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1
DeForest, Mary. "Apollonius' "Argonautica" : a Callimachean epic /". Leiden : E. J. Brill, 1994. http://catalogue.bnf.fr/ark:/12148/cb36680528n.
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2
Baier, Thomas. "Valerius Flaccus : Argonautica Buch VI /". München : C. H. Beck, 2001. http://catalogue.bnf.fr/ark:/12148/cb38965184m.
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3
Barnes, Elizabeth. "Emotions in the Argonautica of Apollonius". University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439295357.
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4
Berkowitz, Gary. "Semi-public narration in Apollonius' Argonautica /". Leuven ; Paris ; Dudley (Mass.) : Peeters, 2004. http://catalogue.bnf.fr/ark:/12148/cb39233620k.
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5
Buckley, Emma Louise. "Valerius Flaccus' Argonautica : post-Virgilian literary studies". Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/252003.
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6
Scott, Beverley. "Aspects of transgression in Valerius Flaccus' Argonautica". Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/10035/.
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In a literary era seemingly obsessed with transgression, Valerius’ own interest in the theme should come as no surprise. For the Romans, the Argo was the first ship in existence; thus the entire Argonautic enterprise is underpinned with transgression. This study sets out to interrogate the complex ways in which Valerius engages with transgression, offering new readings of his Argonautica in the process. He presents a world where expected boundaries are tested, or entirely collapsed, and where the characters and the narrator, grasping for something familiar upon which to hold, are left wanting. This thesis focuses on three major areas of enquiry, all fruitful in making useful conclusions when thinking about transgression in Valerius Flaccus. Firstly, the location of Jason and Medea’s wedding on the island of Peuce is examined, a seemingly insignificant departure from Apollonius Rhodius’ narrative. In fact, a number of transgressive issues are conflated at the point at which their marriage begins, enhancing the sense of unease at the union. The second section springs from the transgressive nature of Peuce’s landscape itself, in that caves, whilst suitable for weddings and sometimes the site of rapes, are often the home of monsters. Monsters pervade the text, appearing at familiar junctures (such as the Harpies, Amycus, and the sown men), but also at unexpected moments, where, for example, gods display monstrous characteristics. The ocular activity of ‘real’ monsters is shown to foreshadow the same curious phenomenon in Medea herself. She is revealed to be a potently transgressive character, and in assuming the hybrid role of character in the work and Muse, she is able to step out of the poem into a position of narrative control. The final section considers the technological aspects of Valerius’ poem against a background of science fiction receptions of the Argonautic myth, all of which are particularly concerned with exploring ideas of technological advance. Modern science fiction writers such as H. G. Wells and Robert J. Sawyer ‘use’ Argonautic themes, imagery and motifs in their work to routinely explore the hazards of progress. These modern receptions allow us to revisit the ancient material Valerius’ Argonautica, and to see that a world without boundaries is not a consequence-free world, since the far-reaching ramifications of technological advance are brought sharply into focus when read through the ‘lens’ of science fiction. The Argonautica, a poem rich in transgressive themes, is a work which poses more questions than it answers. In that final quality, the significance and potency of its transgression is revealed.
7
Harper, Smith Alison. "A commentary on Valerius Flaccus' Argonautica II". Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:3173ecb9-bbc9-4288-84a7-88cad1e68549.
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The text used throughout is that of W. W. Ehlers (Stuttgart 1980) and a separate version is not established, though I have occasionally disagreed with Ehlers' choice of reading. The commentary deals with questions of interest as they arise, both textual and syntactical, literary and mythological. It seeks to show that Valerius was no unskilled versifier, and that problems of interpretation may be due to misunderstanding as much as to poor workmanship on the part of the poet. The introduction to each episode includes a detailed discussion of the mythological tradition, which reveals the limited extent of innovation by Valerius. The preliminary section on Valerius' literary qualities seeks to analyse questions of language and style that have emerged from the investigation in the commentary, concentrating in particular on the close relationship with Virgil's Aeneid. It concludes that Valerius was mistaken to concentrate on the long mythological epic as his talents clearly lay in the field of short descriptive poetry. The section on Valerius' use of his sources rejects the claim that he makes allusive use of Virgil, and briefly examines his debt to Apollonius, and the chronological relationship with Statius' Thebaid. The section on the manuscript tradition provides brief reasons for the acceptance of Ehlers' stemma (rather than Courtney's), differing only in acknowledging the existence of a separate French tradition and in placing greater weight on the authority of Carrio's old manuscript. The section concludes with a rapid survey of Valerius' influence on Medieval literature. An excursus is appended that traces the close relationship between the pictorial and literary versions of the Hesione story from the earliest examples until the time of Valerius and beyond.
8
Finkmann, Simone. "The female voice in Valerius Flaccus' Argonautica". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:793d6898-da1a-4ccc-a012-2b00e12816e0.
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This thesis adopts a mixed-method approach of quantitative and qualitative analysis to discuss the role of women, especially female speakers and addressees, in Valerius Flaccus’ Argonautica. In addition to the traditional individual mortal and divine speech roles, discourse categories such as the influence of the Muses, the presentation of female personifications, female collectives, frame and inserted speakers, and goddesses in disguise are also taken into consideration. The study shows that, despite the shared subject matter and greatly overlapping ensemble of speakers, Valerius makes significant changes in nearly all categories of female speech representation. Valerius entirely omits some of Apollonius’ female speech acts, reduces speeches from oratio recta to mere speech summaries, replaces Greek goddesses with similar, but not equivalent Roman speakers, assigns new speech roles to previously silent female characters, adds important new episodes with female speakers that do not occur in Apollonius’ epic, changes the speech contexts, the conversational behaviour and the overall characterization of speakers – in isolated individual instances as well as in more complex character portrayals. Valerius even modifies or transfers entire discourse patterns such as conversational deceit in speech and silence, or divine disguise, from one speaker group to another, usually of the opposite sex. Valerius transforms the Apollonian arrangement of a male-dominated, 'epic' first half following the invocation of Apollo and a second female, 'elegiac' half with many female speech acts and epiphanies, after a revision of the narrator’s relationship with the Muses, into a more traditional portrayal of the Muses and a much more balanced occurrence and continued influence of female speakers. The different female voices of the Argonautica, especially Juno, can continuously be heard in the Flavian epic and provide the reader with an alternative perspective on the events. Even the less prominent female speakers are part of a well-balanced and refined structural arrangement and show influences of several pre-texts, which they sometimes self-consciously address and use to their advantage. There can be no doubt that, like Apollonius, Valerius does not merely use female speech acts to characterise the male protagonists, but follows a clear structuring principle. Whereas Apollonius in accordance with his revised invocation of the Muses concentrates the female speech acts in the second half of his epic, especially the final book, Valerius links episodes and individual characterizations through same-sex and opposite-sex speaker doublets and triplets that can be ascribed to and explained by Jupiter’s declaration of the Fata. From Juno’s unofficial opening monologue to Medea’s emotional closing argument, the female voice accompanies and guides the reader through the epic. The female perspective is not the dominant view, but rather one of many perspectives (divine, mortal, female, male, old, young, servant, ruler, et al.) that complement the primary viewpoint of the poet and the male, mortal protagonists and offer an alternative interpretation.
