Gotowa bibliografia na temat „Criticism and interpretationcatullus, gaius valerius”

Thesis (MA)--Stellenbosch University, 2011.
ENGLISH ABSTRACT: A persona is a definable literary technique that all authors necessarily use. This thesis tries to show how Catullus, with the use of six personae (amator acceptus, amator reiectus, hospes urbanus, poeta doctus, fabulator en sacerdos), persuades the reader of the emotional “authenticity” and the accessibility of his poems. This is done firstly by investigating the literary process of which a persona forms part. By comparing this process with the three phases of a conversation (thought, expression and utterance), it is possible to see how a persona can be “discovered”. The thought represents the historical author and his literary context. The expression represents the literary persona itself. The utterance represents the unemotional, “unloaded” elements of the text manifested as the collective function of characters, speakers and narrators. By identifying this process in Catullus’ poetry, the relevant personae are illuminated. Catullus, as a Latin poet who was familiar with “Roman performance poetry” and the ancient theatre mask, also understood this complex process. This thesis argues that Catullus used the persona – like a theatre mask – as a so-called “totem of perspective”. The careful use of persuasive techniques that provide the momentum, are analysed in some of his poems, keeping the function of this “totem of perspective” in mind. The result is that the poet succeeds in creating sophisticated, diverse and accessible personae, which readers through the ages readily accept as “authentic”.
AFRIKAANSE OPSOMMING: ’n Persona is ’n definieerbare literêre tegniek wat alle outeurs noodwendig gebruik. Hierdie tesis beoog om aan te dui hoe Catullus, met die gebruik van ses personae (amator acceptus, amator reiectus, hospes urbanus, poeta doctus, fabulator en sacerdos), die leser van die emosionele “egtheid” en die toeganklikheid van sy werk oortuig. Dit word eerstens gedoen deur die literêre proses waarvan ’n persona deel is, te ondersoek. Deur hierdie proses te vergelyk met die drie fases van ’n gesprek (gedagte, uitdrukking en uiting) is dit moontlik om te sien hoe ’n persona “ontdek” kan word: die gedagte verteenwoordig die werklike outeur en sy literêre konteks, die uitdrukking verteenwoordig die literêre persona self en die uiting verteenwoordig die onemosionele, “ongelaaide” elemente van die teks, soos vergestalt deur die gesamentlike funksionering van karakters, sprekers en vertellers. Deur hierdie proses te identifiseer in Catullus se gedigte, word die betrokke personae verhelder. Catullus, as Latynse digter wat bekend was met “Romeinse performatiewe poësie” en die antieke toneelmasker, het ook hierdie ingewikkelde proses begryp. Hierdie tesis argumenteer dat Catullus die persona – soos ’n toneelmasker – as ’n sogenaamde “perspektieftotem” gebruik het. Die sorgvuldige gebruik van oorredingstegnieke wat die momentum voorsien, word in van sy gedigte geanaliseer met hierdie perspektieftotem-funksie in gedagte. Die resultaat is dat die digter dit regkry om gesofistikeerde, diverse en toeganklike personae te skep wat lesers deur die eeue as “eg” aanvaar.

Bibliography: leaves 341-352.
ix, 352 leaves : col. ill. ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Investigates how Roman poets make use of imagery and vocabulary of colour and shining to enhance the effectiveness of their poetry. Focuses on the work of three Roman poets, Catullus, Propertius and Horace (in his Carmina) because they have many themes in common and exhibit skilful and imaginative use of colour imagery and vocabulary. Parallels are drawn with the colour imagery of the poets' predecessors, contemporaries and successors (in both Greek and Latin verse).
Thesis (Ph.D.)--University of Adelaide, Centre for European Studies and General Linguistics, 1999?

