Статті в журналах: "Elegien"

1

Aadland, Erling. "Elegien om normalvitenskapen." Norsk litteraturvitenskapelig tidsskrift 7, no. 02 (August 26, 2004): 137–39. http://dx.doi.org/10.18261/issn1504-288x-2004-02-04.

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2

Nagle, Betty Rose, and Friedrich Spoth. "Ovids Heroides als Elegien." American Journal of Philology 116, no. 1 (1995): 152. http://dx.doi.org/10.2307/295511.

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3

Redondo, Tercio. "As Elegias de Buckow, de Bertolt Brecht: tempos sombrios depois da guerra." Pandaemonium Germanicum 24, no. 44 (June 25, 2021): 351–73. http://dx.doi.org/10.11606/1982-88372444351.

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O presente artigo versa sobre as Elegias de Buckow [Buckower Elegien], produzidas por Brecht a partir de meados de 1953. Para análise e comentário foram selecionados 8 poemas da obra. Nestes procura-se verificar a crítica do autor à situação político-social da Alemanha Oriental nessa época, num quadro de reapresentação de elementos fascistas numa sociedade a que se atribuía a construção do socialismo. No plano formal, procura-se salientar – apelando-se também a poemas anteriores, escritos durante a guerra – a maneira com que, nas elegias, Brecht altera a perspectiva do lamento para atender a necessidades historicamente configuradas.

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4

Liewerscheidt, Dieter. "Rilkes Duineser Elegien, ein zwiespältiges Experiment." Literatur für Leser 39, no. 2 (January 1, 2017): 97–108. http://dx.doi.org/10.3726/3373_97.

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Gegenüber der Lyrik des späten Rilke herrscht nach wie vor, einiger Konjunktureinbrüche zum Trotz, ein Rezeptionsmodell vor, das entfernt an ein überliefertes Geschehen vor dem Delphischen Orakel erinnert. Die Priester übersetzen die göttlich inspirierten Verlautbarungen der Pythia für ein begrenztes Publikum in eine exklusive Mitteilung, die ihrerseits für eine breitere Öffentlichkeit einer praxistauglichen Auslegung bedarf. Die enormen Verstehens-, Auslegungs- und Vermittlungsprobleme speziell mit den Duineser Elegien1 konnten der hartnäckigen Enträtselungsarbeit der Exegeten nichts anhaben2, auch wenn immer wieder eine Stagnation oder gar Vergeblichkeit der Textaufhellung eingeräumt und die Ergiebigkeit mancher Zugangsversuche bezweifelt wird.3 Gerade das Fortbestehen nach wie vor ,,dunkler“ Textpassagen wird eher als Symptom für die Unzulänglichkeit des literaturwissenschaftlichen Instrumentariums4 denn als Anzeichen für dichterische Defizite auf Seiten des Textproduzenten genommen. Trotz aller Vorbehalte, die er gegenüber den Implikationen und der Konzeption der Elegien vorbringt, kapituliert beispielsweise Hans Egon Holthusen vor ,,Zauber, Beschwörung der Gedichte“: ,,Das Schöne spricht eine andere Sprache als die Vernunft und ist gegen ihre Einwände gesichert“5. Noch grundsätzlicher spricht Franz Josef Brecht diesen Dichtungsbegriff aus: ,,Dichten ist das ursprüngliche Nennen des Seins und seiner uns übertreffenden Mächte“6. Glücklicherweise ist diese Auffassung in solcher Konsequenz längst nicht mehr anzutreffen, sonst müsste man auf der Stelle verstummen.

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5

Maertz, Gregory, and Eva Dessau Bernhardt. "Goethe's "Romische Elegien": The Lover and the Poet." German Studies Review 16, no. 2 (May 1993): 348. http://dx.doi.org/10.2307/1431663.

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6

Christian, Margareta Ingrid. "Air, Ether, Atmosphere: Space in Rilke’s Duineser Elegien." Oxford German Studies 49, no. 3 (July 2, 2020): 228–48. http://dx.doi.org/10.1080/00787191.2020.1809146.

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7

Pettersson, Torsten. "Internalization and Death: A Reinterpretation of Rilke's "Duineser Elegien"." Modern Language Review 94, no. 3 (July 1999): 731. http://dx.doi.org/10.2307/3736998.

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8

Hillenbrand, Rainer. "Stereotypen des Südens und des Nordens in Goethes Römischen Elegien." Études Germaniques 305, no. 1 (August 1, 2022): 3–19. http://dx.doi.org/10.3917/eger.305.0003.

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9

MÜLLER, CARL WERNER. "Imaginationen des Todes in den Elegien des Tibull und Properz." Antike und Abendland 41, no. 1 (December 31, 1995): 132–41. http://dx.doi.org/10.1515/9783110241532.132.

