática, sobre a língua portuguesa, a tradução e os antigos. Suas notas são um ato de linguagem que, em conjunto com o material traduzido, podem ser entendidas como um manual de instrução para os letrados do novo cenário do Brasil do século XIX.
In nineteenth-century Brazil, in addition to the development of a literature concerned with the national elements, it is possible to identify the translation of the classics in order to instruct the literate society. Manuel Odorico Mendes was significant for this movement, opting for the translation and emulation such as Virgil and Homer in order to use them as tools for a political-pedagogical project of formation. Odorico Mendes was the first integral translator of the Latin and Greek poets in Brazil and developed essays that accompanied his translations. His notes are an act of language that, together with the translated material, can be understood as an instruction manual for the literates of the new scenario of nineteenth century in Brazil.
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Zandi, Sophia. "Grotesque, Bodily, and Hydrous: The Liminal Landscapes of the Underworld In Homer, Virgil, and Dante". Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1625864941501779.
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Flint, Angela. "The influence of contemporary events and circumstances on Virgil's characterization of Aeneas". Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019/1540.
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Virgil, Christopher [Verfasser], e Andreas [Akademischer Betreuer] Hördt. "Vorbereitung und Durchführung von dreikomponentigen Magnetfeldmessungen mit dem Göttinger Bohrloch Magnetometer / Christopher Virgil ; Betreuer: Andreas Hördt". Braunschweig : Technische Universität Braunschweig, 2011. http://d-nb.info/1175824550/34.
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Klecker, Elisabeth. "Dichtung über Dichtung : Homer und Virgil in lateinischen Gedichten italienischer Humanisten des 15. und 16. Jahrhunderts /". Wien : Verl. der Österreichischen Akademie der Wissenschaften, 1994. http://catalogue.bnf.fr/ark:/12148/cb35834022b.
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Barry, Douglas. "Echoes of Laocoön's Warning in Letters from an American Farmer". ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1293.
Testo completoAbstract (sommario):
A dramatic shift in tone in the final letter of J. Hector St. John de Crèvecoeur's Letters from an American Farmer reveals Farmer James' conflicting attitudes about an independent America. When the letters are juxtaposed with a Western myth of origin such as Virgil's Aeneid, it becomes clear that Crèvecoeur is forcing his narrating persona to repeat a pattern of civilization – destruction, renewal – on which all of Western civilization is based. The sudden pessimism that erupts in the penultimate "Distresses of a Frontier Man" is symptomatic of James' anxiety about the American Revolution and the resulting disruption in his bucolic way of life.
41
Cherer, Brian Francis. "Voice, focalization and subjectivity in Virgil's Aeneid, Book 1 : a post-narratological approch /". free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3115533.
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Schott, C. Joseph. "Hesiod's 'Eris and Vergil's labor in the Georgics /". The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487854314870809.
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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.
Testo completoAbstract (sommario):
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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Robb, Ian S. "Latin into Scots : the principles and practice of Gavin Douglas in his translation of the 'Aeneid' of Virgil". Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/11082.
Testo completoAbstract (sommario):
The Introduction takes the form of an account of Douglas's aims and methods in translation as stated by himself. One of the predominant features of the Eneados is the amount of expansion, so this subject is introduced in the first chapter, necessarily briefly, because it is a topic which recurs in association with other features throughout the poem and has to be returned to more than once. Another predominant feature is the large number of inaccuracies in Douglas's translation. As surprisingly little attention has been paid to this matter, several chapters have been devoted to the various forms which it takes. The aim of this first part of the thesis is to provide material to disprove the claim that Douglas was an accurate translator, a claim still frequently made. In order that the negative aspects of Douglas's work should not monopolise the study, a number of parallel passages are discussed, where Douglas's version is set out along with that of one of five other poets, spanning the period from the 16th century to the present day, the aim being to draw attention to Douglas's positive poetic skills. Three appendices are added, the last of which takes the form of a collation of the 1501 (Paris) edition of Virgil's Aeneid, which Douglas principally used, with the Oxford Classical Text (1969) This has been included to disprove another statement, to the effect that his apparent inaccuracies disappear when related to the 1501 text. The variations between the two texts, although numerous, are mainly insignificant, and only a very few of Douglas's inaccuracies are to be explained in this way.
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Secci, Davide Antonio <1979>. "Re-trodden paths and structural cohesion in Virgil: the function of limen in book II of the Aeneid". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/827/1/Tesi_Secci_Davide_Antonio.pdf.
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Secci, Davide Antonio <1979>. "Re-trodden paths and structural cohesion in Virgil: the function of limen in book II of the Aeneid". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/827/.
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Scarborough, Julia Crosser. "The Silent Shepherd: Pastoral as a Tragic Strategy in Virgil's Aeneid". Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11611.
