Rozprawy doktorskie: „Aenid”

1

Carter, Matthew Abbott Sebastian. "Aeneid 3 : a critical reassessment". Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432056.

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Rogerson, Anne Isabella. "Reading Ascanius and the Aeneid". Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615233.

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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.

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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.

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Harrison, S. J. "A commentary on Vergil, Aeneid 10". Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670380.

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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.

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Erasmo, Mario. "The death of Turnus in the "Aeneid"". Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/5592.

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Goldschmidt, Nora. "Shaggy crowns : Ennius' Annales and virgil's aeneid". Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530032.

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Mac, Góráin Fiachra. "Tragedy and the Dionysiac in Virgil's Aeneid". Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508377.

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Harris, Bryn. "Vergil's fictions : paradox and anomaly in the Aeneid". Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.568528.

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This thesis uses philosophy of fiction to analyse episodic fictions in Vergil' s Aeneid. I argue that due to repeated lapses in the narrative framework, individual episodes seem to constitute deviant 'worlds' of their own, rather than incorporated insets. This fragmentation militates against the Aeneid's claims to a universalized totality. Chapter 1 uses ancient and modem theories of fiction to argue that mythical narratives are incomplete discourses lacking metalinguistic information about how they should be interpreted and made true. I propose that critical approaches seek to solve this anomaly by framing myths in new pragmatic structures. The question I pose is whether the Aeneid, in its incorporation of other narratives, propagates or corrects the pragmatic incompleteness of archaic material. To answer it I consider a series of adventitious fictions which test the narrative's incorporating frame. Chapter 2 concerns Aeneas and Sinon as inset narrators: are they just characters speaking or rival narrators creating their own separate worlds? Chapter 3 focuses on Book 3' s incorporation of the literary world of romance within the world of the Aeneid. I argue that Vergil moves away from paradox as mimetic representation of fantastical things, and embraces logical paradox. A prime example of the latter is Achaemenides, the traveller across fictional worlds. Chapter 4 is on the catabasis. It again accents metapoetry, arguing for Hades as a storehouse in which abstract fictions achieve embodied existence, while also detecting an equivalence between the changed realities of fiction and the changed realities of mystical experience. Chapter 5 considers ecphrasis as an incorporation of a rival representational world within the poem. I argue that the physical boundary separating artwork from narrative thematizes the boundaries, constantly lapsing, between Vergil's representational world and that of the rival artificer. Due to the lapses, the poem becomes an unframable multiplicity of contradictory worlds.

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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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Rawes, Lindsey Victoria. "Constructions and definitions of ethnicity in Virgil's Aeneid". Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438567.

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Cardinale, Philip. "Verse translations of Virgil's Aeneid in Britain, 1787-1824". Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432060.

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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.

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BOVDIK, NANCY RUTH. "THE EPIC QUEST: RIMBAUD AND VERGIL'S "AENEID" (FRANCE, ITALY)". Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/187972.

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A cursory reading of the poetry of Arthur Rimbaud brings about an immediate awareness that classical allusion and myth were of significant interest to the poet. Biographical data indicates that Rimbaud not only excelled in the study of the Latin language and literature, but exhibited enthusiasm for the subjects. Closer scrutiny of Rimbaud's life and works reveals the emergence of patterns evident in the poetry of Vergil, especially his Aeneid. I have endeavored to locate and define thematic areas that may correlate the works of both poets, thereby indicating the presence of an epic motif structure within the body of Rimbaud's poetry that resembles, in several respects, motifs discovered within the Aeneid. My study has explored five major areas in which similarities occur: the significance of heritage, the function of journey as theme, the concept of descent into an Underworld, the quest for a city and the quest for a bride. Both poets depict man facing the challenge of pursuing lofty ideals in the actual world. Rimbaud's work suggests that the basic goals of Aeneas are still those of modern man. While it is not my intention to offer proof of literary influence, it is hoped that demonstration of a parallel motif structure may invite a spirit of inquiry regarding the significance of the occurring similarities, especially, with respect to the importance of the Aeneas myth in the modern world.