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10

KIZILER EMER, Funda. "DIE NABELBINDE ZWISCHEN DEN ENGELN VON DUINESER ELEGIEN UND DES ISLAM." Journal of Academic Social Sciences 30, no. 30 (January 1, 2016): 72. http://dx.doi.org/10.16992/asos.1291.

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11

Glockhamer, Heidi. "Fama and Amor: The Function of Eroticism in Goethe's Romische Elegien." Eighteenth-Century Studies 19, no. 2 (1985): 235. http://dx.doi.org/10.2307/2738643.

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12

Fedeli, Paolo. "Thomas Riesenweber: Uneigentliches Sprechen und Bildermischung in den Elegien des Properz." Gnomon 85, no. 6 (2013): 512–17. http://dx.doi.org/10.17104/0017-1417_2013_6_512.

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13

Susanne Kord. "Goethe's Römische Elegien: The Lover and the Poet (review)." Goethe Yearbook 6, no. 1 (1992): 247–50. http://dx.doi.org/10.1353/gyr.2011.0251.

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14

Horst, Eleanor E. "The Pendulum of Poetry: Metaphor and Mediation in Rilke's Duineser Elegien." German Quarterly 79, no. 3 (May 19, 2008): 308–28. http://dx.doi.org/10.1111/j.1756-1183.2006.tb00046.x.

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15

Ter Horst, Eleanor. "Masks and Metamorphoses: The Transformation of Classical Tradition in Goethe'sRömische Elegien." German Quarterly 85, no. 4 (October 2012): 401–19. http://dx.doi.org/10.1111/j.1756-1183.2012.00158.x.

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16

Leal, Izabela, and Jairo Vansiler. "A TRADUÇÃO DE DUINESER ELEGIEN COMO FORMAÇÃO E MEMÓRIA LITERÁRIA NA AMAZÔNIA." Belas Infiéis 1, no. 2 (February 28, 2013): 31–44. http://dx.doi.org/10.26512/belasinfieis.v1.n2.2012.11201.

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O objetivo deste trabalho é apresentar algumas considerações sobre a tradução de Duineser Elegien, de Rilke, realizada na Amazônia. Destaca-se, nesse contexto, a tradução do poeta Paulo Plínio Abreu, conjuntamente com o antropólogo alemão Peter Paul Hilbert, tendo como desdobramento as contribuições para a atualização da memória literária na Amazônia. A articulação teórica será feita a partir das considerações de Walter Benjamin e Antoine Berman sobre tradução, formação e crítica feita a partir da leitura dos Frühromantiker [Primeiros românticos alemães].

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17

Galle, Helmut. "Nackter Amor - grimmige Fama. Sellbststilisierung und freie Sexualität in den "Römischen Elegien" Goethes." Pandaemonium Germanicum, no. 5 (December 19, 2001): 41. http://dx.doi.org/10.11606/1982-8837.pg.2001.64287.

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Pode-se entender o conjunto completo de 24 poemas pertencentes ao ciclo das "Elegias Romanas" como uma tentativa de Goethe de conseguir uma reabilitação do sexual, legitimida pelo gênero da poesia amorosa romana. Ao mesmo tempo esse projeto poético serve para obter a aceitação pública à sua nova forma de vida, o matrimônio não legalizado com Christiane Vulpius, considerado imoral pela maioria das pessoas em Weimar. O ciclo original de 24 poemas mostra mais claramente as intenções e o pensamento do autor que as 20 elegias que ele publicou depois, mas até essa versão censurada permitiu a transformação da imagem pública do poeta.

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18

Abbott, Scott, Manfred Engel, and Kathleen L. Komar. "Rainer Maria Rilkes "Duineser Elegien" und die moderne deutsche Lyrik: Zwischen Jahrhundertwende und Avantgarde." German Quarterly 63, no. 3/4 (1990): 574. http://dx.doi.org/10.2307/406777.

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19

Carson, Jeffrey. "Elegiac Elytis: "Elegies of Jutting Rock"." World Literature Today 66, no. 3 (1992): 445. http://dx.doi.org/10.2307/40148363.

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20

BISHOP, PAUL. "'An solchen Dingen hab ich schauen gelernt': Rilke's Visit to Egypt and the "Duineser Elegien"." Austrian Studies 12, no. 1 (2004): 65–79. http://dx.doi.org/10.1353/aus.2004.0027.

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21

Komar, Kathleen L. "The issue of transcendence in Rilke's Duineser elegien and Stevens' Notes toward a supreme fiction." Neophilologus 70, no. 3 (July 1986): 429–41. http://dx.doi.org/10.1007/bf00459824.