Testo completoAbstract (sommario):
Virgil's Aeneid departs from his earlier pastoral poetry in featuring herdsmen as agents of violence. His Eclogues characterize herdsmen as musicians who are helpless against the violence of outsiders. In the Aeneid, in contrast, herdsmen both unwittingly catalyze and deliberately take part in acts of war; they never make music. In similes in the epic, the hero Aeneas is compared to a herdsman engaged in activities that are not typically pastoral. Partial studies of pastoral elements in the epic have focused on evaluating Aeneas in moral or political terms or on the aesthetic function of pastoral motifs in "reducing" the subject matter of heroic epic to an Alexandrian scale. I take a different approach, examining pastoral motifs in the Aeneid in relation to Greek models in epic and tragedy. The tragedians regularly use pastoral figures, language, landscapes, and music to set up ironic contrasts between peace and its violation. Identifying this tragic use of pastoral offers insight into Virgil's strategy of intensifying the shocking effect of violence by juxtaposing it with images of pastoral peace. Virgil develops the tragic ambiguity of characters, landscapes, and musical language with pastoral associations to express the underlying tragic tension between Aeneas' constructive aims as a leader and his inevitably destructive methods.The Classics
48
Pioras, Valeria-Maria. "Les vies parallèles des oeuvres littéraires : auto-traduction et ré-écriture chez Miron Kiropol, Ilie Constantin et Virgil Tanase". Toulouse 2, 2003. http://www.theses.fr/2003TOU20007.
Testo completoAbstract (sommario):
L'auto-traduction représente une situation à part dans l'univers des lettres. Il s'agit comme dans le cas des écrivains Miron Kiropol, Ilie Constantin et Virgil Tanase qui font l'objet de cette étude, d'auteurs bilingues qui se sont traduits eux-mêmes. L'analyse proprement dite est précédée d'un aperçu de la diaspora roumaine en France ; d'un regard du côté du bilinguisme et d'une ébauche des caractéristiques de l'auto-traduction. Enfin le dernier chapitre comprend un petit lexique de traductologie. Les oeuvres auto-traduites des trois écrivains ont subi des modifications importantes lors du passage d'une langue à l'autre, allant jusqu'à la ré-écriture. La mise en parallèle des oeuvres originales et de leurs doubles étrangers permettent d'apprécier l'étendue et la nature des différences entre le texte de départ et celui d'arrivéeSelf-translation represents a special situation in the field of literature. We have to do, as in the case of Miron Kiropol, Ilie Constantin and Virgil Tanase we have focused on in our present study, with bilingual authors who translated their works by their own. The analysis is preceded by a general view of the Romanian diaspora in France, specific observations concerning bilingualism and a survey of the main features of self-translation. Finally, our last chapter contains a basic dictionary of translation theory terms. The three writers' self translated works underwent important modifications when turning from one language into another, going up to re-writing or re-creating the work. By contrasting their original works with their foreign double we manage to evaluate the dimensions and nature of the discrepancies to be found between the source text (the starting one) and the target one
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Ohge, Christopher M. "Paul Bowles and his early mentors: a life in letters (1930-1943) to Gertrude Stein, Aaron Copland, and Virgil Thomson". Thesis, Boston University, 2012. https://hdl.handle.net/2144/12549.
Testo completoAbstract (sommario):
Thesis (Ph.D.)--Boston University
Please note: Editorial Studies works are permanently embargoed in OpenBU. No public access is forecasted for this item. To request private access, please click on the locked Download file link, and fill out the appropriate web form.Paul Bowles and His Early Mentors presents soundly edited, contextually annotated, and mostly unpublished letters, notes, and postcards from Paul Bowles to Gertrude Stein, Aaron Copland, and Virgil Thomson. Influenced by the life-in-letters convention, it tells a story of Bowles's life from his letters to three of his principal mentors; it also serves as a rumination on Bowles's place among other writers in his generation and in the historical tradition of American expatriate writing. The sampling of letters accounts for Bowles's development as a writer by focusing on a period of time (1930 to 1943) when nevertheless he thought of himself primarily as a composer. Of the 140 letters contained in this collection, only 36 have been published. As a result it serves to strengthen the nexus between literaty, musical, and biographical studies of Bowles. The first three chapters consist of Bowles's early career, when his chief concerns were travel and artistic expression. This period constitutes the body of this edition, as it provides a thorough study of an important period in his life. Toward the end of the second chapter we see the emergence of Thomson as a stronger mentor than Stein and Copland. The third chapter has Bowles meeting his future wife Jane, and then their early adventures together. The concluding sections (Interim and Coda) are supplementary meditations: the Interim culminates with Bowles's settling in Tangier, and his literary success with The Sheltering Sky and The Delicate Prey and Other Stories; the Coda includes a sampling of letters to Thomson from 1955 to 1983. This volume contributes to Bowles scholarship by not only making available unpublished letters to a few prominent correspondents, but also by revealing some under-appreciated and undocumented details that will allow us to make judgments as to competing interpretations about Bowles's life and work. The essence of this edition is the arc of true friendship and the dynamics of mentorship, and the mutual appreciation among geniuses remains a force in the study of his letters.
2031-01-01
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Heil, Andreas. "Maronis Mentula: Vergil als Priapeen-Dichter bei Martial (Mart. 9, 33)". De Gruyter, 2013. https://tud.qucosa.de/id/qucosa%3A71058.
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