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15

Postigo, Ivan. "Fingerprinting methods for positioning: A study on the adaptive enhanced cell identity method". Thesis, Linköpings universitet, Kommunikations- och transportsystem, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-153314.

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Fingerprinting methods for positioning is an area of great interest, this thesis presents a study on the Adaptive Enhanced Cell Identity (AECID) fingerprinting method for positioning. By creating a map of the radio characteristics in a geographical region, the AECID method is able to locate a UE by gathering information of the radio conditions of its current location. By performing positioning in this manner, there is no need for additional signaling, which is a better usage of the radio resources. This thesis presents a new approach for the creation of fingerprints together with alternative methodology at each step proposed by the AECID method. These alternatives are implemented and evaluated for real and simulated scenarios. Accuracy performance metrics are discussed based on different formats supported for reporting position. The alternatives presented in this thesis will show not only an enhancement on the accuracy levels but most importantly, the impact of each step on the final performance of the method.

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Mawhinney, Laura E. "The lyric Aeneid a fat sacrifice to a slender muse /". [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010445.

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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.

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Widmer, Matthias. "Virgil after Dryden : eighteenth-century English translations of the Aeneid". Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8109/.

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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.

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Wentzel, Rocki Tong. "Reception, gifts, and desire in Augustines’s Confessions and Vergil’s Aeneid". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1198858389.

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Molyviati-Toptsi, Urania. "Aeneid VI 724-899 : the myth of the Aeterna Regna /". Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225387318.

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Sangco-Jackson, Generosa A. "Imaginary identity Aeneas' search for a home in Aeneid 3 /". [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0014386.

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Robinson, Cory S. "A Statistical Approach to Syllabic Alliteration in the Odyssean Aeneid". BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4199.

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William Clarke (1976) and Nathan Greenberg (1980) offer an objective framework for the study of alliteration in Latin poetry. However, their definition of alliteration as word initial sound repetition in a verse is inconsistent with the syllabic nature both of the device itself and also of the metrical structure. The present study reconciles this disparity in the first half of the Aeneid by applying a similar method to syllable initial sound repetition. A chi-square test for goodness-of-fit reveals that the distributions of the voiceless obstruents [p], [t], [k], [k^w], [f], and [s] and the sonorants [m], [n], [l], and [r] differ significantly from a Poisson model. These sounds generally occur twice per verse more often than expected, and three or more times per verse less often than expected. This finding is largely consistent with existing observations about Vergil's style (e.g. Clarke, 1976; Greenberg, 1980; Wilkinson, 1963). The regular association of phonetic features with differences in distribution suggests phonetic motivation for the practice.

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Vorhis, Justin. "Homeric roles for Virgilian contexts Aeneas and Turnus in Aeneid 12 /". Connect to resource, 2010. http://hdl.handle.net/1811/45486.

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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.

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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.
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Kaster, Robert Andrew. "The tradition of the text of the "Aeneid" in the ninth century /". New York : Garland publ, 1990. http://catalogue.bnf.fr/ark:/12148/cb36655211p.

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Syed, Yasmin. "Vergil's Aeneid and the roman self : subject and nation in literary discourse /". Ann Arbor (Mich.) : University of Michigan press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40013638r.

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Kay, Simon Michael Gorniak. "Literary, political and historical approaches to Virgil's Aeneid in early modern France". Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13837.