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22

Khabibullina, Alsu Z. "Time in the Elegiac Poetry of I. Brodsky and R. Kharis: to the Problem of Differences." Polylinguality and Transcultural Practices 19, no. 4 (December 9, 2022): 650–61. http://dx.doi.org/10.22363/2618-897x-2022-19-4-650-661.

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This article is devoted to a comparative study of elegy and elegiac works of I.Brodsky and R.Kharis in the aspect of the category of time as the most important in the architectonics and content of the elegiac genre. The actual basis of the article is formed by such well-known works of Brodsky as “Almost elegy”, “Roman elegies”, “Autumn cry of a hawk” etc. and the elegies of R.Kharis the Tatar poet of the 2nd half of the XX - beginning of the XXI century: “Elegy (There is blue smoke in my room)”, “Seven elegies about the sense of life”, “August”, ‘Cemetery dust”. The conclusion is made about similarity of the type of artistic thinking of the two authors, which is based on the dominance of the rational beginning in creativity. It is stated that lyrical hero of Kharis’s elegies is not opposed to time, his century unlike the hero of the elegies of Brodsky, who chooses the point of “non-occurrence” in relation to time; time in his poetry is taken beyond the limits of being. If the value for the elegiac hero of the Tatar author becomes the natural connection of phenomena and things with each other, as well as the interaction of life and death, then Brodsky emphasizes the fragmentation and fragility of the world as a property of its metaphysical perception (“Almost elegy”, “Roman elegies”). The comparative analysis also revealed different forms of transformation of the elegy and the elegiac mode of artistry in multilingual works. Thus, in the “Seven elegies…” by Kharis the final part of the cycle differs from the state of “mixed feelings” necessary for the poetics of the genre. On the contrary, in the elegy, the idea of human loneliness is strengthened: expansion into the world of heaven turns it into a stable state of cosmic being.

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23

Kim, Young-Ha. "A Comparative Study of Locality in Toegye Yi Hwang's 『Byeongindobyeongrok』 and Johann Wolfgang von Goethe's 「Römische Elegien｣." Sookmyung Research Institute of Humanities 7 (February 28, 2021): 113–38. http://dx.doi.org/10.37123/th.2021.2.113.

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24

Witczak, Krzysztof. "Rzymski elegik Serwiusz Sulpicjusz - znany czy nieznany?" Collectanea Philologica 1 (January 1, 1995): 113–18. http://dx.doi.org/10.18778/1733-0319.01.14.

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Libro quarto Corporis Tibulliani continentur ignoti poetae longa elegia, quae Panegyricus Messallae vulgo appeIlatur (IV, I), quinque elegiae auctoris, quem "Sulpiciae laudatorem" voco (IV, 2--6), sex brevia elegidia sub Sulpiciae nomine servata (IV, 7-12) et postremo duae elegiae TibuIlo adiudicatae (IV, 13-14). Multi viri docti iam diu disputant, qui fuerit "Sulpiciae laudator". Qui poeta talem distichi elegiaci structuram adhibere solebat, qualis ante Ovidium exculta est. Constat autem auctorem elegiarum IV, 2--6, quae de amore Sulpiciae erga Cerinthum narrant atque a muItis viris doctis Tibulli opera ducuntur, "Sulpiciae laudatorem" fuisse. Quisnam is esset et quare Matronalium die elegiam III, 8 Sulpiciae donasset, quaerebatur. Nova opinio ad ignoti poetae personam, eius vitae aetatem otiumque litterarium spectans nostro in opusculo proposita est. Ex meis investigationibus apparet Servium Sulpicium Quinti Horatii Flacci amicum aequalemque aetate (Hor., Sat., I, 10, 86), elegiarum scriptorem (Ovid., Trist., II, 441; Plin., Ep., V, 3, 5) se poetriae fratrem firmissimumque "Sulpiciae laudatorem" praestare.

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25

Šega Čeh, Barbara. "Propercijeva elegija in avgustova moralna država." Keria: Studia Latina et Graeca 1, no. 1-2 (December 31, 1999): 45. http://dx.doi.org/10.4312/keria.1.1-2.45-49.

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V mnogih stoletjih se je zvrstilo že nešteto ugibanj o tern, kdo so pravzaprav bile elegične ljubimke. Te skrivnostne opevane ženske so se v rimski elegiji razkrivale v najrazličnejših podobah, ki pa so praviloma dovolj zabrisane in zastrte, včasih celo kontradiktorne, da s svojo neprepoznavnostjo burijo bralčevo domišljijo. So bile junakinje rimske ljubezenske elegije resnično le meretrices, osvobojenke, ženske nižjega rodu, kot kažejo nekateri namigi v posameznih elegičnih pesmih, ali pa je bila ta krinka le običajen, tako rekoč predpisan pesniški obrazec, ki naj bi po eni strani bralce in poslušalce ljubezenske poezije pritegnil z vznemirljivostjo prepovedanega sadu, po drugi pa pesnike, ki so morda kršili uveljavljene moraine norme ali pa kot ljubljenci rimskega občinstva k takim kršitvam spodbujali, zavaroval pred ostrimi sankcijami Avgustove zakonodaje?

