Literatura científica selecionada sobre o tema "Ancient roman poetry"

Abstract This analysis explores aspects of the extant fragmentary record of early Roman poetry from its earliest accessible moments through roughly the first hundred and twenty years of its traceable existence. Key questions include how ancient readers made sense of the record as then available to them and how the limitations of their accounts, assumptions, and working methods continue to define the contours of our understanding today. Both using and challenging the standard conceptual frameworks operative in the ancient world, the discussion details what we think we know of the best documented forms, practitioners, contexts, and reception of Roman drama (excluding comedy), epic, and satire in their early instantiations, with occasional glances at the further generic experimentation that accompanied the genesis of literary practice in Rome.

This paper focuses on the conceptions of ethos and pathos in Roman rhetoric in order to investigate how far were ancient Romans from our notion of poetical persona. Its title dialogues with the poem “Autopsicografia” by Fernando Pessoa, whose “feigned pain” has a correlate in Ciceronian fictus dolor. This preliminary consideration is part of our broader investigation on the reception of subjective poetry in ancient Rome, and more widely in classical studies.

Abstract This article provides the first comprehensive study of the use of ancient Greek and Roman allusions and motifs in the poetry of Yang Mu. By focusing on representative works from Yang's oeuvre, the study sheds light on how the poet's appropriations of Greco-Roman materials are a powerful and creative expression of his poetics as a whole. Going beyond the traditional model of influence study, the article proposes a theoretical framework of cross-cultural intertextuality, creative rewriting, and cultural translation.

The essay is devoted to a summary review of the main phenomena of global artistic culture in the Antiquity period (a millennium before the Birth of Christ). The work provides a holistic vision of artistic phenomena. The author consistently examines the achievements of ancient masters in various art forms: literature (the creation of the spiritual foundation of ancient culture in religious canons and national epic), architecture (the appearance of the order in ancient Greek classics), sculpture (as the leading genre of Antiquity), fine art (based on preserved frescoes and mosaics), theatrical art (tragedies of ancient Greek playwrights), poetry (Roman classicism). Attention is also paid to the development of art in line with Hellenism and to the parallels to Greco-Roman Antiquity in the territories of the East. In addition, an overview of the last stage of Antiquity, the Roman stage (the heyday of Roman architecture and sculpture), is given. In conclusion, the author finds that the art phenomena of the period of Antiquity played the most important role as the basis of European culture.

The article considers the question of the study of satire in philosophy. The study found that satire is an underdeveloped topic in the field of Ukrainian philosophy and the philosophy of Englishspeaking countries. For instance, the works of the last five to six years by such philosophers as D. Ab rahams and D. Declercq, who echoed the opinion of C. W. Mendell concerning the close connection of satire with philosophy. In the work “Satire as Popular Philosophy” created at the be ginning of the 20th century Mendell proved that ancient satire was a type of philosophy. Ne vertheless, the issue of the first place of appearance of the genre of satire in the period of Antiquity, whether in ancient Roman or ancient Greek art, needs to be clarified. Therefore, the purpose of the article is to solve a number of related questions, namely: where previously appeared satire as a genre — in Ancient Rome or in Ancient Greece, why it got such a name, and what metamorphoses took place with it over time Antiquities. One of the primary sources about the history of satire was Aristotle’s work “Poetics”, which describes iambic (humorous) and satirical poetry. According to Aristotle, the nature of satiric poetry undergo metamorphosis from the “dance” tetra meter to the iambic meter characteristic of mocking poetry. In this regard, the main part of the work is devoted to proving that satiric poetry got its name from mythological goat-like satyrs and if the performers of iambic (derisive lyrics) could be ordinary people, then the performers of satirical poems — only mythological goat-like satyrs. As a result of the research, it was found that initially the genre called satire had a poetic form and was borrowed by ancient Roman poets from ancient Greek artists. The adopted type of satire received the name “satura”, in Latin meaning “miscellany or medley” of prose and verse form of presentation of the creation.