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This thesis examines the increasing sophistication of sixteenth-century French literary engagement with Virgil's Aeneid. It argues that successive forms of engagement with the Aeneid should be viewed as a single process that gradually adopts increasingly complex literary strategies. It does this through a series of four different forms of literary engagement with the Aeneid: translation, continuation, rejection and reconciliation. The increasing sophistication of these forms reflects the writers' desire to interact with the original Aeneid as political epic and Roman foundation narrative, and with the political, religious and literary contexts of early modern France. The first chapter compares the methods of and motivations behind all of the sixteenth-century translations of the Aeneid into French; it thus demonstrates shifts in successive translators' interpretations of Virgil's work, and of its application to sixteenth-century France. The next three chapters each analyse adaptation of Virgil's poem in a major French literary work. Firstly, Ronsard's Franciade is analysed as an example of French foundation epic that simultaneously draws upon and rejects Virgil's narrative. Ronsard's poem is read in the light of Mapheo Vegio's “Thirteenth Book” of the Aeneid, or Supplementum, which continues Virgil's narrative and carries it over into a Christian context. Next, Agrippa d'Aubigné's response to Virgilian epic in Les Tragiques is shown to have been mediated by Lucan's Pharsalia and its anti- epic and anti-imperialist interpretation of the Aeneid. D'Aubigné's inversion of Virgil is highlighted through comparison of attitudes to death and resurrection in Les Tragiques, the Aeneid and Vegio's Antoniad. Finally, Guillaume de Salluste du Bartas' combination, in La Sepmaine and La Seconde Sepmaine of the hexameral structure of Genesis with Virgil's narrative of reconciliation after civil war is shown to represent the most sophisticated understanding of and most complex interaction with the Aeneid in sixteenth-century France.

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Giusti, Elena. "The enemy on stage : Augustan revisionism and the Punic wars in Virgil's Aeneid". Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708485.

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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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Brannon, Rob. "Founding Fathers: An Ethnic and Gender Study of the Iliadic Aeneid". Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1578.

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In a 2005 work, Yasmin Syed concluded that the Aeneid created for ancient readers an idea of Romanness that was inclusive for all and not founded along strict genetic lines. Under this hypothesis, the Aeneid offers a sort of blueprint for becoming Roman, one in which biological descent from Aeneas is unnecessary. Syed reached this conclusion by analyzing themes of ethnicity and gender, in particular the ethnic other represented by the epic's female characters. This was accomplished in the manner so often chosen by Vergil scholars-by limiting analysis to the first half of the epic. The work concludes with an exhortation for others to extend the effort into Books VII-XII. Such an extension is undertaken here, but the conclusion reached is somewhat different than what Syed imagined. Instead of a blueprint for disparate people in conquered lands to become Roman, the second half of the epic empowers these groups by demonstrating that Rome could not exist without them. Roman power to rule, imperium, was not brought to the Romans by Aeneas. It is a product of what Vergil described as Itala virtute, or Italian manliness. The second half of the epic provides not a blueprint for citizenship but the schematics of the Roman state, one in which the mother city would have no ability to rule were it not for the Italian peoples. Vergil accomplishes this message by thoroughly emasculating both Aeneas and Turnus before their final confrontation. That scene is read here as one of copulation, the Italian ground serving as the marriage bed in a struggle to found Rome. But with both men portrayed as effeminate in this final scene, and imperium removed as one of the prizes in the battle by Jupiter himself, the offspring born of what must be read as two mothers rather than two fathers must itself be weak and impotent. Without the strength of the Italians, Rome will not succeed.

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McNeely, Shawn. "Vergil's dreams, a study of the types and purpose of dreams in Vergil's Aeneid". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22355.pdf.

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Backhouse, George. "References to swords in the death scenes of Dido and Turnus in the Aeneid". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71764.