9
BERKOWITZ, GARY CHARLES. "NARRATIVE PROBLEMS IN APOLLONIUS' ARGONAUTICA". University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1025633098.
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10
Korn, Matthias. "Valerius Flaccus, Argonautica 4,1-343 : ein Kommentar /". Hildesheim : G. Olms, 1989. http://catalogue.bnf.fr/ark:/12148/cb35571103x.
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11
Wijsman, Henri Jacob Willem. "Valerius Flaccus, Argonautica, Book V : a commentary /". Leiden ; New York ; Köln : E. J. Brill, 1996. http://catalogue.bnf.fr/ark:/12148/cb37024460p.
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12
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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13
Poortvliet, Harm Marien Valerius Flaccus Gaius. "C. Valerius Flaccus Argonautica book II a commentary /". Amsterdam : VU University Press, 1991. http://books.google.com/books?id=3HlfAAAAMAAJ.
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14
Taurian, Michael Anthony. "Bacchic Echoes: Dionysus as Metaphor in Apollonius' Argonautica". Thesis, Department of Classics and Ancient History, 2020. https://hdl.handle.net/2123/26003.
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This thesis argues that an interpretation of Apollonius’ Argonautica must take account of a Dionysiac schema mobilising the epic’s meanings: this schema operates as an organising principle for understanding the epic’s initial reception not only because Hellenistic literary production is steeped in Dionysiac forms that gave prominence to Attic tragedy and theatrical performance, but also because Dionysiac cult played a critical role in Ptolemaic royal ideology both ritually and politically. As Hellenistic epic proclaimed and bolstered Ptolemaic regional and political hegemonic claims, the Argonautica ought to be expected to contain a reflex of this Ptolemaic focus on Dionysus. (1) Euripides’ Bacchae provides the main frame and a patterning (the ‘hospitality plot’) within which Argonautic action can be invested with Bacchic significance: resistance to foreign strangers, inversions of identity and power, Dionysiac social cohesion, intimacy with natural environments, the Argonauts as a chorus with Jason as 'exarchos' and Orpheus as 'choregos'/'koryphaios', etc. Bacchic intertextuality animates meaning in the Argonautica. (2) The women of the Argonautica are demonstrably Maenadic. Jason’s relationship with Medea is mapped onto the model of the ‘tragic marriage’ which opposes the endogamy of über-elite households with a civic cohesion resulting from the mixing of citizen households. This triggers a destructive necessity to admit the foreigner into the 'oikos'/'polis' which, as R. Seaford argues, was so allergic to tyrants and royal houses in tragedy and, of these, the Bacchae most programmatically. The maenadic submission of local women to Dionysus in tragedy offers a way of reframing the meanings of Medea’s seduction by and escape with Jason. (3) Jason is assimilated figurally to the god Dionysus and emerges as an epic hero caught between twin pairs of Dionysian imperative: the literary and the cultural-political on the one hand, and between the Euripidean martial Dionysus and the ‘Philadelphian’ cosmopolitan wine-god on the other. In the end, Apollonius’ innovation in the Argonautica is the elaboration of a Dionysian epic hero apt for the third century Alexandrian tastes of the court of Philadelphus.
15
Hudson, Dorothy May. "Aspects of Valerius Flaccus' Argonautica : a literary assessment". Title page, contents and foreword only, 1986. http://web4.library.adelaide.edu.au/theses/09ARPM/09armh885.pdf.
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16
Plantinga, Mirjam Greteke. "Hospitality in Apollonius Rhodius' Argonautica Books I and II". Thesis, University of St Andrews, 1999. http://hdl.handle.net/10023/15447.
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In this thesis, Hospitality in Apollonius Rhodius' Argonautica Books One and Two, I offer a detailed and systematic analysis of the epic motifs used by Apollonius Rhodius. Careful comparison with its principal models, the Homeric epics, shows the poet's sophisticated manipulation of the Iliad and Odyssey, and reveals much of his narrative technique. Read in the context of its sources, it is possible to focus with more precision on Apollonius' innovations. For this study, I have selected the major hospitality scenes of the first two books, which are concerned with the outward journey to Colchis. Reference is, however, made throughout to the hospitality scenes in Books Three and Four. The hospitality theme is one of the most important in an epic concerning the voyage heroes make in order to retrieve the Golden Fleece. Hospitality scenes are characterised by a certain repetition of motifs: e.g. arrival, reception, meal, storytelling and exchange of gifts. These elements are always adapted according to the particular poetic context and purpose of a scene. With their elaborate structure hospitality scenes provide fascinating material for the study of the reworking of the Homeric epics, crucial for the understanding of Apollonius' work.
17
Marshall, Laura Ann. "Uncharted Territory: Receptions of Philosophy in Apollonius Rhodius’ Argonautica". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu150330016014072.
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18
Cassidy, Sarah. "Navigating the universe : cosmology and narrative in Apollonius Rhodius' Argonautica". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25948.