<p>The Pax Romana period was the pinnacle of ancient Roman culture since founding the country until the division into Eastern and Western Empire in 395. Only in two centuries, under the principate regime, Roman culture continues to create the available cultural roots of itself that inherited from the earlier generations; it selectively received and developed Greek foreign culture to a new point. All cultural values from the non-material to the material were constructed under the early dynasties of Augustus to the heyday of the Five Sage Kings or Aurelius who is both emperor and philosopher shows development and prosperity of Rome. Fields such as literature, history, science, philosophy,… have brilliant achievements. Rome has collapsed but Roman culture still lives in language, poetry, art of Latin, in the spirit of modern law and in the orderly traditions of the old European continent. </p>

This paper is concerned with one little-known but intriguing and conceptually promising episode in the history of Greek thought about metaphor. Remarks made by two distinguished scholars will help us to get some preliminary bearings. In ancient discussions of rhetoric, says D.A. Russell, there was ‘a sharp distinction between content (to legomenon) and verbal form (lexis). With some hazy and uncertain exceptions, ancient writers on poetry also adhered firmly to this distinction’. Qualifications are added later in the book; but Russell leaves us with the clear impression that no Greek or Roman theorist made significant concessions to any nonsense about the medium being the message; and that whatever may be true of isolated examples of critical practice, all general theories about the elements of poetry assumed that discussions of what is said can be conducted quite independently of discussions of how it is said. In so far as connections were envisaged at all, Russell maintains, it was in terms of a rather vague notion of ‘suitability’: many writers cite with approval the Gorgian slogan, ‘great words suit great things’.

The recallings to antiquity in Vaclav Iwaniuk’s poetry assume the reinterpretations in most cases. The above review of the mythological and historical motifs taken from the Greek or Roman antiquity allows us to conclude, first of all, that they were brought up to date owing to the use of the method we have called a reinterpretation. The poet, referring to the Greek myth or the history, tried to find the patterns and the symbols that make it possible to understand the history of his nation, its past and present situation, and his own life and fate.

The study of Latin and Ancient Greek at tertiary level is crucial for the survival of Classics within the university sector. And it is not too much to say that the serious study of Greco-Roman antiquity in most, if not all, areas is simply impossible without the ancient languages. They are essential not just for the broad cross-section of philological and literary studies in poetry and prose (ranging at least from Homer to the works of the Church Fathers to Byzantine Chroniclers) but also for ancient history and historiography, philosophy, art history and aesthetics, epigraphy, and many branches of archaeology. In many Classics departments in Australia, New Zealand and elsewhere, enrolments in non-language subjects such as myth, ancient theatre or epic, or history remain healthy and cater to a broad public interest in the ancient Greco-Roman world. This is, of course, to be lauded. But the status of the ancient languages, at least in terms of enrolments, may often seem precarious compared to the more overtly popular courses taught in translation. Given the centrality of the ancient languages to our discipline as a whole, it is worth keeping an eye on how they are faring to ensure their prosperity and longevity.

This thesis examines the poetry of Catulus, Catullus, Horace, Tibullus, and Statius in an attempt to trace the development of a Roman pederastic poetics. This project aims to demonstrate how the status of the puer delicatus constitutes a point of contention for the Roman poets as they attempt to craft an elevated literature for the homoerotic amor between Roman citizen and subaltern. To legitimize an otherwise commonplace and inherently unequal configuration between citizen and slave, the poets participate in a project of assimilation that refigures the subaltern puer as a citizen youth and, in the poetry of Statius, even re-imagines the puer as a quasi-citizen within the aristocratic Roman family. To conclude, this study urges scholars to reevaluate Roman pederastic poetry as a cultural elaboration that attests to the problem that the stigma of the beloved's status posed to a standard homosexual configuration at Rome.

Early Ptolemaic Alexandria provides a unique perspective on cultural interactions during the Hellenistic Period. With this idea in mind, I have tracked the cultural affiliation of the city from its foundation through the early years of the Ptolemaic dynasty. In order to do this, both literary and archaeological evidence, including various foundation myths for the city, the poetry of Theocritus and Herodas, papyrological evidence as well as the city plan and archaeological remains of the Serapeum, were analyzed. Using this evidence, this thesis attempts to describe the cultural state of the ancient city and the surrounding area in its early years, and tracks its development from an entirely Greek cultural background to a multicultural one.