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Thesis (MA)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This thesis investigates the references to swords in key scenes in the Aeneid – particularly the scenes of Dido’s and Turnus’ death – in order to add new perspectives on these scenes and on the way in which they impact on the presentation of Aeneas’ Roman mission in the epic. In Chapter Two I attempt to provide an outline of the mission of Aeneas. I also investigate the manner in which Dido and Turnus may be considered to be opponents of Aeneas’ mission. In Chapter Three I investigate references to swords in select scenes in book four of the Aeneid. I highlight an ambiguity in the interpretation of the sword that Dido uses to commit suicide and I also provide a description of the sword as a weapon and its place in the epic. In Chapter Four I provide an analysis of the references to swords in Dido’s and Turnus’ death scenes alongside a number of other important scenes involving mention of swords. I preface my analyses of the references to swords that play a role in interpreting Dido and Turnus’ deaths with an outline of the reasons for the deaths of each of these figures. The additional references to swords that I use in this chapter are the references to the sword in the scene of Deiphobus’ death in book six and to the sword and Priam’s act of arming himself on the night on which Troy is destroyed. At the end of Chapter Four I look at parallels between Dido and Turnus and their relationship to the mission of Aeneas. At the end of this thesis I am able to conclude that an investigation and analysis of the references to swords in select scenes in the Aeneid adds to existing scholarship in Dido’s and Turnus’ death in the following way: a more detailed investigation of the role of swords in the interpretation of Dido’s death from an erotic perspective strengthens the existing notion in scholarship that Dido is an obstacle to the mission of Aeneas.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die verwysings na swaarde in kerntonele in die Aeneïs – hoofsaaklik die sterftonele van Dido en Turnus – met die oog daarop om addisionele perspektiewe te verskaf op hierdie tonele en die impak wat hulle het op die voorstelling van Aeneas se Romeinse missie in die epos. In hoofstuk twee poog ek om ’n oorsig te bied van Aeneas se Romeinse missie. Ek stel ook ondersoek in na die mate waartoe Dido en Turnus as teenstanders van Aeneas se Romeinse missie beskou kan word. In Hoofstuk Drie ondersoek ek die verwysings na swaarde in spesifieke tonele van boek vier van die Aeneïs. Ek verwys na ’n dubbelsinnigheid in die interpretasie van die swaard wat Dido gebruik om selfmoord te pleeg en verskaf ook ’n beskrywing van die swaard as ’n wapen en die gebruik daarvan in die epos. In Hoofstuk Vier verskaf ek ‘n ontleding van die verwysings na swaarde in Dido en Turnus se sterftonele saam met ’n aantal ander belangrike tonele met verwysings na swaarde. Ek lei my ontleding van die beskrywings van die swaarde wat ’n rol speel in die interpretasie van Dido en Turnus se sterftes in met ’n uiteensetting van die redes vir die dood van elk van hierdie figure. Die addisionele verwysings na swaarde wat ek in hierdie hoofstuk ontleed, is die verwysing na die swaard in die toneel van Deiphobus se dood in boek ses en die verwysing na die swaard in die toneel waar Priamus sy wapenrusting aantrek op Troje se laaste aand. Aan die einde van Hoofstuk Vier ondersoek ek die parallele tussen Dido en Turnus en hulle verhouding tot Aeneas se Romeinse missie. Hierdie tesis ondersoek die verwysings na swaarde in kerntonele in die Aeneïs – hoofsaaklik die sterftonele van Dido en Turnus – met die oog daarop om addisionele perspektiewe te verskaf op hierdie tonele en die impak wat hulle het op die voorstelling van Aeneas se Romeinse missie in die epos. In hoofstuk twee poog ek om ’n oorsig te bied van Aeneas se Romeinse missie. Ek stel ook ondersoek in na die mate waartoe Dido en Turnus as teenstanders van Aeneas se Romeinse missie beskou kan word. In Hoofstuk Drie ondersoek ek die verwysings na swaarde in spesifieke tonele van boek vier van die Aeneïs. Ek verwys na ’n dubbelsinnigheid in die interpretasie van die swaard wat Dido gebruik om selfmoord te pleeg en verskaf ook ’n beskrywing van die swaard as ’n wapen en die gebruik daarvan in die epos. In Hoofstuk Vier verskaf ek ‘n ontleding van die verwysings na swaarde in Dido en Turnus se sterftonele saam met ’n aantal ander belangrike tonele met verwysings na swaarde. Ek lei my ontleding van die beskrywings van die swaarde wat ’n rol speel in die interpretasie van Dido en Turnus se sterftes in met ’n uiteensetting van die redes vir die dood van elk van hierdie figure. Die addisionele verwysings na swaarde wat ek in hierdie hoofstuk ontleed, is die verwysing na die swaard in die toneel van Deiphobus se dood in boek ses en die verwysing na die swaard in die toneel waar Priamus sy wapenrusting aantrek op Troje se laaste aand. Aan die einde van Hoofstuk Vier ondersoek ek die parallele tussen Dido en Turnus en hulle verhouding tot Aeneas se Romeinse missie.