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This thesis is a study of the influence of cosmology on Apollonius Rhodius’ Argonautica, an epic hexameter poem written in Alexandria in the 3rd century BC. I examine ancient Greek ideas of cosmogony and cosmology, which range from the earliest extant Greek texts (Homer and Hesiod) to contemporaries of Apollonius (Aratus). My argument is that cosmology is deeply embedded in the text, and that Apollonius creates a nexus of cosmic intertexts which provides a scientific and intellectual backdrop against which the events of the narrative take place. The narrative’s events all occur within a cosmos, which is alluded to throughout the epic; the reader sees snap-shots of the development of this cosmos alongside the development of the Argo’s journey, which creates an analogous progression between the two. Particularly salient for this thesis is the connection to Empedoclean ideas of love and strife as cosmic forces, as these comprise two of the major themes of the narrative. Accordingly, a key point of contact between narrative and cosmology lies in these forces, as the narrator consciously recalls them and the cosmos they control in the process of weaving his narrative. The three passages I examine all focus on this cosmic system, as the cosmic backdrop evolves and changes alongside the narrative itself. The cosmic analogy, therefore, is not static but changes in line with the narrative. This study will form the only extended analysis of cosmology in the Argonautica. The influence of cosmological material on the text (within the wider issue of philosophical influence) has attracted marginal attention, scholars often noting some of the more overt connections without a great deal of analysis. Works that acknowledge the presence of cosmological material at sporadic points include: Fränkel (1968); Hunter (1989 and 1993), Clauss (1993 and 2000); Levin (1970 and 1971). More detailed studies of aspects of cosmological material in the Argonautica include: Bogue (1979); Nelis (1992); Kyriakou (1994); Pendergraft (1995); Murray (2014); Santamaría Álvarez (2014). These studies all confirm the importance of cosmological ideas on the text, but focus on a particular manifestation of these ideas. This thesis will build on these ideas in an attempt to create a cohesive study of cosmology throughout the narrative and consider how this material affects our reading of the narrative itself and its poetic agenda, along with how this use feeds into Apollonius’ poetic values and contemporary poetic trends in general. The thesis is divided into three main chapters, in which I examine three key passages of the Argonautica to make my argument. In Chapter One I examine Orpheus’ song (1.496-511), in which the cultic bard Orpheus calms a fight between two Argonauts by singing a cosmogony. The song establishes cosmic forces that run analogous to the forces at work in the narrative and demonstrates how the growing influence of love in the cosmos parallels the increased reliance on love for the success of the Argonauts’ mission. In Chapter Two I examine Jason’s cloak (1.721-767), a passage that comprises the only extended ecphrasis in the Argonautica. The images woven into his cloak continue the cosmic theme begun in the song of Orpheus, since they demonstrate the world in a later stage of development, as human and divine events unfold and time progresses towards the Argonauts’ contemporary world. In Chapter Three I examine Eros’ sphere (3.129-141), an intricate toy offered to him by Aphrodite in exchange for his shooting Medea with an arrow to make her fall in love with Jason. The ball’s shape and its details both suggest that what Eros holds in his hand is some sort of divine three-dimensional model of the universe. I have chosen these three passages because a cosmological mode of reading is particularly strong in them; they bring to the forefront the cosmological undertone which underlies the wider narrative. My conclusion is that the three passages are all connected throughout the narrative by their cosmic material, material which underscores the Argonauts’ narrative and facilitates them anchoring their time to the grand timeframe of the cosmos. Both cosmic and narrative events run concurrently, as the evolution of the cosmos from its origins to the Argonauts’ present day runs alongside the evolution of the narrative. This duality shows how the Argonautic poet employs cosmology and in doing so creates a continuous parallel narrative that runs throughout the text. Since he uses three connected parallel narratives (song, garment, and toy), the reflective capacity of the passages is not merely a one-off, but consecutive, as all three comprise different moments in the same cosmic scheme. The boundaries between parallel narrative and main narrative are thus broken down in the passages as the narrator establishes the idea that cosmology does not only run parallel to the events of the narrative, but prefigures them and enriches the reader’s understanding of the narrative world. In sum, the cosmic readings of the passages demonstrate that what the narrator is drawing the reader towards is a cosmic subtext that is unfixed and undergoes change.
19
Kobusch, Beate Pio Giovanni Battista. "Das Argonautica-Supplement des Giovanni Battista Pio Einleitung, Edition, Übersetzung, Kommentar /". Trier : WVT, Wissenschaftlicher Verlag, 2004. http://catalog.hathitrust.org/api/volumes/oclc/56679096.html.
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20
Knight, Virginia Helen. "Prosthen eti kleiousin aoidoi : responses to Homer in the Argonautica of Apollonius". Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358355.
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21
Livingston, James Graham. "Imagery of psychological motivation in Apollonius Rhodius' Argonautica and early Greek poetry". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25894.
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This thesis adopts a cognitive-phenomenological approach to Apollonius’ presentation of psychological imagery, thus eschewing the cultural-determinist assumptions that have tended to dominate Classical scholarship. To achieve this, I analyse relevant theories and results from the cognitive sciences (Theory of Mind, agency, gesture, conceptual metaphor), as well as perceived socio-literary influences from the post-Homeric tradition and the various advances (for example, medical) from contemporary Alexandria. This interdisciplinary methodology is then applied to the Argonautica in three large case studies: Medea and the simile of the sunbeam (3.755-60), Heracles and the simile of the gadfly (1.1286-72), and, finally, the poem’s overall psychological portrayal of Jason. In so doing, I show that Apollonius conforms to cognitive universal patterns of psychological expression, while also deploying and deepening his specific culture’s poetic, folk, and scientific models.
22
Hulse, Peter. "A commentary on the Argonautica of Apollonius Rhodius, Book 4, 1–481". Thesis, University of Nottingham, 2015. http://eprints.nottingham.ac.uk/30589/.
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Before the publication of Professor Richard Hunter’s Cambridge Classics edition in August 2015, the last large-scale commentary on Apollonius Rhodius’ Argonautica Book 4 was that of Enrico Livrea in Italian in 1973, though mention should be made of the Budé volumes edited by Vian (1974–81). During this period the literary study of the poem has undergone a virtual revolution. The present thesis is an attempt to update and advance the work of the poem’s previous editors. It is intended as a prolegomenon to a commentary on the whole Book. Apollonius’ epic is an outstanding example of Hellenistic poetic practice, embodying all of its allusive qualities. It draws on the entire tradition of previous Greek literature, while maintaining an innovative point-of-view. This commentary tries to elucidate Apollonius’ experiments with respect to all aspects of style and narration, viewing him both as an important literary critic, closely involved in maintaining the inheritance of Classical Greece, and as a creative artist intent on developing an individual voice. The section chosen for commentary exhibits many aspects of Apollonius’ artistry: passages of atmospheric description, action sequences which speed the narrative, speeches, in some of which irony predominates while in others rhetoric prevails, similes which often contain fine images and a macabre climax of chilling power which achieves its effects through a number of striking and original details. There are, therefore, many reasons why the poem as a whole was enormously influential on Latin epic, especially on Virgil’s Aeneid, and why the story and Apollonius’ methods of retelling it enjoyed such an important reception in the European tradition.