A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy.
All the poems of Catullus and Tibullus and the first three books of Horace's Odes are investigated tor structures of parallelism and inverse paralelism (chiasmus) and thus the extent to which these devices were used is determined. Such structures are demonstrated for the first time for several poems. Sometimes additions or modifications are made to the structural analyses of other scholars, and sometimes their findings are confirmed. The notion that inverse parallelism was seldom used by Roman authors is dispelled. The freedom with which these devices were used, resulting in a great variety of deviations from strictly symmetrical structures, is demonstrated Both common and idiosyncratic features in the use of the devices by the three authors are shown. Several poems of each author are discussed to illustrate that the demonstration of a structure of parallelism or inverse parallelism is in itself an interpretative act, which can at the same time serve as a basis for further interpretation. In particular it is shown that structures of inverse parallelism often, if not always, iconically reflect the meaning of the poem (hence the title of the thesis) This ability or structures of inverse parallelism to reflect the meaning of the poem may partly account for the fact that they are used more frequently than are structures of parallelism. In the poems discussed structures of inverse parallelism iconically reflect the ideas of reversal, cyclical movement, non-progression/deadlock, balance and/or contrast and enclosure, as well as combinations of the above, such as a spiral (both progression and non-progression) or the combination of reversal and nonprogression. Continuity between the structural methods of Greek and Roman authors is demonstrated, and a theoretical framework is provided, which answers the questions how such structures can be determined, and what purposes, both practical and poetic, they serve. A literary-critical awareness of inverse parallelism in Antiquity is demonstrated. St. Augustine, especially, has a fairly developed theoretical frame of reference on the subject, in his De Genest ad Litteram
Andrew Chakane 2019

This thesis examines the influence of Parthenius' doctrine of erotika pathemata on the Neoteric epyllion. His influence on Cinna has been readily acknowledged, but except for a few incidental and tentative references, little has been made of his role in determining important features of Neoteric poetry; in fact, many Leading scholars in the field fail even to mention him. A survey of the evolution of the epyllion in the Hellenistic world shows a radical transformation of the Callimachean type by Euphorion and Parthenius", in the late Alexandrian era. It is clearly the late Alexandrian epyllion that became popular with the Neoterics, as the relevant works of Catullus and, what can be conjectured about the nature of the lost Neatenc epyllia suggest. There is a marked bias towards tragic love-stories, sensational and bizarre, often metamorphic and with ample scope for emotional analysis and a subjective treatment. These features closely parallel the tenor of Parthenius', summary of 36 love-stories in the Erotika Pathemata, his only wholly extant work. While the collection was dedicated to Comelius Gallus well after most of the Neoteric epyllia were written, it is safe to assume that Parthenius preached his doctrine from the time of his arrival at Rome, as his widely acknowledged influence on Cinna's Zmyrna, perhaps the first Latin epyllion, seems to suggest. This thesis cannot pretend to defend Ross' extravagant claim that "without Parthenius' timely arrival there could have been no New Poetry"; but it can attempt to illuminate Parthenius' central role in establishing the nature of the Neoteric epyllion. This study has been undertaken, then, in the belief that Parthenius' influence on the Neoterics and on the creation of a new genre at Rome warrants closer scrutiny than has so far been attempted. Thus, it seeks to provide an alternate basis for the analysis of poems like 63 and 64, and heralds a possible shift from the emphasis on the autobiographical approach, which, though undoubtedly valid, has been belaboured in recent years to the point of excess. Abbreviated title: Erocika Pathemata and the Neoteric Epyllion.
Thesis (Ph.D.)--University of Durban-Westville, 1996.

Latin erotic poetry is an important genre recording surviving examples of male friendship. This report argues that a specific group of poems involving the poet and his powerful friend should be identified and studied separately as a sub-genre. Drawing examples largely from Horace, Catullus and Propertius, I argue that homosocial erotic poetry exploits the same repertoire of generic conventions as erotic poetry, but reshapes some of them for different functions. To articulate the erotic emphasis and the generic concern of this report, Eve Sedgwick’s notion of “homosocial desire” (1985) is introduced. The concept of homosociality is useful in revealing how male desire in our sub-genre has an erotic tinge and functions to foster the social bond of male friendship, but precludes the homoerotic possibility. Chapter One introduces the important terms and methodology chosen for this study, while Chapters Two to Four define and describe three distinctive features of the sub-genre. Chapter Two is devoted to showing that sermo amatorius, the “love speech” often featured in romantic relationships, can be assimilable to the structure of male homosocial relations. Chapters Three and Four examine how the sub-genre reshapes the recusatio and the topos of wealth to negotiate the tension of desire between the poets and their powerful friends. Ultimately, this report argues that male homosocial desire motivates the sub-generic conventions and thereby the seemingly disparate poems constitute a coherent sub-generic classification.
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