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Kelley, Matthew W. "Inflamed by the Furies| The Role of Emotion in the Imperial Destiny of the Aeneid". Thesis, Tufts University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558552.

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This thesis investigates the role that furor and other negative emotional states have on Aeneas' mission in the Aeneid. The role of the Fates is to enact change on a large scale, and this is achieved through destruction, which is caused by mortal and immortal agents manipulated by emotion. While Aeneas is trained to control his desires in the first half of the epic, in the second his rage and passions are spurred by supernatural forces.

This study will discuss the major plot points where emotion and rage interact with the main goal of Aeneas and the Fates. Included is a linguistic analysis wherein key prototypical terms - fatum, amor, and furor - are arranged visually on graphs that show their placements line-by-line and locations relative to each other. The contention is that at various points, fatum causes amor which leads to furor, which leads to change, and thus fatum.

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Marshall, Sharon Margaret. "The Aeneid and the illusory authoress : truth, fiction and feminism in Hélisenne de Crenne’s Eneydes". Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3249.

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In 1541, writing under the pseudonym Hélisenne de Crenne, the French noblewoman Marguerite Briet produced a translation of the first four books of Virgil’s Aeneid that remains largely unknown. As a female author, Hélisenne provides a sixteenth-century woman’s perspective on the Aeneid, an on classical literature more generally, and the uniqueness of her translation in this respect makes her work extremely significant, particularly given the relatively recent interest in women and other marginal voices within the field of classics. This thesis contributes to an understanding of the need for a holistic approach to Classical Reception Studies, through a thorough examination of Hélisenne’s translation not only with regard to her gender but also the social, historical and literary climate in which she writes. Focussing on the mise en livre, as well as the text, my approach also stresses the need to reevaluate the relationship between the author and the text that we often assume in classics is more direct than is actually the case. Through such an examination of her Eneydes, Hélisenne emerges as a serious participant in the humanist tradition who engages with classical literature in such a way as to question masculine textual authority and the notion of an objective truth, whilst deliberately implicating herself through her translation in a web of authorities who are not to be trusted.

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Pope, Nancy Patricia. "National history in the heroic poem : a comparison of the "Aeneid" and the "Faerie Queene /". New York ; London : Garland, 1990. http://catalogue.bnf.fr/ark:/12148/cb35551861m.

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Brammall, Sheldon. "Translating the Prince of Poets : the politics of the English translations of the Aeneid, 1558-1632". Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283905.

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van, Dyk Gerrit. "Translation as Katabasis and Nekyia in Seamus Heaney's "The Riverbank Field"". BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3473.

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Translation has been at the heart of Seamus Heaney's career. In his poem, "The Riverbank Field," from his latest collection, Human Chain, Heaney engages in metatranslation, "Ask me to translate what Loeb gives as / 'In a retired vale...a sequestered grove' / And I'll confound the Lethe in Moyola." Curiously, with a broad spectrum of classical works at his disposal, the poet chooses a particular moment in Virgil's Aeneid as an image for translation. What is it about this conversation between Aeneas and his dead father, Anchises, at the banks of the Lethe which makes it uniquely fitting for Heaney to explore translation? In order to fully understand Heaney's decision to translate this scene from Aeneid 6, it must be clear how Heaney perceives the classical tropes of katabasis (descent into the underworld) and nekyia (communion with the dead). Due to the particularly violent and destructive history of the 20th century from the World Wars to the Holocaust, contemporary poets tend to portray katabasis and nekyia in their works as tragic (See Falconer's Hell in Contemporary Literature). Heaney subverts this view of a tragic descent and communion with the dead in his poetry, instead opting for a journey through Hell which is more optimistic and efficacious. Heaney's rejection of the contemporary tragic katabasis and nekyia allows these classical tropes to become a metaphor for translation. I argue Heaney demonstrates how he views translation and the role of the translator through this metatranslational instance in "The Riverbank Field." For Heaney, not only can a poet descend to the underworld where spirits of the literary dead wait for translation into a new medium, but the translator actually can succeed in bringing an ancient author to a modern readership.

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de, Vega Sean David. "Translation and transgression in William Morris's Aeneids of Vergil (1875)". Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6934.