23
Knight, Virginia H. "The renewal of epic : responses to Homer in the "Argonautica" of Apollonius /". Leiden ; New York ; Köln : E. J. Brill, 1995. http://catalogue.bnf.fr/ark:/12148/cb37019304x.
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Texte remanié de: Diss.--Cambridge, 1990. Titre de soutenance : Prósthen ̉éti kleíousin áoidoí : responses to Homer in the Argonautica of Apollonius.Titre de la thèse translittéré selon la norme ISO 843 (1997). Bibliogr. p. 306-317. Index. Glossaire.
24
Philbrick, Rachel Severynse. "THE GHOST OF HERACLES: THE LOST HERO’S HAUNTING OF ARGONAUTICA 2". UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_theses/84.
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The abandonment of Heracles at the end of Book 1 in Apollonius Rhodius’ Argonautica marks a turning point for Jason and the rest of the Argonauts. The aid of their mightiest hero, upon whose strength they had relied, is lost to them and they must find a means of accomplishing their nearly impossible mission without him. Allusions to Heracles occur throughout Book 2, in all nine units of action, drawing the reader’s attention to Argonauts’ efforts to carry on in the face of their loss. These allusions can be grouped into four categories: explicit mention, verbal echo, extrapolative allusion, and geographic reference. The poet’s deliberate deployment of these allusions highlights the extent to which Heracles’ strength-based approach to problem solving still influences the Argonauts’ actions in Book 2. This approach contrasts with the role played by divine agents, which increases markedly in the poem’s second half, beginning with Book 3.
25
Kenny, Timothy Michael. "A.R. 1.609-1077 : an intertextual and interpretative commentary". Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/ar-16091077-an-intertextual-and-interpretative-commentary(f93f7ab0-ba34-4890-abbf-7975cd4af189).html.
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A syntagmatic analysis of the Argonauts’ encounters with the Lemnian women and the Doliones in Apollonius of Rhodius’ Argonautica Book 1. Combining intertextuality with cognitive narratology, I approach the text from the perspective of the reader. Beginning with a study of the poem’s programmatic proem before moving to a study of the Argonauts’ first encounters on their outward journey, I map the reader’s experience on their own voyage through a difficult and elliptical narrative. To tackle the demands of a densely allusive text and the manipulations of a subjective narrator, I employ a plurality of readers: the general reader is accompanied on this exploration by two fictional readers. Charting the varying interpretations of the attentive reader and the experienced reader (Homeric auditor and Homeric scholar respectively) enables me to combine investigation of text and intertexts as moderated by the narrator with analysis of the ways they modify the expectations of the reader as they progress in a linear fashion from episode to episode. By consideration of where interpretations overlap and where they differ according to what the reader brings to the text and of how the narrative conditions its readers on the journey, I demonstrate the value of the reader-orientated approach to tackling the complexities of the narrative and the demands it places on all its readers.
26
Clare, Raymond John. "Aspects of space and movement in the Odyssey of Homer and the Argonautica of Apollonius Rhodius". Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261502.
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27
Nikolidaki, Eleni. "The contribution of the published papyri of Apollonius Rhodius 'Argonautica' to the text and the nature of the 'Proekdosis'". Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267705.
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28
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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29
Maugier-Sinha, Anne. "Le catalogue et ses variations : la topique énumérative dans les Argonautica de Valérius Flaccus et la Thébaïde de Stace". Lille 3, 2008. http://www.theses.fr/2008LIL30051.
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30
PELLUCCHI, TIZIANA. "Commento al libro VIII delle Argonautiche di Valerio Flacco". Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/175.
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Il saggio consta di introduzione generale, testo, commento: la prima parte studia la struttura del libro, traccia i profili dei protagonisti di Arg. VIII ed, infine, discute i problemi relativi allo stato di incompiutezza del poema. Al testo di Arg. VIII segue il commento, costituito da introduzioni particolari alle singole sezioni e scene in cui si suddivide il libro e da note lemmatiche di carattere linguistico, stilistico, filologico, prosodico e metrico. La tesi è corredata di bibliografia e indici (generale, dei notabilia e dei passi discussi).The essay is formed by general introduction, text, commentary: the first part studies the structure of the book, characterizes the protagonists of Arg. VIII and, finally, discusses the problem of the incompleteness of the poem. After the whole text of book VIII, there is the commentary: it is made up of specific introductions to each section and scene of the book and of linguistic, stylistic, philological, prosodic and metrical notes to the text. The work is complete with bibliography and indexes (of the notabilia, of the quoted passages and of the whole essay).
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PELLUCCHI, TIZIANA. "Commento al libro VIII delle Argonautiche di Valerio Flacco". Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/175.
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Il saggio consta di introduzione generale, testo, commento: la prima parte studia la struttura del libro, traccia i profili dei protagonisti di Arg. VIII ed, infine, discute i problemi relativi allo stato di incompiutezza del poema. Al testo di Arg. VIII segue il commento, costituito da introduzioni particolari alle singole sezioni e scene in cui si suddivide il libro e da note lemmatiche di carattere linguistico, stilistico, filologico, prosodico e metrico. La tesi è corredata di bibliografia e indici (generale, dei notabilia e dei passi discussi).The essay is formed by general introduction, text, commentary: the first part studies the structure of the book, characterizes the protagonists of Arg. VIII and, finally, discusses the problem of the incompleteness of the poem. After the whole text of book VIII, there is the commentary: it is made up of specific introductions to each section and scene of the book and of linguistic, stylistic, philological, prosodic and metrical notes to the text. The work is complete with bibliography and indexes (of the notabilia, of the quoted passages and of the whole essay).
32
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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Schmakeit, Iris Astrid. "Apollonios Rhodios und die attische Tragödie gattungsüberschreitende Intertextualität in der alexandrinischen Epik /". Groningen : [s.n.], 2003. http://catalog.hathitrust.org/api/volumes/oclc/62136010.html.
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Rengakos, Antonios. "Apollonios Rhodios und die antike Homererklärung". München : C.H. Beck, 1994. http://books.google.com/books?id=XC1gAAAAMAAJ.