The thesis has two aims. The first is to show that a more charitable approach to Manilius, such as Lucretian scholarship has exhibited in recent decades, yields a wealth of exciting discoveries that earlier scholarship has not thought to look for. The thesis' contributions to this project centre on three aspects of the poem: (I) the sophistication of its didactic techniques, which draw and build on various predecessors in the tradition of didactic poetry; (II) its cosmological, physical and theological basis, which has no exact parallel elsewhere in either astrology or natural philosophy, and despite clear debts to various traditions, is demonstrably the invention of our poet; (III) the extent to which rationales and physical bases are offered for points of astrological theory – something unparalleled in other astrological texts until Ptolemy. The second, related aim of the thesis is to offer a more satisfying interpretation of the poem as a whole than those that have hitherto been put forward. Again the cue comes from Lucretius: though the DRN is at first sight primarily an exposition of Epicurean physics, it becomes clear that its principal concern is ethical, steering its reader away from superstition, the fear of death and other damaging thought-patterns. Likewise, the Astronomica makes the best sense when its principal message is taken to be not the set of astrological statements that make up its bulk, but the poem’s peculiar world- view, for which those statements serve as an evidential basis. It is, on this reading, just as much a poem ‘on the nature of the universe', which provides the title of my thesis. At the same time, however, it finds new truth in the conventional assumption that Manilius is first and foremost an advocate of astrology: it reveals his efforts to defend astrology at all costs, uncovers strategies for making the reader more amenable to further astrological study and practice, and contends that someone with Manilius' set of beliefs must first have been a devotee of astrology before embracing a natural- philosophical perspective such as his. The thesis is divided into prolegomena and commentaries, which pursue the aims presented above in two different but complementary ways. The prolegomena comprise five chapters, outlined below: Chapter 1 presents a comprehensive survey of the evidence for the cosmology, physics and theology of the Astronomica, and discovers that a coherent and carefully thought-out world-view underlies the poem. It suggests that this Stoicising world- view is drawn exclusively from a few philosophical works of Cicero, but is nonetheless the product of careful synthesis. Chapter 2 explores the relationship between this world-view and earlier Academic criticism of astrology and concludes that the former has been developed as a direct response to these criticisms, specifically as set out in Cicero’s De divinatione. Chapter 3 examines the later impact of Manilius’ astrological world-view, as far as it can be detected, assessing the evidence for the early reception of his poem and its role in the history of philosophical astrology. The overwhelming impression is that the work was received as a serious contribution to debate over the physical and theological underpinnings of astrology; its world-view was absorbed into the mainstream of astrological theory and directly targeted in the next wave of Academic criticism of astrology. Chapter 4 looks at the more subtle strategies of persuasion that are at work in the Astronomica. It observes, first, a number of structural devices and word- patternings that set up the poem as a model of the universe it describes. This first part of the chapter concludes by asking what didactic and/or philosophical purpose such modelling could serve. The second part examines how, by a gradual process of habituation-through-metaphor, the reader is made familiar with the conventional astrological way of thinking about the world, which might otherwise have struck him as a baffling mass of contradictions. The third part looks at the use of certain rhetorical figures, particularly paradox, to re-emphasise important physical claims and assist the process of habituation. Chapter 5 takes on the task of making sense of the Astronomica as a whole, seeking out an underlying rationale behind the choice and ordering of material, accounting as well as is possible for its apparently premature end, and asking why, if it is a serious piece of natural-philosophical teaching, it so often appears to be self- undermining. A short epilogue asks what path can have led Manilius to embark on such a work as the Astronomica. It offers a sketch of the author as an adherent (but not a practitioner) of astrology, who had developed a philosophical system first as scaffolding for an art under threat, but had then come to see more importance in that philosophical underpinning than in the activities of prediction. The lemmatised commentaries that follow cover several passages from the first book of the Astronomica. As crucial as the remaining four books are to his natural-philosophical teaching, it is in this part of the poem that Manilius concentrates the direct expositions of his world-view. Like the chapters, the commentaries' two concerns are the nature and the exposition of the work's world-view. Each of the commentaries has its own focus, but all make full use of the format to tease out the poet's teaching strategies and watch his techniques operate 'in real time' over protracted stretches of text. Finally, an appendix presents the case for the Astronomica as the earliest evidence for the use of plane-image star maps. At two points in his tour of the night sky Manilius describes the positions of constellations in a way that suggests that he is consulting a stereographic projection of each hemisphere, and that he is assuming his reader has one to hand, too. This observation casts valuable new light on the development of celestial cartography.