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The purpose of this study of William Morris’s 1875 translation of Vergil’s Aeneid is to rehabilitate this translation after more than a century of almost total critical neglect. Following an introductory chapter that situates Morris within the context of emerging theories that seek to characterise the problems that are unique to classical translation activity and the nature of “retranslation” as promulgated by Laurence Venuti and others, I examine Morris’s preparation for this massive classical task, interrogating the extent and character of his classical education at Marlborough College and Oxford University in the 1850s. I then examine his “two Aeneids” – an illumination on vellum of Vergil’s epic in Latin, begun in 1874 with Edward Burne-Jones but never completed, and his subsequent unadorned translation of the Aeneid into English, which he completed in 1875 and which was published by the end of that same year – in a third chapter that engages what little criticism is available on the illuminations, before describing and interpreting them for the reader (plates are also provided as an Appendix.) My fourth chapter, the centrepiece of the dissertation, constitutes a close critical reading of Morris’s translation alongside the Latin original, and the final chapter rounds out the discussion by way of addressing the spotty critical treatment of this lengthy work of classical translation, after which I situate Morris within the history of English translations of the Roman epic by means of theory: namely, Antoine Berman’s “retranslation hypothesis”, Lawrence Venuti’s concept of “doubly-abusive fidelity”, and Siobhan Brownlie’s proposal for a post-structuralist retranslation theory. I conclude that a just interpretation of Morris’s achievement will begin with an understanding of his aesthetic, ethnic, and political motivations, and I conclude that his Aeneids are a unique and valuable contribution to late Victorian classical translation praxis.

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Chen, Cheng Verfasser], Klaus [Gutachter] [Müller, Bettina [Gutachter] Matzdorf i Thomas [Gutachter] Aenis. "Governmental Payments for Ecosystem Services Programs in China / Cheng Chen ; Gutachter: Klaus Müller, Bettina Matzdorf, Thomas Aenis". Berlin : Humboldt-Universität zu Berlin, 2020. http://d-nb.info/1203623909/34.

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Secci, Davide Antonio <1979&gt. "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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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.

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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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Theodorakopoulos, Elena-Maria. "Images of closure : four studies in closure and self-reference; Apollonius' Argonautica, Catullus 64, Virgil's Aeneid, and Ovid's Metamorphoses". Thesis, University of Bristol, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336890.

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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.

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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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Davis, Jason Larry. "Heroes, Gods, and Virtues: a comparison and contrast of the heroes in the Aeneid and The Lord of the Rings". NCSU, 2002. http://www.lib.ncsu.edu/theses/available/etd-12162002-104157/.

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The heroes in Virgil?s Aeneid and Tolkien?s The Lord of the Rings are compared and contrasted. Some of the heroic characteristics that Tolkien instills in his characters are similar to Aeneas?s, but the primary heroes?Frodo, Sam, Aragorn, and Gandalf?display particularly Christian virtues that complement and fulfill Virgil?s pre-Christian ideals. The comparison begins with Aeneas?s and Frodo?s choices to leave Carthage and Lothlorien because those two cities pose similar temptations. However the protagonists? decisions have differing motivations. Motive marks the beginning of the contrast which then proceeds to analyze goals and hopes of the characters. The virtues advocated by the two authors are directly connected to the theologies at work in their plots, and the varying celestial powers and forces of evil are contrasted as well. Finally, the conclusions of the two works reveal the greatest difference between the heroes?the power and importance of mercy rather than strength.

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Hoyle, Helena Margaret. "Re-reading, re-mapping, re-weaving : towards a theory of feminist reader response to Virgil's Aeneid in Ursula Le Guin's Lavinia". Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687811.

