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Articoli di riviste sul tema "Virgil"

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Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 10 marzo 2023

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1

Deangeli, Edna S., e Jasper Griffin. "Virgil". Classical World 82, n. 6 (1989): 473. http://dx.doi.org/10.2307/4350490.

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2

Wiltshire, Susan Ford, e David R. Slavitt. "Virgil". Classical World 86, n. 6 (1993): 523. http://dx.doi.org/10.2307/4351424.

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3

Ganiban, Randall T. "VIRGIL". Classical Review 50, n. 1 (aprile 2000): 42–45. http://dx.doi.org/10.1093/cr/50.1.42.

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4

Titzer, Ben L. "Virgil". ACM SIGPLAN Notices 41, n. 10 (16 ottobre 2006): 191–208. http://dx.doi.org/10.1145/1167515.1167489.

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5

Gaisser, Julia Haig, Virgil e Richard F. Thomas. "Virgil: Georgics". Classical World 84, n. 5 (1991): 422. http://dx.doi.org/10.2307/4350897.

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6

Moorton,, Richard F., Virgil e R. A. B. Mynors. "Virgil: Georgics". Classical World 86, n. 4 (1993): 367. http://dx.doi.org/10.2307/4351377.

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7

Hardie, Philip. "AUGUSTINE’S VIRGIL". Classical Review 50, n. 1 (aprile 2000): 91–93. http://dx.doi.org/10.1093/cr/50.1.91.

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8

Wigmore, P. J. "F.A.B. Virgil!" Physics World 5, n. 5 (maggio 1992): 18–19. http://dx.doi.org/10.1088/2058-7058/5/5/20.

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9

Mack, Sara, R. A. B. Mynors e Joseph Farrell. "Virgil, Georgics". American Journal of Philology 114, n. 2 (1993): 325. http://dx.doi.org/10.2307/295321.

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10

Infante, Guillermo Cabrera, e Alfred Mac Adam. "Piñera’s Virgil". Review: Literature and Arts of the Americas 53, n. 1 (2 gennaio 2020): 107–8. http://dx.doi.org/10.1080/08905762.2020.1748467.

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11

Lowe, Dunstan. "WOMEN SCORNED: A NEW STICHOMETRIC ALLUSION IN THE AENEID". Classical Quarterly 63, n. 1 (24 aprile 2013): 442–45. http://dx.doi.org/10.1017/s0009838812000742.

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Abstract (sommario):
Intense scrutiny can raise chimaeras, and Virgil is the most scrutinized of Roman poets, but he may have engineered coincidences in line number (‘stichometric allusions’) between certain of his verses and their Greek models. A handful of potential examples have now accumulated. Scholars have detected Virgilian citations of Homer, Callimachus and Aratus in this manner, as well as intratextual allusions by both Virgil and Ovid, and references to Virgil's works by later Roman poets using the same technique. (For present purposes I disregard the separate, though related, phenomenon of corresponding numbers of lines in parallel passages: G. Knauer, Die Aeneis und Homer (Göttingen, 1964) suggests several examples of such correspondences between Homer and Virgil, especially in speeches. Another purely formal mode of allusion faintly present in Roman poetry is homophonic translation (the technique which Louis Zukofsky's 1969 translations of Catullus pursue in extenso); thus Virgil's fagus, beech, corresponds with Theocritus' phagos, oak.) If genuine, the phenomenon lacks any consistent method or regular pattern (and the degree of plausibility varies); if genuine, it is very rare, even if accidents in textual transmission could have obscured some examples; if genuine, it probably originated in the Hellenistic period, although such a case has yet to be made. Virgil presently seems the earliest and most copious practitioner of stichometric allusion. A previously undetected example in the Aeneid is proposed below.
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12

La Bua, Giuseppe. "LATE CICERONIAN SCHOLARSHIP AND VIRGILIAN EXEGESIS: SERVIUS AND PS.-ASCONIUS". Classical Quarterly 68, n. 2 (dicembre 2018): 667–80. http://dx.doi.org/10.1017/s0009838818000551.