Ce travail propose d’étudier l’un des nombreux textes médiévaux portant sur le mythe de la guerre de Troie. Transmis à l’Occident médiéval non pas par le biais d’Homère mais par celui des classiques latins et de certains auteurs de l’Antiquité tardive, ce mythe connut un immense succès en Europe durant tout le Moyen Âge, malgré l’ignorance du grec et de l’Iliade. Nous avons choisi d’éditer partiellement et de commenter l’un des plus importants monuments de la matière troyenne médiévale, texte presque inédit aujourd’hui, car totalement délaissé depuis la Renaissance et le retour aux textes anciens. Dans une introduction, nous avons exposé les principes de notre travail d’édition, c'est-à-dire listé les différents manuscrits utilisés par l’éditeur précédent (Nathaniel Griffin), puis surtout présenté notre manuscrit de base, le Cod. Bodmer 78, absent de la liste des manuscrits collationnés par Griffin. Puis nous avons consacré un chapitre à la langue du texte, un latin médiéval très lisible quoiqu’empreint de « modernismes », notamment au niveau du lexique. Puis, après avoir présenté le texte, sa langue et notre méthode d’édition, nous avons exposé le peu d’éléments que nous avions sur notre auteur, sa vie, son œuvre et le contexte intellectuel au milieu duquel il évolua dans la Sicile du XIIIe siècle, ainsi que l’engouement européen pour la matière troyenne qui explique son choix de reprendre ce grand mythe dans son Historia. Enfin il nous a fallu évoquer les nombreuses sources utilisées par Guido delle Colonne, ses sources directes, indirectes ou inavouées. En dernier lieu, nous avons offert un résumé de chaque livre édité et traduit. Suit une bibliographie détaillée sur les manuscrits et éditions anciens de ce texte, des manuels, le contexte culturel et historique en Europe et en Sicile au Moyen Âge, les textes grecs, latins et vernaculaires se rapportant à la guerre de Troie et ayant influencé notre auteur de près ou de loin, les ouvrages critiques sur le traitement de cette matière troyenne dans l’Antiquité et au Moyen Âge, et enfin les quelques éléments bibliographiques portant sur Guido et sur son œuvre. Vient ensuite notre édition-traduction. La traduction est accompagnée d’un double apparat : un apparat des sources et réminiscences ainsi qu’un apparat critique qui prend en compte et compare les leçons contenues dans notre manuscrit de base avec les variantes citées par l’éditeur précédent dans les quelques manuscrits qu’il a utilisés. Au bas de la traduction, figurent des notes d’érudition destinées aux noms ou des faits cités dans le texte et qui méritent une explication. Après cette partie introduction philologique et édition, la deuxième grande partie de cette thèse consiste en un commentaire et des annexes. Dans notre commentaire, nous avons souhaité interroger notre texte dans ses aspects narratologiques, thématiques, génériques, linguistiques et idéologiques. C’est pourquoi nous avons consacré un premier chapitre à l’étude narratologique du texte, son contenu, son agencement, ses techniques narratives, son utilisation des sources et ses principales thématiques. Dans une seconde partie, nous avons abordé le genre et le ton de cette Historia, qui se veut un texte historique quoique traitant une matière fictionnelle puisque mythologique à une époque où les genres littéraires ne sont pas encore définis et encore moins cloisonnés ; nous avons en outre longuement commenté et illustré le choix de l’écriture en prose et en latin à une époque où la mode est au vers et au vernaculaire. Enfin, notre troisième chapitre porte sur le contenu scientifique, politique et idéologique de ce texte truffé de parenthèses érudites et morales. En dernier lieu, nous avons proposé une édition diplomatique de la partie non éditée ni traduite du manuscrit, ainsi que des annexes sur les manuscrits et le vocabulaire, et bien sûr des index des noms propres et un glossaire des mots rares ou surprenants
This work proposes to explore one of the many medieval texts on the myth of the Trojan War. Transmitted to medieval Europe not through Homer but by the Latin classics and some authors of late Antiquity, this myth was a huge success in Europe during the middle Ages, despite the ignorance of the Greek and the Iliad. We chose to partially edit and comment on one of the most important monuments of the medieval Trojan material, almost unpublished text today because totally abandoned since the Renaissance and the return to the ancient texts. In an introduction, we exposed the principles of our editing work, that is to say, listed the various manuscripts used by the original publisher (Nathaniel Griffin) and especially presented our basic manuscript, Cod. Bodmer 78, absent from the list of manuscripts collated by Griffin. Then we have a chapter on the language of the text, a medieval Latin highly readable although full of "modernism", particularly in terms of vocabulary. Then, after introducing the text, the language and our editing method, we exposed the little things we had on our author, his life, his work and the intellectual context in which he evolved in thirteenth century Sicily, and the European craze for the Trojan material explains his choice to take this great myth in his Historia. Then, we had to mention the many sources used by Guido delle Colonne, its indirect or direct or unacknowledged sources. Lastly, we provided a summary of each book published and translated. Then follows a detailed bibliography on manuscripts and old editions of this text, textbooks, historical and cultural context in Europe and Sicily in the Middle Ages, the Greek texts, Latin and vernacular related to the Trojan War and that influenced our author near or far, the critical works on the treatment of this Trojan material in antiquity and the Middle Ages, and finally some bibliographic elements on Guido and his work. Then comes our edition-translation. The translation is accompanied by a double pageantry: one for the sources and reminiscences, and a critical apparatus that considers and compares the lessons contained in our manuscript with basic variants cited by the previous editor in some manuscripts that he used. At the bottom of the translation include scholarly notes for names or facts mentioned in the text and deserve an explanation. After this introduction and part philological edition, the second major part of this thesis consists of a comment and annexes. In our review, we wanted to examine our text in its narratological, thematically, linguistic, generic and ideological aspects. That is why we have devoted the first chapter to the narratological study of the text, its content, its layout, its narrative techniques, use of sources and its main themes. In a second part, we discussed the type and tone of the Historia, which intends to be a historical text while attending a fictional material since mythological, at a time when genres are not yet defined and less compartmentalized; we have also commented extensively and illustrated the choice of writing in prose and Latin at a time when fashion is to poetry and vernacular. In the end, our third chapter focuses on the scientific, political and ideological content of this text peppered with parentheses and moral scholars. Finally, we proposed a diplomatic edition of the unedited or translated part of the manuscript, as well as appendices on manuscripts and vocabulary, and of course the name index and a glossary of rare or surprising words