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26

Korenjak, Martin. "Meike Kimmel: Motive und Rollen des Autors in Vergils Eklogen, den Oden des Horaz und den Elegien des Properz." Gnomon 87, no. 7 (2015): 605–8. http://dx.doi.org/10.17104/0017-1417-2015-7-605.

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27

INGLEHEART, JENNIFER. "PROPERTIUS 4.10 AND THE END OF THE AENEID: AUGUSTUS, THE SPOLIA OPIMA AND THE RIGHT TO REMAIN SILENT." Greece and Rome 54, no. 1 (March 9, 2007): 61–81. http://dx.doi.org/10.1017/s0017383507000046.

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The tenth poem of Propertius Book 4 is the most remarkable in a collection full of surprises for its readers, and appears to mark a significant departure from his previous work. If Propertius had never written his final book of poetry, we might characterize him on the basis of his earlier books as the quintessential Latin love elegist: he rejects not only a military career, but even the less demanding task of celebrating Augustus' victories, in favour of the love elegist's self-indulgent life of leisure: cf. e.g. Prop. 2.1.39–46. In the first poem of Book 4, however, Propertius announces what appears to be a wholly different poetic programme; in place of the erotic elegies of the previous books is a new ‘serious’ purpose: Propertius will sing about national, religious and antiquarian themes, as the ‘Roman Callimachus’ (Propertius 4.1a.63–4). However, as soon as the next poem, Propertius is commanded to return to his usual theme of obsessive elegiac love for one woman, a topic described as haec tua castra (‘this is your sphere of operations’, 4.1b.135). The poems which follow in Propertius 4 tend to strike a balance between antiquarian seriousness and elegiac frivolity. For example, in 4.4, Propertius relates the Vestal Virgin Tarpeia's betrayal of Rome, connecting several contemporary urban landmarks with the poem's heroine, but he remains true to his earlier colours by presenting Tarpeia as an elegiac lover who falls in love at first sight and betrays her city out of passion.

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28

Bessone, Federica. "F. Spoth, Ovids Heroides als Elegien (Zetemata LXXXIX). Munich: Beck, 1992. Pp. 258. ISBN 3-406-35495-5. DM 98." Journal of Roman Studies 84 (November 1994): 269–70. http://dx.doi.org/10.2307/300941.

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29

Whitaker, Richard. "Did Gallus Write ‘Pastoral’ Elegies?" Classical Quarterly 38, no. 2 (December 1988): 454–58. http://dx.doi.org/10.1017/s000983880003706x.

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It has long been noticed that Virgil's Eclogue 10, in which Gal I us plays so prominent a rôle, contains a combination of pastoral and elegiac elements. But this prompts the question: who was responsible for this combination? Was the fusion of pastoral and erotic-elegiac detail Virgil's own, or did Gallus himself write love-elegies with a strong pastoral colouring, a type of poetry which Virgil then echoed in Eclogue 10?

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30

Buszewicz, Elwira. "Entre dépression et ennui. Les étranges mélancolies de Clemens Ianicius (1516–1543)." Studia Litteraria 17, no. 2 (August 2, 2022): 49–60. http://dx.doi.org/10.4467/20843933st.22.006.15594.

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The purpose of the article is to describe melancholic moods in the elegies of Clemens Ianicius (1516–1543), a prematurely deceased Polish Neo-Latin poet. First, the author recapitulates briefly the poet’s biography (his peasant pedigree, education, studies at the Collegium Lubranscianum in Poznań, interrupted because of his father’s poverty, his fortunes and misfortunes resulting from the ecclesiastical and nobility patronage, his stay and studies in Padua, graduation with doctoral degree, coronation with a laurel wreath, and finally his illness and death). The analysed poems include elegies from two main collections of Ianicius’verses: the Variae elegiae and the Tristia. The author traces the development of the poet’s melancholic temperament, starting with the elegies concerning his favourite patron’s (the Primate Andrzej Krzycki) fever and the mourning after his death, and finishing with the elegies from the Tristia, treating the poet’s disease and sadness.

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31

Grošelj, Nada. "Angleška elegija in njene antične korenine." Keria: Studia Latina et Graeca 10, no. 2 (December 26, 2008): 95. http://dx.doi.org/10.4312/keria.10.2.95-114.