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Liberman, Gauthier, e Flaccus Caius Valerius. "Édition critique avec commentaire et traduction des chants I à IV des Argonautiques de Valerius Flaccus". Paris 4, 1994. http://www.theses.fr/1994PA040200.
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Junior, Fernando Rodrigues. "Aristos Argonauton: o heroísmo nas Argonáuticas de Apolônio de Rodes". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-28012011-093845/.
Texto completo da fonteResumo:
Este trabalho pretende discutir de que forma a noção de heroísmo foi abordada nas Argonáuticas de Apolônio de Rodes em oposição ao conceito de herói presente nos poemas homéricos. A análise se baseará na distinção entre as personagens Jasão e Héracles como exemplos de modos de atuação díspares e conflitantes no poema. A tradução dos livros I e n das Argonáuticas complementa o estudo.This work intends to discuss the notion of heroism present in Apollonius Rhodius\' Argonautica in opposition to the concept of hero in Homeric poems. The analysis is based on the distinction between the characters Jason and Heracles as examples of different and conflicting ways of action. The translation of Argonautica books I and n complements the study.
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Ripoll, François. "La morale héroïque dans les épopées d'époque flavienne (Thébaïde de Stace, Argonautiques de Valerius Flaccus, Punica de Silius Italicus) : tradition et innovation". Paris 4, 1996. http://www.theses.fr/1996PA040137.
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Si l'univers moral des épopées flaviennes s'inscrit pour l'essentiel dans la continuité de l’Enéide, la conception de l'éthique héroïque qui s'en dégage témoigne d'une évolution spirituelle ainsi que d’une volonté d'émulation littéraire. L'unité thématique des argonautiques repose sur les tribulations d'une communauté héroïque en marche vers l'immortalité promise au mérite, celle des punica sur la résurrection et l'enrichissement de la uirtus romana par l'épreuve du bellum punicum, et celle de la thébaïde sur la destruction d'un héroïsme primitif dans la tragédie de la guerre fratricide avant l'avènement d'un héroïsme épique purifié et rénové incarné par Thésée. Le providentialisme mystique de Virgile, fondé sur la pietas entendue comme adhésion consciente au plan divin, tend à céder la place à une affirmation accrue d'autres valeurs héroïques telles que la gloria, la fides et la iurtus, éventuellement prolongées (chez Silius et plus encore chez Stace) par une aspiration croissante à l'humanitas. L'influence stoïcienne (essentiellement cicéronienne chez Silius, seneco-lucanienne chez Stace et Valerius) explique en partie cette moralisation et cette humanisation croissantes de l'idéal héroïque, dont l'Hercule du portique est le paradigme privilégié. Ce mouvement s'inscrit parfaitement dans le contexte de la restauration morale flavienne, sans pour autant faire de ces épopées des œuvres de propagandeAlthough the moral system of the flavian epics is for the broadest part indebted to the Aeneid, their heroic ethics give evidence for spiritual evolution and literary emulation. The thematic consistency of the argonautica is founded on the trials of a group of heroes on their way towards immortality as a reward for valor. The punica are centred on the rebirth and improvement of roman iurtus through the trial of the punic war, and the thebaid describes the annihilation of a primitive heroism through the tragedy of fraternal strife, followed by the advent of a new purified heroism embodied by Theseus. Virgil's mystical providentialism, founded on pietas as a conscious fulfilment of divine will, has made the way for a greater stress laid on other values like gloria, fides and uirtus, allied (in Silius and above all in Statius), to a yearning for humanitas. Stoic influency (essentially deriving from Cicero in Silius and from Seneca and Lucan in Statius and Valerius) is partly responsible for this growing moralization and humanization of epic heroism, and the Hercules of the stoa is its most prominent model. This trend is in keeping with the mood of the flavian moral restoration, although political propaganda is obviously not the main purpose of these poems
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Dubrana, Marie. "Rois, tyrans et chefs dans les Argonautiques de Valérius Flaccus : les enjeux de la représentation du pouvoir monarchique". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040150.
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Cette thèse vise à préciser l’importance et le relief singulier que Valérius Flaccus donne aux figures du pouvoir monarchique dans les Argonautiques. Elle sollicite la vaste tradition littéraire antique portant sur les figures du bon roi et du tyran, ainsi que les représentations du pouvoir véhiculées par l’idéologie impériale, afin de déterminer quel regard spécifique ce poète porte sur une problématique universelle et quels procédés il met en œuvre pour rendre cette représentation originale et efficace. Ce travail, qui écarte tout parti pris référentiel,s’articule autour d’une étude des personnages.Le poète analyse les mécanismes de fonctionnement de la tyrannie. Il en souligne le caractère oppressant en faisant des tyrans les pivots de la narration épique et en théâtralisant fortement leurs apparitions, susceptibles de frapper le lecteur. Aux tyrans s’opposent de nombreux rois exerçant un pouvoir positif. Le poète grandit ces figures en les valorisant sur le plan éthique mais montre aussi de façon répétée leur chute ainsi que la stérilité de leur pouvoir afin de susciter la compassion du lecteur. L’élaboration du personnage de Jason se fait sur le même modèle que celle des bons rois. La mise en valeur des qualités du chef ne rend que plus saisissante sa déchéance future, sans cesse annoncée. L’inquiétude et le pessimisme se dégagent donc de cette représentation du pouvoir royal, conçu sous sa forme pervertie, la tyrannie, ou associé à la décadence.Cette thèse permet d’ajouter une contribution à l’histoire des représentations et de prendre la mesure des évolutions du genre épique, qui fait alors une place importante à la tragédie et aux effets pathétiquesThis thesis aims to specify the importance and the unique depth Valerius Flaccus gives to the figures of monarchic power in the Argonautica. It calls on the vast antique literary tradition which deals with the figures of the good king and the tyrant, as well as the representations of power carried by the imperial ideology, in order to determine what specific look this poet takes on an universal issue and what literary devices he uses to make this representation original and efficient. This work that rejects every referential bias is based on a study of the characters. The poet analyses how tyranny works. He underlines its oppressive nature by making tyrants the pivots of epic narration and by strongly dramatizing their appearances, which is likely to strike the reader. Numerous kingsembodying a positive power contrast with tyrants. The poet enhances these figures valuing them from an ethic point of view. But he also repeatedly shows their falls as well as the sterility of their power in order to arouse thereader’s sympathy. To elaborate the character of Jason he proceeds in the same way as for the good kings.Emphasizing the qualities of the leader makes his constantly announced future decline all the more striking andmoving. Anxiety and pessimism prevail in the representation of royal power, which is seen in its corrupted form,tyranny, or associated to decline.This thesis contributes to the history of representations and makes it possible to assess the evolutions of the epicgenre, which then affords an important place to tragedy and pathetic effects
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Natzel, Stephanie A. "Klea Gunaikōn : Frauen in den "Argonautika" des Apollonios Rhodios /". Trier : WVT Wissenschaftlicher Verl. Trier, 1992. http://catalogue.bnf.fr/ark:/12148/cb374391065.