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Late Antiquity witnessed intense scholarly activity on Virgil's poems. Aelius Donatus’ commentary, the twelve-bookInterpretationes Vergilianaecomposed by the fourth-century or fifth-century rhetorician Tiberius Claudius Donatus and other sets of scholia testify to the richness of late ‘Virgilian literature’. Servius’ full-scale commentary on Virgil's poetry (early fifth century) marked a watershed in the history of the reception of Virgil and in Latin criticism in general. Primarily ‘the instrument of a teacher’, Servius’ commentary was intended to teach students and readers to read and write good Latin through Virgil. Lauded by Macrobius for his ‘learning’ (doctrina) and ‘modesty’ (uerecundia), Servius attained supremacy as both a literary critic and an interpreter of Virgil, the master of Latin poetry. Hisauctoritashad a profound impact on later Virgilian erudition. As Cameron notes, Servius’ commentary ‘eclipsed all competition, even Donatus’. Significantly, it permeated non-Virgilian scholarship from the fifth century onwards. The earliest bodies of scholia on Lucan, the tenth-century or eleventh-centuryCommenta BernensiaandAdnotationes super Lucanumand thescholia uetustioraon Juvenal contain material that can be traced as far back as Servius’ scholarly masterpiece.
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13

Jenkyns, Richard. "Virgil and Arcadia". Journal of Roman Studies 79 (novembre 1989): 26–39. http://dx.doi.org/10.2307/301178.

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There is an obstacle to our natural appreciation of Virgil'sEclogueswhich looms as large in their case as in that of any poetry whatever. TheEcloguesform probably the most influential group of short poems ever written: though they themselves take Theocritus as a model, they were to become the fountainhead from which the vast and diverse tradition of pastoral in many European literatures was to spring. To use them as a model was in itself to distort their character: it is one of the greatest ironies of literary history that these elusive, various, eccentric poems should have become the pattern for hundreds of later writers. Moreover, the growth of the later pastoral tradition meant that many things were attributed to Virgil which are not in Virgil. Sometimes they were derived from interpretations which were put upon Virgil in late antiquity but which we now believe to be mistaken; sometimes they are misinterpretations of a much later date; sometimes they originated from new developments in pastoral literature which their inventors had not meant to seem Virgilian, but which in the course of time got foisted back on to Virgil nevertheless. It is hard, therefore, to approach theEcloguesopenly and without preconceptions about what they contain, and even scholars who have devoted much time and learning to them have sometimes continued to hold views about them for which there are upon a dispassionate observation no good grounds at all. No poems perhaps have become so encrusted by the barnacles of later tradition and interpretation as these, and we need to scrape these away if we are to see them in their true shape. My aim here is to do some of this scraping by examining the use of Arcadians and the name of Arcadia in Virgil's work.
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14

Lanzarone, Nicola. "Annotazioni inedite all’Aetna di scuola pomponiana (cod. Corsinianus 1839)". Philologus 163, n. 2 (6 novembre 2019): 331–57. http://dx.doi.org/10.1515/phil-2019-8888.

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Abstract This is the editio princeps of the notes on the Aetna (a poem attributed to Virgil) that are contained in the codex Corsinianus 1839 (Rome, Biblioteca Corsiniana). These notes are from Pomponius Laetus’ school (XV century): many of them are similar or identical to those on the same poem that are transmitted by the codex London, British Library, Sloane 777, which is an autograph by Pomponius. These annotations are part of Pomponius’ exegesis on Virgil, a very importtant chapter of Virgil’s centuries-old exegesis.
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15

Mottram, Brett. "Nugae on the Block: Maffeo Vegio (1407–1458), Virgil, and the Early Quattrocento Polemic over Light Verse". Journal of Medieval and Early Modern Studies 52, n. 2 (1 maggio 2022): 313–34. http://dx.doi.org/10.1215/10829636-9687900.

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Studies on the Renaissance reception of Virgil as an epic, georgic, and bucolic poet typically overshadow Virgil’s reception as an author of light, ludic verse. In 1428, Maffeo Vegio (1407–1458) wrote his Supplementum to Virgil’s Aeneid, an earnest attempt to complete the revered ancient epic. A decade later, however, Vegio was alluding to Virgil’s poetry irreverently in distichs and epigrams, regarding Virgil’s example as justification for poetic frivolity. The vogue for such poetic trifles sparked controversy between Vegio and his literary associates over poetic decorum and the moral limits of poetry. This article situates Vegio’s short poems within this literary-historical context, showing how the reception of Virgil intersected with a fierce polemic over the status and legitimacy of light verse. It sheds new light not only on Vegio’s poetics of Virgilian allusion, but also on the role of literary networks in shaping the theory and practice of Renaissance imitation and the construction of poetic identity.
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16

Montorfano, Tommaso. "Virgilio e Orazio in un dialogo a distanza (Verg. Ecl. 4.4; Hor. Epod. 16.1 e Verg. Aen. 1.291)". ACME - Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano, n. 03 (dicembre 2012): 253–64. http://dx.doi.org/10.7358/acme-2012-003-mont.