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V antiki je bila ‘elegija’ vsaka nekoliko daljša pesem, zložena v elegičnem distihu, tematsko pa je – zlasti v stari Grčiji – lahko obravnavala pestro paleto govorčevih čustev in mnenj. Nasprotno se je v angleški poeziji razvila nova podzvrst, ‘pogrebna elegija’, tako da se je pojem elegije počasi zožil na pesem, ki izraža tožbo ali vsaj kaže resen, zamišljen ton. Drug pomemben odklon angleške elegije od njene antične predhodnice je njena poljubna oblika. Odločilni kriterij ‘elegičnosti’ se je tako prenesel z oblike na vsebino, predvsem pa na razpoloženje.

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32

Iyengar, Sheena. "Taking the Confusion Out of Choosing: Becoming a Decision Leader." IESE Insight, no. 19 (December 16, 2013): 23–30. http://dx.doi.org/10.15581/002.art-2452.

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33

Heininger, Joseph. "Fitting Memorials for Seamus Heaney: Irish Poets’ Elegies and Elegiac Tributes." New Hibernia Review 24, no. 3 (2020): 105–24. http://dx.doi.org/10.1353/nhr.2020.0024.

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34

Tarca, Luigi Vero. "The End of Life As “Non” Death." ETHICS IN PROGRESS 10, no. 1 (May 30, 2019): 153–72. http://dx.doi.org/10.14746/eip.2019.1.12.

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Taking the cue from some verses of Rilke’s Duineser Elegien, where the poet talks about the distinction between life and death, a distinction which mortals perform too rigidly, in this paper I discuss the contrast just between life and death, in order to understand the conditions under which the first truly distinguishes itself from the latter. This happens to the extent that life is also distinguished from the denial of death because otherwise, being the negation a form of necation (nex = killing, murder), the presumed denial of death would reverse in a triumph of death.In the present age this circumstance is particularly evident and significant, since humanity aims at a technological realization of im‑mortality, understood as the denial of death. To the extent that this remains a negative operation, it takes the form of the scrapping of mortals. True liberation/salvation from death presupposes that the negation itself is called into question. Only on this condition, in fact, is possible a life free from any form of necation. This freedom presupposes, inter alia, a “non” education, intended as an education to be able to freely play with the negative of death and denial.

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35

Arruda, Maria Ozana Lima de. "O diálogo com as espécies de epos nas Elegias de Propércio." CODEX -- Revista de Estudos Clássicos 7, no. 1 (June 30, 2019): 54–77. http://dx.doi.org/10.25187/codex.v7i1.23394.

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Considerando que o gênero épico possui diferentes espécies, o presente trabalho propõe-se a discutir de que forma Propércio, poeta elegíaco do século I a. C., discorre a respeito de cada uma das espécies e estabelece diferentes relações entre elas e a elegia por ele praticada. Para isso, analisamos a última elegia do seu segundo livro (elegia 2.34) e um grupo de elegias do início do terceiro livro (elegias 3.3, 3.4 e 3.5), nas quais o poeta estabelece diálogo com algumas obras da poesia épica, inicialmente Virgílio, mas deixando entrever a relação com cada espécie, e com isso nos fornece informações que contribuem para a compreensão de ambos os gêneros.

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36

SINDAW, Khalid Ahmad. "ELEGIES FOR THE PROPHET'S FAMILY BY CONTEMPORARY LEBANESE CHRISTIAN POETS." RIMAK International Journal of Humanities and Social Sciences 04, no. 01 (January 1, 2022): 670–85. http://dx.doi.org/10.47832/2717-8293.15.46.

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The study discusses elegiac poetry on the Prophet's family composed by Lebanese poets belonging to the Christian community there. We chose a selection of writings by four contemporary Christian poets: Joseph al-Hāshim, Paul Salāma, Raymond Qasīs and Joseph al-Ḥarb. The study opens with a discussion of the meaning of elegies as a human, social and individual poetic object, that has been cultivated by poets since pre-Islamic times. Next, the study discusses the reason why the Prophet's family has been the subject of so many elegies, namely the important position this family occupied among poets. Subsequently we discuss why Christian poets in Lebanon have composed numerous elegies for members of the Prophet's family, especially ʿAlī b. Abī Ṭālib and his son al-Ḥusayn b. ʿAlī, namely the fact that elegies constitute a unique human phenomenon that is in keeping with divine teachings, especially concerning the Prophet's family. The study uses both descriptive and analytic methods.

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37

Bartol, Krystyna. "Elegijne nastroje: wczesna elegia grecka i nie tylko." Poznańskie Studia Polonistyczne. Seria Literacka, no. 18 (January 1, 2011): 11. http://dx.doi.org/10.14746/pspsl:2011.18.2.