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vasilakis, Thomas. "The construction of masculinity in the Argonautika of Apollonis of Rhodes". Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537508.
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Scherer, Burkhard. "Mythos, Katalog und Prophezeiung : Studien zu den Argonautika des Apollonios Rhodios /". Stuttgart : F. Steiner, 2006. http://catalogue.bnf.fr/ark:/12148/cb40933968g.
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Texte remanié de: Doktorarbeit--Groningen--Rijksuniversiteit, 2002.Contient le texte grec du livre 1, 23-233 (Argonautenkatalog) et du livre 2, 311-425 (Weissagung des Phineus) des Argonautiques, ainsi que leur traduction allemande. Bibliogr. p. [223]-232.
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Pietsch, Christian. "Die Argonautika des Apollonios von Rhodos : Untersuchungen zum Problem der einheitlichen Konzeption des Inhalts /". Stuttgart : F. Steiner, 1999. http://catalogue.bnf.fr/ark:/12148/cb370900544.
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43
CUCCORO, CORRADO. "IL MITO CLASSICO NELLA DRAMMATURGIA DI LINGUA PORTOGHESE: I CICLI ARGONAUTICO, TEBANO E TROIANO". Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/39111.
Texto completo da fonteResumo:
Dall’inizio del XXI secolo, i drammi portoghesi e brasiliani ispirati all’antichità classica, prima trascurati o semplicemente ignorati dalla critica internazionale, sono stati oggetto di più ampio e sistematico studio, in relazione sia alle fonti antiche sia alla produzione moderna analoga. Nondimeno, in tale contesto hanno spesso prevalso prospettive o interessi nazionali; inoltre, la ricerca si è di solito concentrata su singoli miti, personaggi, motivi. Una ricognizione complessiva sarebbe a questo punto utilissima, ma non è ancora disponibile. La presente tesi è appunto volta a offrire un contributo in tale direzione, attraverso una mappatura ragionata della maggior parte delle opere pertinenti: tutte quelle concernenti i tre principali cicli mitici (argonautico, tebano, troiano). Secondo il mio censimento, il sorprendente corpus consta di tredici drammi (sei portoghesi e sette brasiliani) per il primo ciclo, ventuno (quattordici portoghesi e sette brasiliani) per il secondo e ventidue (diciotto portoghesi e quattro brasiliani) per il terzo.Since the turn of the 21st century, the Portuguese and Brazilian dramas inspired by the classical antiquity, previously overlooked or simply ignored by international critics, have been subject of more widespread and systematic studies, in connection with both their ancient references and similar modern production. Nevertheless, in this context national perspectives or interests have often been predominant; furthermore, research has usually concerned individual narratives, characters or motives. A comprehensive survey would be now very useful, but it is not yet available. The present thesis is just meant to offer a contribution in this regard, by providing an annotated map of most of the relevant works: all those which belong to the three main mythical cycles (Argonautic, Theban, Trojan). According to my data, the striking corpus consists in thirteen plays (six Portuguese and seven Brazilian) for the first cycle; twenty-one (fourteen Portuguese and seven Brazilian) for the second, and twenty-two (eighteen Portuguese and four Brazilian) for the third.
44
CUCCORO, CORRADO. "IL MITO CLASSICO NELLA DRAMMATURGIA DI LINGUA PORTOGHESE: I CICLI ARGONAUTICO, TEBANO E TROIANO". Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/39111.
Texto completo da fonteResumo:
Dall’inizio del XXI secolo, i drammi portoghesi e brasiliani ispirati all’antichità classica, prima trascurati o semplicemente ignorati dalla critica internazionale, sono stati oggetto di più ampio e sistematico studio, in relazione sia alle fonti antiche sia alla produzione moderna analoga. Nondimeno, in tale contesto hanno spesso prevalso prospettive o interessi nazionali; inoltre, la ricerca si è di solito concentrata su singoli miti, personaggi, motivi. Una ricognizione complessiva sarebbe a questo punto utilissima, ma non è ancora disponibile. La presente tesi è appunto volta a offrire un contributo in tale direzione, attraverso una mappatura ragionata della maggior parte delle opere pertinenti: tutte quelle concernenti i tre principali cicli mitici (argonautico, tebano, troiano). Secondo il mio censimento, il sorprendente corpus consta di tredici drammi (sei portoghesi e sette brasiliani) per il primo ciclo, ventuno (quattordici portoghesi e sette brasiliani) per il secondo e ventidue (diciotto portoghesi e quattro brasiliani) per il terzo.Since the turn of the 21st century, the Portuguese and Brazilian dramas inspired by the classical antiquity, previously overlooked or simply ignored by international critics, have been subject of more widespread and systematic studies, in connection with both their ancient references and similar modern production. Nevertheless, in this context national perspectives or interests have often been predominant; furthermore, research has usually concerned individual narratives, characters or motives. A comprehensive survey would be now very useful, but it is not yet available. The present thesis is just meant to offer a contribution in this regard, by providing an annotated map of most of the relevant works: all those which belong to the three main mythical cycles (Argonautic, Theban, Trojan). According to my data, the striking corpus consists in thirteen plays (six Portuguese and seven Brazilian) for the first cycle; twenty-one (fourteen Portuguese and seven Brazilian) for the second, and twenty-two (eighteen Portuguese and four Brazilian) for the third.
45
Calzascia, Sonja Caterina <1974>. "I carmina docta di Catullo e le Argonautiche di Apollonio Rodio". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5269/1/calzascia_sonja_caterina_tesi.pdf.