Unlike other heroines of the Greek romantic novels, who are consistently chaste, the heroine of Achilles Tatius’ novel Leucippe and Clitophon displays a (temporary) lack of sexual reticence; she also possesses musical talent. These features are central to her characterization in the novel’s first two books, which, incidentally, bear the distinct influence of Roman love elegy. It is argued here that Leucippe is purposedly fashioned in the early part of the novel as a puella docta, the type of idealised artistic lady with libertine traits that arouses erotic passion in the Augustan love poets. In the novel’s later books, on the other hand, her characterization conforms to a more conventional image.

This chapter presents an important study of Sappho in the context of her Roman reception with regard to ancient literary theory. As in Chapter 2, also by Richard Hunter, a metaliterary pair of concepts appears central, but this time it is the pair of γλαφυρά‎ (‘smooth’) versus αὐστηρά‎ (‘harsh’, ‘rough’, ‘bitter’) that is at the centre of attention. The chapter shows how this pair helps to understand Sappho and how she was perceived in ancient Rome. While gauging various concepts of ancient literary style, this chapter explores passages from Hellenistic and Roman literary critics and poets, all against the background of a number of Sapphic fragments.

This chapter focuses on the institution of the recitatio, characteristic of late Augustan and post-Augustan Rome, whereby poets read out their unfinalized poetry for an audience to criticize before revising it for publication. The main source of evidence is the Letters of Pliny the Younger, who describes in some detail both the recitationes he organized in his own house and those he attended. Comments by other writers on recitationes are cited, both those in favour and those opposed, and the value of the institution to Roman poetry is considered. The symposium as a site for the reading of verse continues to be attested, and there is evidence for the continued inclusion of poetry contests in celebratory games. Other places where poetry might be found, such as walls and monuments, are reviewed.