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Abstract (sommario):
At a ten-year mark, a verse written by Virgil (Aen. 1.291) looks like a longexpected answer to his friend Horace, who had in turn alluded to a Virgil’s poem in epod. 16. During the hundred-year-old discussion about the relationships between eclogue 4 and epode 16, the stylistic element known as "motto" has seemed conclusive to determine the precedence of Virgil’s poem on Horace’s one. At different stages, Alberto Cavarzere argued that Hor. epod. 16.1 was an answer to Verg. ecl. 4.4. In my opinion, the same rhetoric device was used about ten years later by Virgil, answering in turn to Horace’s "motto". As a conclusion, we can indeed relate Hor. epod. 16.1 and Verg. Aen. 1.291, since from several points of view (content, context, style, metric features) Virgil’s verse seems to continue the alexandrine dialogue engaged ten years before by Horace’s epode.
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17

Beare, Rhona. "What did Virgil's swallows eat?" Classical Quarterly 50, n. 2 (dicembre 2000): 618–20. http://dx.doi.org/10.1093/cq/50.2.618.

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Juturna drives Turnus’ chariot now here now there, hoping to throw off Aeneas’ pursuit, but he follows the twisted circles (tortos orbes, 12. 481) of her course. Virgil compares her to a black hirundo flying through a rich man's house out into the colonnades and then round the pools or fishtanks. Hirundo can mean swallow, martin, or even swift. All these birds eat insects and air-borne spiders; they do not eat human food. The common swallow chiefly eats flies, and feeds the nestlings on flies; it also eats wasps and bees. Its average prey size is much greater than the house martin's. Virgil's hirundo gathers pabula parua for the nestlings. W F. J. Knight in the Penguin translation writes ‘tiny scraps of food’; C. Day Lewis translates ‘crumbs of food’. If Virgil meant scraps of meat or crumbs of bread, stolen from the rich man's dinner table, then Virgil did not know what these birds eat.
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18

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

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19

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

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20

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

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21

Quigg, Chris, e Mel Shochet. "Alvin Virgil Tollestrup". Physics Today 73, n. 6 (1 giugno 2020): 60. http://dx.doi.org/10.1063/pt.3.4506.

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22

Talbot, J. "Eclogue I: Virgil". Literary Imagination 12, n. 1 (21 luglio 2009): 68–72. http://dx.doi.org/10.1093/litimag/imp041.

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23

Ornstein, Allan. "On Virgil Clift". Peabody Journal of Education 71, n. 1 (gennaio 1996): 39–43. http://dx.doi.org/10.1207/s15327930pje7101_6.

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24

KOVACS, DAVID, e BIJAN OMRANI. "VIRGIL, ECLOGUES 4.28". Classical Quarterly 62, n. 2 (20 novembre 2012): 866–68. http://dx.doi.org/10.1017/s0009838812000390.

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25

Sobel, Richard. "The virgil role". Journal of Medical Humanities 17, n. 2 (giugno 1996): 85–89. http://dx.doi.org/10.1007/bf02276810.

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26

Bernstein, Neil. "Statius and Virgil". Mnemosyne 62, n. 2 (2009): 323–26. http://dx.doi.org/10.1163/156852508x321392.

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27

Briggs, Ward. "Virgil between wars". International Journal of the Classical Tradition 6, n. 1 (settembre 1999): 88–94. http://dx.doi.org/10.1007/bf02689213.

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28

Mcgill, Scott. "DICING WITH VIRGIL". Classical Review 54, n. 1 (aprile 2004): 133–34. http://dx.doi.org/10.1093/cr/54.1.133.