Texto completo da fonteResumo:
La dissertazione, basandosi su un confronto sistematico dei testi, analizza i rapporti fra i carmina docta di Catullo e le Argonautiche di Apollonio Rodio con particolare attenzione al carme 64. Il lavoro è suddiviso in dieci capitoli più un'introduzione e una conclusione. Nell'introduzione si illustra la metodologia applicata e si discutono alcune questioni teoriche relative all'intertestualità. Nel I capitolo si delinea una storia della critica moderna che mette in evidenza come negli studi catulliani sul carme 64, nel corso dell'ultimo secolo e mezzo, Apollonio tenda ad assumere un ruolo sempre più importante. Nei capitoli II-IX viene fatto uno studio molto approfondito del carme 64. Tale studio analizza il testo catulliano mettendo in luce le somiglianze contenutistiche, strutturali e stilistiche con le Argonautiche. Il X capitolo è invece dedicato agli altri carmina docta. Poiché questi ultimi carmi hanno scarsi punti di contatto con il poema di Apollonio, ci si limita a mettere in evidenza una serie di motivi e tratti comuni. Nella parte conclusiva si espone un quadro sommario dei risultati raggiunti. Il lavoro dimostra in particolare come nel complesso le somiglianze fra Catullo e Apollonio riguardino elementi superficiali o luoghi comuni e come non vi sia alcuna prova certa di una dipendenza diretta di Catullo da Apollonio (nonostante una tale dipendenza sia da ritenersi probabile per ragioni storiche). In contrasto con buona parte della critica più recente, si esprime di conseguenza la convinzione che sia poco opportuno utilizzare le Argonautiche per spiegare il carme 64 o per instaurare un dialogo di natura intertestuale fra Catullo e Apollonio.The dissertation offers an analysis of the relationship between Catullus' long poems and Apollonius Rhodius' Argonautica. The analysis, which is mainly concerned whith poem 64, is based on a methodical collation. The study is divided into ten chapters, an introduction, and a conclusion. In the introduction the adopted methodology is explained, and some theoretical questions regarding intertextuality are discussed. Chapter One deals with an outline of modern scholarship pertinent to the last hundred and fifty years. This outline points out that Apollonius tends to be more and more important in the scholarship on poem 64. From Chapter Two to Chapter Nine poem 64 is examined in detail. Special stress is laid on the similarities between Catullus and Apollonius pertaining to content, structure, and style. Chapter Ten concerns poems 61-63 and 65-68. As these seven poems are generally quite different from the Argonautica, only the similarities which are significant are examined. The last section draws the conclusions. On the whole, the study shows that the similarities between Catullus and Apollonius are rather unimportant, since they usually aren't deep or concern topoi. Although for historical reasons it seems probable that Apollonius influenced Catullus, there is in fact no evidence that Catullus' poems were directly influenced by Apollonius' Argonautica. Therefore, it is suggested that interpretations of Catullus 64 based on Apollonius' Argonautica should be avoided.This view stands in contrast to the views of those contemporary scholars who establish an intertextual relationship between poem 64 and the Argonautica.
46
Calzascia, Sonja Caterina <1974>. "I carmina docta di Catullo e le Argonautiche di Apollonio Rodio". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5269/.
Texto completo da fonteResumo:
La dissertazione, basandosi su un confronto sistematico dei testi, analizza i rapporti fra i carmina docta di Catullo e le Argonautiche di Apollonio Rodio con particolare attenzione al carme 64. Il lavoro è suddiviso in dieci capitoli più un'introduzione e una conclusione. Nell'introduzione si illustra la metodologia applicata e si discutono alcune questioni teoriche relative all'intertestualità. Nel I capitolo si delinea una storia della critica moderna che mette in evidenza come negli studi catulliani sul carme 64, nel corso dell'ultimo secolo e mezzo, Apollonio tenda ad assumere un ruolo sempre più importante. Nei capitoli II-IX viene fatto uno studio molto approfondito del carme 64. Tale studio analizza il testo catulliano mettendo in luce le somiglianze contenutistiche, strutturali e stilistiche con le Argonautiche. Il X capitolo è invece dedicato agli altri carmina docta. Poiché questi ultimi carmi hanno scarsi punti di contatto con il poema di Apollonio, ci si limita a mettere in evidenza una serie di motivi e tratti comuni. Nella parte conclusiva si espone un quadro sommario dei risultati raggiunti. Il lavoro dimostra in particolare come nel complesso le somiglianze fra Catullo e Apollonio riguardino elementi superficiali o luoghi comuni e come non vi sia alcuna prova certa di una dipendenza diretta di Catullo da Apollonio (nonostante una tale dipendenza sia da ritenersi probabile per ragioni storiche). In contrasto con buona parte della critica più recente, si esprime di conseguenza la convinzione che sia poco opportuno utilizzare le Argonautiche per spiegare il carme 64 o per instaurare un dialogo di natura intertestuale fra Catullo e Apollonio.The dissertation offers an analysis of the relationship between Catullus' long poems and Apollonius Rhodius' Argonautica. The analysis, which is mainly concerned whith poem 64, is based on a methodical collation. The study is divided into ten chapters, an introduction, and a conclusion. In the introduction the adopted methodology is explained, and some theoretical questions regarding intertextuality are discussed. Chapter One deals with an outline of modern scholarship pertinent to the last hundred and fifty years. This outline points out that Apollonius tends to be more and more important in the scholarship on poem 64. From Chapter Two to Chapter Nine poem 64 is examined in detail. Special stress is laid on the similarities between Catullus and Apollonius pertaining to content, structure, and style. Chapter Ten concerns poems 61-63 and 65-68. As these seven poems are generally quite different from the Argonautica, only the similarities which are significant are examined. The last section draws the conclusions. On the whole, the study shows that the similarities between Catullus and Apollonius are rather unimportant, since they usually aren't deep or concern topoi. Although for historical reasons it seems probable that Apollonius influenced Catullus, there is in fact no evidence that Catullus' poems were directly influenced by Apollonius' Argonautica. Therefore, it is suggested that interpretations of Catullus 64 based on Apollonius' Argonautica should be avoided.This view stands in contrast to the views of those contemporary scholars who establish an intertextual relationship between poem 64 and the Argonautica.
47
Thiel, Karsten. "Erzählung und Beschreibung in den Argonautika des Apollonios Rhodios : ein Beitrag zur Poetik des hellenistischen Epos /". Stuttgart : F. Steiner, 1993. http://catalogue.bnf.fr/ark:/12148/cb355867886.