The absence and presence of Sappho in ancient literary criticism is telling of her reception, not least in the Roman context, as this chapter shows. It argues that through various approaches to Sappho we can observe the dynamics of ancient literary theory, where inter alia the contrastive concepts of ἀλλότριον‎ (‘what belongs to someone else’) and οἰκεῖον‎ (‘what is one’s own’) prove productive for enhancing our understanding of categories such as gender, translation, and—more broadly—reception in the ancient world. The chapter covers reflections on literature in ancient literary critics, combined with analyses of passages from the poetry of Sappho and Roman poets such as Lucretius, Catullus, Horace, and Ovid.

Abstract Chapter 5 takes as its subject Columella’s dual treatment of horticulture in poetry and prose in his agricultural treatise De Re Rustica. This is the first extant treatment of horticulture in Latin literature, and perhaps the first work to include the garden as part of agriculture. Columella justifies its inclusion on literary and economic grounds, which corresponds to his two horticultural passages, one in verse and one in prose (De Re Rustica 10, 11.3). The practical prose version of horticulture in calendrical order supplements the poem, which instead demonstrates Columella’s literary skill. It is the generic contrast which allows Columella to explore poetic modes of representation in Book 10. Columella characterizes his switch to poetic composition as supplying the omitted treatment of gardening in Vergil’s Georgics, which he left to be dealt with by later writers (G. 4.147–48). Acknowledging the metapoetic role of Vergil’s garden, Columella’s hexameter poem represents its own function as a literary ornament, while demonstrating the greater effectiveness of prose for instruction. The poem presents horticulture on a cosmic and imperializing scale, cramming in literary allusions to a wide array of authors and over seventy varieties of plants, from cabbages to roses.

Abstract Chapter 2 examines Vergil’s famous garden passage in Georgics 4.116–48 as a literary paradigm for interpreting the Roman garden and as an important model for later Latin authors. Vergil recalls a humble, but sufficient, hortus in Tarentum gardened by an old Corycian. The many and varied ancient and modern interpretations of this complex passage illustrate well the numerous potential associations of (male) gardening: literary, aesthetic, ethical and philosophical, and political. The garden serves as a metapoetic symbol of Vergil’s poetic task and as a statement of his literary affiliations, especially with Hellenistic poetry. Horticulture is presented in a praeteritio, which highlights its special status within the agricultural world and raises questions about its relationship to the rest of the poem, in terms of genre and content. The garden embodies a number of unresolved tensions in the Georgics as a whole between the bucolic and georgic genres, labor and leisure, and humans and the natural world.

Since ancient times, Arabic poetry has been a depiction of everything that is happening in the Arab environment that surrounds the poet wherever he is, and his igniting flame has not been extinguished in their souls, despite the subjugation of the Arab world to the rule of non-Arabs after Islam. It is known that the Arab Muslims set out from the Arabian Peninsula as conquerors and heralds of the serious Islamic religion, and as a result of this the entry of nonArabs into Islam that enlightened the darkness of their hearts, so the Persians, Romans, Copts, Abyssinians, Turks, and others will be enlightened by his guidance... Muslim rulers will succeed in ruling the Islamic state Arabs and non-Arabs, such as Persians, Turks, Kurds, and others. And when the Turkish Ottoman state was established on an Islamic religious basis, the Turkish Muslims carried the banner of Islam, so they defended it, relying on Muslims of all nations, from the Turks, the Laz, the Arabs, and others, so the Islamic Ottoman rule extended over common areas that included almost the entire Arab lands, and they did not differentiate between Muslim and another in view of his race, color or geography. However, this matter did not satisfy the lurking enemies who wanted sedition and division between the Arabs and the Turks, so they stirred up the winds of nationalism that some Arab poets sought in the modern era, such as Ibrahim al-Yaziji and Khalil Mutran. Herein lies the importance of the research, its objective, and its value. The research uses the descriptive and analytical approaches in order to highlight the manifestations of this brotherhood, which received sufficient attention from Arab poets in the modern era.