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29

Putnam, Michael C. J. "Virgil the Homerist". Classical World 111, n. 1 (2017): 101–3. http://dx.doi.org/10.1353/clw.2017.0079.

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30

Wood, Claude R. "Charles Virgil Mosby". American Journal of Orthodontics and Dentofacial Orthopedics 147, n. 5 (maggio 2015): 529. http://dx.doi.org/10.1016/j.ajodo.2015.02.016.

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31

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

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Abstract (sommario):
Virgilian scholars appear not to have appreciated the full dramatic significance of this passage, which provides a further example of Virgil's use of divine intervention in events which he wishes to mark as particularly significant in the course of the poem. These three lines signal the onset of the war with which the remainder of the Aeneid will be concerned; since line 607, Virgil has been working towards them by means of a detailed description of the gates of war themselves and of the tradition attached to them. But at this point in Italian history there is an ominous departure from the traditional procedures regarding the declaration of war. Latinus, who according to what Virgil depicts as the already well-established tradition was bound to open the gates in order to mark the beginning of war against the Trojans, has refused in horror to carry out his duty, opposed as he is to the turn recent events have taken in Latium. At this point Juno intervenes dramatically, as she had intervened before to sow the seeds of the ‘horrida bella’ (6.86, 7.41) between the Trojans and the indigenous population (323ff.). Virgil depicts her as sweeping down from heaven in person in order to push open the gates. The reader is shown how at her touch the gates burst open (‘rumpit’) without the involvement of any human or visible agency. It is an action which apparently has only a supernatural explanation, clearly described to the reader as the work of Juno.
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32

Myers, K. Sara. "THE CULEX’S METAPOETIC FUNERARY GARDEN". Classical Quarterly 70, n. 2 (dicembre 2020): 749–55. http://dx.doi.org/10.1017/s0009838821000045.

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The Culex is now widely recognized as a piece of post-Ovidian, possibly Tiberian, pseudo-juvenilia written by an author impersonating the young Virgil, although it was attached to Virgil's name already in the first century c.e., being identified as Virgilian by Statius, Suetonius and Martial. Dedicated to the young Octavian (Octaui in line 1), the poem seems to fill a biographical gap in Virgil's career before his composition of the Eclogues. It is introduced as a ludus, which Irene Peirano suggests may openly refer to ‘the act of impersonating Virgil’, and, like many of the poems in the Appendix Vergiliana, it seems to have a parodic intent. The Culex has been interpreted as a parody of neoteric style and the epyllion, as mock-epic, as Virgil parody (John Henderson called it a ‘spoof Aeneid in bucolic drag’), as pointed Augustan satire, as mock Ovidian ‘Weltgedicht’ and as just very bad poetry (Housman's ‘stutterer’). Glenn Most has observed that the poem's three ‘acts’ structurally recapitulate Virgil's three major works in chronological succession. Little attention, however, has been paid to the Culex's final lines, which contain a catalogue of flowers the pastor places on the gnat's tomb. Recent scholarship has reintroduced an older interpretation of the gnat's tomb as a political allegory of Augustus’ Mausoleum; in this paper I suggest instead that the tomb and its flowers serve a closural and metapoetic function at the end of the poem.
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33

Bakker, Frederik A. "Vergilius Astronomiae Ignarus?" Mnemosyne 72, n. 4 (21 giugno 2019): 621–46. http://dx.doi.org/10.1163/1568525x-12342555.

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AbstractBoth in antiquity and today Virgil is sometimes accused of ignorance in astronomy. This paper argues that, on the contrary, Virgil’s treatment of astronomical topics in Georgics 1.231-258 shows that he was quite familiar with the subject, and was able (when he wished to) to combine information from different sources (Aratus, Eratosthenes and other, unidentified ones) into a sensible and harmonious whole. On the other hand, the omission of essential steps between the various parts of his account, and the deliberate confusion of science and myth show us that his ultimate aim was not to inform the ignorant but to amuse and surprise readers who were just as familiar with astronomy as Virgil himself.
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34

Cardigni, Julieta. "Tres versiones tardoantiguas de Virgilio: Servio, Macrobio y Fulgencio". Myrtia 35 (12 novembre 2020): 347–70. http://dx.doi.org/10.6018/myrtia.455301.