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38

Weinlich, Barbara P. "Propertius - (H.P.) Syndikus Die Elegien des Properz. Eine Interpretation. Pp. 373. Darmstadt: Wissenschaftliche Buchgesellschaft, 2010. Paper, €49.90. ISBN: 978-3-534-23213-0." Classical Review 62, no. 1 (March 9, 2012): 154–55. http://dx.doi.org/10.1017/s0009840x11003325.

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39

Bowie, E. L. "Early Greek elegy, symposium and public festival." Journal of Hellenic Studies 106 (November 1986): 13–35. http://dx.doi.org/10.2307/629640.

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This paper is chiefly concerned with the circumstances in which early Greek elegy was performed. Section II argues that for our extant shorter poems only performance at symposia is securely attested. Section III examines the related questions of the meaning ofelegosand the performance of elegies at funerals. Finally (IV) I try to establish the existence of longer elegiac poems intended for performance at public festivals.

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40

Serignolli, Lya. "Uma pintura do deus Amor: poética e retórica em Propércio 2.12." Letras Clássicas 19, no. 1 (February 10, 2015): 82. http://dx.doi.org/10.11606/issn.2358-3150.v19i1p82-109.

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Na elegia 2.12 de Propércio, o deus Amor é apresentado como obra admirável de um pintor e como veiculador da paixão erótica. Neste poema, a paixão erótica é comparada a uma guerra provocada pelo deus (militia amoris), motivando, de um lado, o lamento (que é uma das características determinantes do gênero elegíaco) e, de outro, despertando no poeta o desejo de escrever versos que agradam o deus. Neste artigo, meu objetivo é observar os aspectos retóricos e poéticos da elegia 2.12, considerando o tratamento dado à forma e às ações do Amor personificado. Inicialmente, irei investigar possíveis antecedentes desta elegia, tendo em vista a escolha dos lugares-comuns usados para compor a figura do deus. Em seguida, observarei aspectos do πάθος amoroso como artifício retórico e impulso poético. Por fim, irei examinar as ligações da elegia 2.12 com outros poemas eróticos dos Livros 1 e 2 de Propércio, com enfoque na relação de interdependência entre as figurações do puer Amor como divindade tutelar da poesia e da puella elegíaca (Cíntia) como objeto das elegias de Propércio. Assim, tentarei demonstrar de que modo as características de Amor na elegia 2.12 podem evidenciar aspectos de um programa poético em que se incluem as elegias eróticas dos dois primeiros livros de Propércio.

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Martins, Paulo. "Ekphrasis, Digression and Elegy: The Propertius’ Second Book." Classica - Revista Brasileira de Estudos Clássicos 30, no. 1 (October 17, 2017): 175. http://dx.doi.org/10.24277/classica.v30i1.437.

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Desde a edição de Lachmann (1816), houve muitas discussões sobre a extensão do segundo livro de elegias de Propércio. Basicamente observamos, hoje em dia, duas tendências a este respeito: uma que entende que as elegias de Propércio devem ser divididas apenas em quatro livros; e outra, menos conservadora, que argumenta ser o segundo livro muito extenso e, por esse motivo, seria uma fusão de dois livros, o 2A e o 2B. Neste artigo, apoio o pressuposto da divisão do Livro 2 em dois livros, argumentando que a tese de Lyne (1998a) é muito apropriada. Entendo que as elegias nos Livros 1 e 2 são marcadas por uma narração a persona, Cynthia. Considero a elegia inicial do Livro de Propécio 2B, 2.12, como uma digestão, que recapitula o tema central dos dois primeiros livros e apresenta um programa poético mais amplo do que o apresentado nas elegias anteriores. Além disso, pretendo observar as características ecfrástica desta digressão para apoiar a tese de Lyne, adicionando, dessa maneira, um novo argumento. Assim, 2.12, além de ser uma elegia programática, também é uma peça deveras inovadora em termos de argumentação, uma vez que apresenta dois mecanismos retóricos: digressio e ékphrasis.

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42

Martins, Paulo, and Mariana Marchini Rodrigues. "Propércio e as artes visuais." Nuntius Antiquus 15, no. 1 (October 14, 2019): 211–48. http://dx.doi.org/10.17851/1983-3636.15.1.211-248.

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Nas elegias de Propércio é possível notar uma alusão recorrente ao universo das artes visuais que se manifesta de forma diversa, ora através da descrição de monumentos artísticos, como na elegia 2.31, ora através da citação de pintores, como na elegia 3.9, ou, ainda, a partir das inúmeras descrições dos personagens, Cíntia e Propércio, que mostraram possuir forte influência temática de pinturas e esculturas na sua composição, como na 1.3. Valendo-se de tal alusão, o presente artigo visa a compreender qual seria o conceito de arte visual que estaria presente nas elegias de Propércio, a partir da seleção e análise das elegias em que este tema estava em mais larga medida presente. Ainda, conforme mostraremos, as referências articuladas pelo elegíaco, para além de auxiliarem na compreensão quanto à concepção de Propércio acerca das artes visuais, o que confere mais uma perspectiva do conceito de arte circulante na Antiguidade Clássica, exercem uma função primordialmente metapoética, de modo que Propércio acaba por revelar também a concepção artística acerca de sua própria poesia.