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Ursula Le Guin's 2008 novel Lavinia presents a unique case study with which to examine the ways in which feminist readership and the classical canon can be theorised, and this thesis will be the first full-length examination to concentrate on her text. To do this, I will be establishing the character of Lavinia in Lavinia as an ideal feminist reader of Virgil' s Aeneid, and exploring how her interactions with specific sites or moments of inteltext, including her conversations with the ghost of the dying Virgil, show Lavinia (and Le Guin) to be a privileged and insightful reader of Virgil's canonical text. By looking at specifically Le Guinian metaphors for feminist writing and reading, alongside their interplay with second wave feminist metaphors for the same, I will begin to construct a theory of feminist readership in Lavinia that is co-poietic and creative, informed by an engagement with Bracha Ettinger's theory of the matrixial borderspace. This theory will then be utilised in a study of Lavinia's most ovelt sites of feminist engagement with Virgil's Aeneid. Featured in this research will also be a communication with Rachel Blau DuPlessis' work in For the Etruscans as a notable founding work of feminist reader response theory that utilises a silenced and marginalised female character from the Aeneid. An examination of Lavinia 's paratexts will also help to explore the ways in which the external reader of Lavinia is encouraged to engage co-poietically with this work of feminist classical reception. By looking at the elements of Lavinia 's paratexts that communicate with particular competencies of female and feminist reader, we will see how the reader, even with little or no previous experience of the Aeneid, is able to immediately immerse herself in the world of Virgil's Latium through the medium of Le Guin's Lavinia. This focus on Lavinia 's paratexts as effective sites of feminist reader response is a new approach that seeks to expand the field, and to instigate fulther exploration of paratext in feminist classical reception.

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Hassell, Sian Angharad. "The role of death in ancient Roman mythological epic : exploring death and death scenes in Virgil's Aeneid and Valerius Flaccus' Argonautica". Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/7245/.

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This thesis explores and analyses the narrative and thematic uses of death in two Latin mythological epics, in order to investigate the ways in which various deaths reflect or highlight the ideology inherent to each epic. Death is one of the fundamental realities of life, yet can occur in many different ways and be used for many different purposes in fiction. Its application and significance in epic is accordingly complex, reflecting both its literary and socio-historical contexts. Each chapter covers a different type of death (such as murder or war injury, for example), and, in each case, begins by concentrating on Virgil's Aeneid, before moving on to Valerius Flaccus' Argonautica. In doing so, the thesis explores how each author approached and utilised various forms of death for their various thematic, narrative and structural purposes within the poem, and then the extent to which the attitudes and thematic significance surrounding the deaths were affected by the contemporary social, historical and political landscape. Finally, how each author's use of death compares with the other is considered. I demonstrate that some of the similarities and differences between the depictions of death in the two epics are linked primarily to their respective thematic and narrative requirements. Other elements, however, such as a heightened focus on the (generally negative) consequences of absolute power in Valerius and Virgil’s thematic warnings against the assumption of too much power, can instead be traced directly to shifting socio-political and cultural influences within Roman society. It further becomes clear that, while both epics were written shortly after turbulent eras in history, the wider context of those periods ensures that each epic displays different approaches to the ideology and realities of death while nevertheless belonging to the same genre of mythological epic.

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Sawyerr, Desmond Jonathan. "The influence of Virgil's sixth book of the Aeneid upon Milton and Dryden : with special reference to the treatment of the Underworld". Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4353/.

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OGAWA, Masahiro, i 正廣小川. "ウェルギリウス『アエネイス』の結末と戦争の罪責". 名古屋大学文学部, 2014. http://hdl.handle.net/2237/19743.

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Campanholo, Priscila de Oliveira. "Os comentários de Sérvio Honorato ao \"Canto VI\" da Eneida". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-16022009-144550/.