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MASSARI, PIETRO. "GEOGRAFIE APOLLONIANE. TRADIZIONI POETICHE ED EPICORICHE, CULTI MISTERICI, POLITICA DIETRO I TOPONIMI DELLE ARGONAUTICHE". Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/19299.
Texto completo da fonteResumo:
La ricerca è dedicata a un'indagine puntuale di tutti i toponimi e degli etnici del poema epico ellenistico Argonautikà di Apollonio Rodio. L'analisi, oltre alla valorizzazione di singoli elementi dal punto di vista letterario, ha permesso di individuare numerosi richiami interni, che delineano un'indiretta ma chiara struttura, fino ad ora mai notata. Una parte dei toponimi è stata infatti scelta dal poeta per alludere, contemporaneamente alla narrazione mitica, a culti misterici dionisiaci ed eleusini, contaminati non senza influssi orfici. Il prodotto estremo di tale procedimento è la delineazione, nel IV libro, di un itinerario misterico attraverso l'Attica fino a Eleusi, presentato in filigrana grazie alla manipolazione di omonimie ed eponimie, che consentirono all'autore una sorta di narrazione doppia. Inoltre, la ricerca conferma il forte legame dell'opera con il contesto tolemaico in cui ebbe luce e che condizionò i riferimenti a personaggi della corte quali Timostene di Rodi e Patroclo di Macedonia.My research is focused on Apollonius Rhodius and deals with the toponymies and ethnonymies named by the poet in his epic poem Argonautikà. These tell much more than simple geography and often hint at myths, local traditions, contemporary court men of the Ptolemaic kingdom (such as Timosthenes of Rhodes and Patroclus of Macedon) and mystery cults (Orphic, Dionysian and Eleusinian, in a very blended form of syncretism). Following homonymies and eponymies I have also been able to discover a second parallel itinerary through Attica, designed by Apollonius behind the main return route of Argo.
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MASSARI, PIETRO. "GEOGRAFIE APOLLONIANE. TRADIZIONI POETICHE ED EPICORICHE, CULTI MISTERICI, POLITICA DIETRO I TOPONIMI DELLE ARGONAUTICHE". Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/19299.
Texto completo da fonteResumo:
La ricerca è dedicata a un'indagine puntuale di tutti i toponimi e degli etnici del poema epico ellenistico Argonautikà di Apollonio Rodio. L'analisi, oltre alla valorizzazione di singoli elementi dal punto di vista letterario, ha permesso di individuare numerosi richiami interni, che delineano un'indiretta ma chiara struttura, fino ad ora mai notata. Una parte dei toponimi è stata infatti scelta dal poeta per alludere, contemporaneamente alla narrazione mitica, a culti misterici dionisiaci ed eleusini, contaminati non senza influssi orfici. Il prodotto estremo di tale procedimento è la delineazione, nel IV libro, di un itinerario misterico attraverso l'Attica fino a Eleusi, presentato in filigrana grazie alla manipolazione di omonimie ed eponimie, che consentirono all'autore una sorta di narrazione doppia. Inoltre, la ricerca conferma il forte legame dell'opera con il contesto tolemaico in cui ebbe luce e che condizionò i riferimenti a personaggi della corte quali Timostene di Rodi e Patroclo di Macedonia.My research is focused on Apollonius Rhodius and deals with the toponymies and ethnonymies named by the poet in his epic poem Argonautikà. These tell much more than simple geography and often hint at myths, local traditions, contemporary court men of the Ptolemaic kingdom (such as Timosthenes of Rhodes and Patroclus of Macedon) and mystery cults (Orphic, Dionysian and Eleusinian, in a very blended form of syncretism). Following homonymies and eponymies I have also been able to discover a second parallel itinerary through Attica, designed by Apollonius behind the main return route of Argo.
50
Cnop, Angelo Cunha, Angelo Cunha Cnop e Instituto de Engenharia Nuclear. "Simulação virtual de visita técnica no reator argonauta para fins de divulgação científica". Instituto de Engenharia Nuclear, 2016. http://carpedien.ien.gov.br:8080/handle/ien/1698.
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Submitted by Almir Azevedo (barbio1313@gmail.com) on 2016-04-28T14:31:06Z
No. of bitstreams: 0Made available in DSpace on 2016-04-28T14:31:06Z (GMT). No. of bitstreams: 0 Previous issue date: 2016-03
Diversas instituições de Ciência e Tecnologia do estado do Rio tem desenvolvido um importante papel para a sociedade brasileira. Um exemplo destas instituições é o Instituto de Engenharia Nuclear (IEN). As atividades desenvolvidas no IEN geram produtos e serviços como fornecimento de radiofármacos, ensaios e análises de materiais, recolhimento de rejeitos radioativos e formação de recursos humanos. Entretanto, mesmo estando na era do comunicação, nem todos os cidadãos conseguem ter acesso ao conteúdo gerado nessas instituições. Diante deste cenário, não é difícil perceber que existem vários temas técnico-científicos que deveriam ser mais bem divulgados, principalmente para o público em idade escolar, para a finalidade de esclarecer dúvidas acerca do assunto, o IEN tem um programa de visita técnica agendada as suas instalações para alunos do ensino fundamental e médio. Entretanto devido a natureza de suas atividades, muitas de suas instalações tem restrição quanto ao acesso, impossibilitando muitas vezes, uma apresentação mais clara de suas finalidades. Por outro lado a Realidade Virtual (RV) é um termo usado para descrever um conjunto de técnicas, que tem como objetivo dar ao participante a máxima sensação de presença em um mundo virtual, com isso, simulações virtuais são usadas para várias finalidades, tais como reabilitação, treinamento e entretenimento, e neste caso como uma ferramenta educacional. Depois de uma pesquisa com o próprios servidores está sendo desenvolvido uma plataforma de simulação virtual do processo de visita técnica em ambiente controlado (neste caso as instalações do reator Argonauta) onde os usuários teriam uma "livre movimentação" dentro das instalações do reator, a fim de esclarecer dúvidas e ensinar sobre as fases de produção, segurança e controle do reator ao público geral. Como resultado é esperado demonstrar a importância da realidade virtual como ferramenta de conhecimento e propagação das simulações virtuais à qualquer outra instituição que possua políticas de visitação mais restritas.