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43

Cergol, Jadranka. "Etnična identiteta v avgustejskem času: primer Propercija." Keria: Studia Latina et Graeca 13, no. 2 (December 24, 2011): 57. http://dx.doi.org/10.4312/keria.13.2.57-69.

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Članek analizira izbor Propercijevih elegij s stališa občutka etnične pripadnosti. Avtorica se najprej zaustavi ob zadnjih dveh elegijah Monobiblosa, ki predstavljajo zarezo v celotni zgradbi prve knjige elegij, ter predstavi Propercijeve domnevne družinske in siceršnje povezave z etruščanskim ljudstvom. Sledi interpretacija elegije o Vertumnu iz 4. knjige: mit o etruščanskem bogu premen je avtorica razume kot paradigmo za Propercijevo spreminjajočo se pripadnost tako prvotni umbrijski domovini kot – iz širše perspektive – rimskemu imperiju.

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44

Hinds, Stephen. "Sebastian Posch, P. Ovidius Naso. Tristia 1: Interpretationen. 1. Die Elegien 1–4 (Commentationes Aenipontanae xxvm). Innsbruck: Wagner, 1983. Pp. 197. ISBN 3-7030-0118-6." Journal of Roman Studies 77 (November 1987): 253–55. http://dx.doi.org/10.2307/300625.

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45

Westwood, Daniel. "‘These Common Woes I Feel’: The Elegist and the Reader in Wordsworth and Shelley." English: Journal of the English Association 69, no. 264 (December 20, 2019): 45–66. http://dx.doi.org/10.1093/english/efz047.

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Abstract This article argues that Shelley’s approach to the elegy owes a significant debt to Wordsworth’s ‘Lucy’ poems, particularly Wordsworth’s examination of the relationship between the elegist and the reader. While the elegy often extols the value of communal bonds and shared experiences in responding effectively to grief, the ‘Lucy’ poems use reticence and obfuscation to qualify the reader’s engagement with the emotional experiences that constitute an elegy. Through this, Wordsworth questions the possibility of the elegist and the reader experiencing a unified response to loss. Identifying the importance of these techniques to Wordsworthian elegy, Shelley’s sonnet ‘To Wordsworth’ shows him inheriting Wordsworth’s belief that any elegy must negotiate between ‘common woes’ and individual feeling. The later Adonais represents Shelley’s fullest reimagining of Wordsworth’s methods. By presenting the poet as a solitary and inscrutable figure, Shelley highlights a disjunction between the universal resonance of death and the elegist’s irrevocably personal perspective on grief. Magnifying the tensions implicit in all elegies, both poets open up a distance between the elegist and the reader to explore broader distinctions between individual and communal experiences of loss.

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46

Woźniak-Łabieniec, Marzena. "Poezja „w ruchu”. O dwóch „Elegiach” Tadeusza Różewicza." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 53, no. 4 (December 23, 2021): 31–45. http://dx.doi.org/10.36770/bp.643.

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The author of this article discusses the textual changes in the subsequent publications of Tadeusz Różewicz’s two Elegie [Elegies] in the context of the artistic phenomenon of poetry “in motion”, also indicating the consequences of these changes. She agrees with the poet that the poem is a frequent phenomenon, while poetry is an extremely rare construct. Poetry, in contrast to the poem, does not, according to Różewicz, have a beginning and an end. In our times, therefore, it is not the finished form of a given poem that counts for a potential recipient, but the very process that forms a given text. Therefore, only poetry “in motion”, heading towards the unknown, still makes sense.

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47

Califf, D. J. "Amores 2.1.7–8: a programmatic allusion by anagram." Classical Quarterly 47, no. 2 (December 1997): 604–5. http://dx.doi.org/10.1093/cq/47.2.604.

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Ovid begins his overtly programmatic Amores 2.1 with the claim that Cupid, who had previously interfered with the poet's attempt to write an epic (1.1), has once again ordered him to reject epic subjects (this time, a Gigantomachia) and to compose a book of decadent love-elegies instead. Faced with this new task, the poet dutifully proceeds to warn that his elegiac verses are not suitable for the prudish but hopes that they will be read by lovers. Among the prospective readers are young men who, like Ovid himself, have been shot by Cupid's arrow:

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48

Cabras, Francesco. "Recusationes w pierwszej księdze Elegiarum libri quattuor Jana Kochanowskiego a Kreuzung der Gattungen. Rola Owidiusza w refleksjach metapoetyckich Jana Kochanowskiego." Terminus 23, no. 44 (61) (December 30, 2021): 435–54. http://dx.doi.org/10.4467/20843844te.21.017.14229.