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El presente trabajo realiza un recorrido representativo por la construcción de la figura de Virgilio en la Antigüedad Tardía, tomando como corpus las obras de Servio, Macrobio y Fulgencio, textos latinos. El objetivo supone un doble movimiento: por un lado, dilucidar las distintas versiones de Virgilio en las lecturas del Tardoantiguo, por otro, vislumbrar algunos problemas y preocupaciones comunes a las producciones literarias de la época, quesur gen a partir del eje de la construcción del poeta. The present paper aims to trace a path of some of the late antique representations of Virgil, particularly those present in the works of Servius, Macrobius and Fulgentius, which constitute a group of encyclopedic Latin texts. Our purpose implies a double movement: on one hand, we will try to elucidate the different versions of Virgil in Late Antique readings; on the other hand, we plan to perceive how some reflections, which are common to the all the Literature of the period, emerge anchored to the figure of the Mantuan poet.
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35

Adkin, Neil. "The Etymology ofariesin Virgil". Wiener Studien 122 (2009): 121–24. http://dx.doi.org/10.1553/wst122s121.

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36

Fowler, Alastair, Theodore Ziolkowski, David Quint e Colin Burrow. "Virgil and the Moderns". Modern Language Review 90, n. 1 (gennaio 1995): 126. http://dx.doi.org/10.2307/3733263.

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37

Yellin, Victor Fell, Virgil Thomson e John Rockwell. "A Virgil Thomson Reader". American Music 5, n. 2 (1987): 208. http://dx.doi.org/10.2307/3052165.

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38

Zăbavă, Elena-Camelia. "Virgil Ierunca – Jurnalistul scriitor". Swedish Journal of Romanian Studies 4, n. 1 (13 maggio 2021): 228–32. http://dx.doi.org/10.35824/sjrs.v4i1.22478.

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In the second volume entitled „Necunoscutul scriitor Virgil Ierunca” (The Unknown writer Virgil Ierunca) from a series dedicated to the Romanian literature in exile (published by Aius Publishing House from Craiova), the two authors – Mihaela Albu & Dan Anghelescu – demonstrate that Ierunca was not only a good journalist and editor, but also a poet, a literary critic, a memoirist, a portraitist, and a poet. In other words – Virgil Ierunca was an authentic Romanian writer.
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39

Giroud, Vincent. "VIRGIL THOMSON: MUSIC CHRONICLES". Yale Review 104, n. 1 (2016): 143–50. http://dx.doi.org/10.1353/tyr.2016.0072.

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40

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

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41

Wiltshire, Susan Ford, e Harold Bloom. "Virgil. Modern Critical Views". Classical World 81, n. 4 (1988): 314. http://dx.doi.org/10.2307/4350199.

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42

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

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43

Traill, David A., e Wendell Clausen. "A Commentary on Virgil". Classical World 91, n. 5 (1998): 420. http://dx.doi.org/10.2307/4352115.

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44

Lerner, Laurence, e Theodore Ziolkowski. "Virgil and the Moderns". Comparative Literature 48, n. 2 (1996): 185. http://dx.doi.org/10.2307/1771657.

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45

Baldwin, Barry. "Photius, Phlegon, and Virgil". Byzantine and Modern Greek Studies 20, n. 1 (gennaio 1996): 201–8. http://dx.doi.org/10.1179/byz.1996.20.1.201.

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46

Dewar-Watson, S. "Othello, Virgil, And Montaigne". Notes and Queries 57, n. 3 (12 luglio 2010): 384–85. http://dx.doi.org/10.1093/notesj/gjq115.

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47

Dennis, Carl. "The art of virgil". Rhetoric Review 13, n. 1 (settembre 1994): 186–87. http://dx.doi.org/10.1080/07350199409359182.

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48

Guy-Bray, Stephen. "Virgil at Appleton House". English Language Notes 42, n. 1 (1 settembre 2004): 26–39. http://dx.doi.org/10.1215/00138282-42.1.26.

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49

McCarthy, S. Margaret William, Anthony Tommasini e Michael Meckna. "Virgil Thomson's Musical Portraits". American Music 6, n. 1 (1988): 106. http://dx.doi.org/10.2307/3448356.

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50

Franke, William. "Virgil, History, and Prophecy". Philosophy and Literature 29, n. 1 (2005): 73–88. http://dx.doi.org/10.1353/phl.2005.0003.

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