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A noção de comentário está intrinsecamente ligada ao trabalho de editar textos, que era feito em bibliotecas antigas, como a de Alexandria, e aos compêndios de gramática, que sistematizavam os conceitos utilizados para a leitura dos textos. Além disso, esse material de anotações e explicações era utilizado no ambiente escolar, como um apoio elucidativo de passagens obscuras, de palavras e costumes antigos, de mitos e histórias e de usos gramaticais, por exemplo. Entre os autores que passaram pelo crivo dos comentadores e que, então, faziam parte do programa escolar, está Vergílio, como nos indica Quintiliano, na Instituição Oratória. Assim, os Comentários de Sérvio Honorato ao Canto VI, da Eneida nos possibilitam conhecer um pouco do trabalho feito nas bibliotecas, acerca das edições e leituras dos textos, dos autores estudados nas escolas e da forma como eles eram lidos. De modo mais específico, esses Comentários trazem-nos informações valiosas sobre costumes, histórias e a filosofia que vigoraram entre os mais antigos
The notion of commenting is intrinsically related to the work of editing texts developed in ancient libraries, such as the Alexandria Library, and to grammar textbooks, which systematized concepts used in text reading. These notes and explanations were also used in schools as a support to clarify obscure passages, words and ancient customs, myths, tales and grammatical usages, for instance. Among the authors examined by commentators and who were on the syllabus at the time is Vergil, as Quintilian quotes in Institutio Oratoria. So the commentaries of Servius Honoratus on Aeneid \"Book VI\" enable us to acquire some knowledge on the work developed in libraries involving editions and the readings of texts, the authors who were studied in schools, taking into consideration the way they were read at that time. Particularly, these Commentaries give us some precious information on a set of topics invaluable for the members of that ancient society

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Sousa, Francisco Edi de Oliveira. "As pinturas do templo de Juno e o Ciclo Troiano - imagem e memória épica na arquitetura da Eneida". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-22042009-145627/.

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Intitulada As Pinturas do Templo de Juno e o Ciclo Troiano: imagem e memória épica na arquitetura da Eneida, esta tese aborda relações entre essa obra e o ciclo troiano a partir do episódio das pinturas do templo de Juno (I, v. 450-493). Na vastíssima bibliografia de estudos virgilianos, tal questão ocupa ainda pouco espaço. A fim de fundamentar a investigação dessas relações, efetua-se no capítulo inicial uma análise e uma reconstituição dos poemas perdidos desse ciclo (Cantos Cíprios, Etíope, Pequena Ilíada, Saque de Ílion, Retornos e Telegonia). Recorrendo-se ao capitulo I, demonstram-se quatro proposições nos capítulos II e III: as imagens desse templo evocam em especial epopéias do ciclo troiano (cap. II.1); as imagens encontram-se ordenadas conforme essa evocação (cap. II.2); na composição desse episódio, emprega-se e encena-se a teoria retórica da arte da memória (cap. II.3); a seqüência de épicos cíclicos evocados tem continuidade nos seis cantos iniciais e desse modo participa da arquitetura da Eneida (cap. III). As investigações realizadas para demonstrar essas proposições revelam um diálogo conscientemente urdido com poemas desse ciclo e assim propiciam a concretização de novos sentidos na leitura da Eneida. Com tal procedimento, Virgílio não apenas reaviva a memória da saga de Tróia, na qual insere sua epopéia, mas também reedita o ciclo troiano em função de Enéias.
Entitled The Pictures of Junos Temple and the Trojan Cycle: image and epic memory in the architecture of the Aeneid, this dissertation focus on the relations between this literary piece of work and the Trojan cycle inspired in the episode of the paintings of Junos temple (I, v. 450-493). Despite the extensive bibliography about the Virgilian studies, this issue has not been given appropriate attention throughout the years. In order to lay the foundations of these relations, the first chapter of this study presents an analysis and a reconstitution of the Trojan cycle lost poems (Cypria, Aethiopis, Little Iliad, Sack of Ilion, Returns and Telegony). The second and third chapters deal with four propositions: the pictures of Junos temple specially evoke some poems from the Trojan cycle (cap. II.1); the images are disposed in conformity with this evocation (chapter II.2); in the composition of this episode, rhetoric theory of the art of memory is used and illustrated (chapter II.3); the sequence of evoked cyclic poems is continued in the first six books and being so plays some important role in the architecture of the Aeneid (chapter III). The investigations developed to demonstrate these propositions have revealed a dialogue consciously woven with the poems of this cycle and, therefore, propitiate the conveyance of new meanings in the reading of the Aeneid. With such proceeding Virgil not only revive the memory of the saga of Troy, in which his epic is contextualized, but he also reedit the Trojan cycle, this time, revolving around Aeneas.

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