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The recusationes and the Kreuzung der Gattungen in Jan Kochanowski’s Elegiarum libri quattuor and Ovid’s Inspiration in Jan Kochanowski’s Metapoetic Reflections This article is a study of the three recusationes from the first book of Jan Kochanowski’s Elegiarum libri quattuor. Contrary to what one might think at first sight, these poems do not merely voice homage paid to the elegiac convention, which demands of the poet to renounce epic poetry and military life, but should be seen as texts in which Kochanowski reflects on the potential and limits of the elegy as a genre. It is only in the opening epigram of the collection that the poet seems to accept the rules of the genre by stating that he will not write epic poetry, but in all the recusationes of the first book (I 1, I 5 e I 12), he clearly makes the reader aware that he does not intend to renounce epic poetry, but plans to write such poems on another occasion, or in fact, he is already inserting several epic fragments in his elegies. Having underlined this, the article concentrates on the fact that this kind of attitude towards the relations between the elegiac poet and epic poetry is typically Ovidian, as shown by Mario Labate in his outstanding works devoted to this topic. The article also draws the reader’s attention to the book’s structure, for the recusationes play an essential role in it by marking its metaliterary nature. The article demonstrates that the elegies provide a testing ground for the poet to refine his poetic technique. In the elegies Kochanowski searches for different poetic solutions as he deals with different poetic genres, thereby striving to become a “total poet”, in the renaissance sense of this expression, i.e. a poet who does not confine himself to any single genre, believing that he is capable of facing all kinds of challenges when it comes to creating poetry.

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49

Cabras, Francesco. "Recusationes w pierwszej księdze Elegiarum libri quattuor Jana Kochanowskiego a Kreuzung der Gattungen. Rola Owidiusza w refleksjach metapoetyckich Jana Kochanowskiego." Terminus 23, no. 44 (61) (December 30, 2021): 435–54. http://dx.doi.org/10.4467/20843844te.21.017.14229.

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Анотація:

The recusationes and the Kreuzung der Gattungen in Jan Kochanowski’s Elegiarum libri quattuor and Ovid’s Inspiration in Jan Kochanowski’s Metapoetic Reflections This article is a study of the three recusationes from the first book of Jan Kochanowski’s Elegiarum libri quattuor. Contrary to what one might think at first sight, these poems do not merely voice homage paid to the elegiac convention, which demands of the poet to renounce epic poetry and military life, but should be seen as texts in which Kochanowski reflects on the potential and limits of the elegy as a genre. It is only in the opening epigram of the collection that the poet seems to accept the rules of the genre by stating that he will not write epic poetry, but in all the recusationes of the first book (I 1, I 5 e I 12), he clearly makes the reader aware that he does not intend to renounce epic poetry, but plans to write such poems on another occasion, or in fact, he is already inserting several epic fragments in his elegies. Having underlined this, the article concentrates on the fact that this kind of attitude towards the relations between the elegiac poet and epic poetry is typically Ovidian, as shown by Mario Labate in his outstanding works devoted to this topic. The article also draws the reader’s attention to the book’s structure, for the recusationes play an essential role in it by marking its metaliterary nature. The article demonstrates that the elegies provide a testing ground for the poet to refine his poetic technique. In the elegies Kochanowski searches for different poetic solutions as he deals with different poetic genres, thereby striving to become a “total poet”, in the renaissance sense of this expression, i.e. a poet who does not confine himself to any single genre, believing that he is capable of facing all kinds of challenges when it comes to creating poetry.

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50

Lafford, Erin. "John Clare, Herbalism, and Elegy." Romanticism 26, no. 2 (July 2020): 202–13. http://dx.doi.org/10.3366/rom.2020.0465.

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Discussions of Clare's engagement with botany often trace his fraught relationship with taxonomy, exploring his admiration for common names over the ‘dark system’ of Linnaean classification. This essay expands understanding of Clare's botanical imagination by considering how he brings his botanical ‘taste’ to bear on the flower as a key figure of elegiac consolation. I refocus attention on his formative preference for pre-Linnaean herbalism and explore how it informs his engagement with elegiac tradition and imagery, especially in relation to Gray's ‘Elegy’. I attend to how herbalism is brought into relationship with poetic representations of the floral, focussing especially on the connection between Clare's preference for herbals and Elizabeth Kent's Flora Domestica. I then discuss ‘Cauper Green’ and ‘The Village Doctress’ (Clare's most sustained poetic discussions of herbalism) as elegies that try to reconcile the finite temporality of human life with the regenerative life cycles of plants and their flowers.

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