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Готові списки джерел за темами / Valerius Flaccus

Добірка наукової літератури з теми "Valerius Flaccus"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 25 травня 2024

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Статті в журналах з теми "Valerius Flaccus":

1

Ładoń, Tomasz. "Between Marius, Cinna and Sulla. The role of the Valerii Flacci in the Roman Republic in the eighties of the 1st century BC." Klio - Czasopismo Poświęcone Dziejom Polski i Powszechnym 58, no. 2 (January 15, 2021): 93–107. http://dx.doi.org/10.12775/klio.2021.014.

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Abstract: Valerii Flacci was one of the most influential families in Rome in the first two decades of the 1st century BC. Cicero called them a nobilissima familia, while they themselves were the apple of the Roman aristocracy and were perceived as the best citizens (optimi cives). During the First Civil War, they were initially associated with the Marian camp. L. Valerius Flaccus (consul of 100 BC) acted as princeps senatus since 86 BC, and his cousin, also L. Valerius Flaccus was consul suffectus in 86 BC, after the death of C. Marius. The brother of L. Valerius Flaccus, Caius, consul of 93 BC, during the reign of Cinna in Rome was the governor of Spain for many years, and later of Transalpine Gaul too. It is known that Valerii Flacci wanted to reach a compromise between Sulla and the Marian camp, and when their efforts failed, they opted for Sulla.Despite the significant role Valerii Flacci played in the Republic, their activities remain overshadowed by other figures of that period. Also, their switch to the Sulla camp in the memory of the ancients was quite poorly recorded, especially when compared with the publicity of the transition of figures such as Metellus Pius, Pompeius or Crassus to Sulla’s side. The author of the presented paper will attempt to coax Valerii Flacci out of the shadows of history, examine the genesis of their defection to the Sulla camp and determine the role they played in this camp in the initial period of Sulla’s dictatorship. Abstrakt: Valerii Flacci byli jednym z bardziej wpływowych rodów w Rzymie w pierwszych dwóch dekadach I wieku przed Chr. Cicero określał ich mianem nobilissima familia, sami zaś stanowili kwiat arystokracji rzymskiej i postrzegani byli jako najlepsi obywatele (optimi cives). W okresie pierwszej wojny domowej początkowo związani byli z obozem mariańskim. L. Valerius Flaccus (konsul 100 roku przed Chr.) od 86 roku przed Chr. występował jako princeps senatus, zaś jego kuzyn, również L. Valerius Flaccus, po śmierci C. Mariusa zastąpił go na stanowisku konsula (jako consul suffectus w 86 roku przed Chr.). Rodzony brat tego ostatniego, C. Valerius Flaccus, konsul 93 roku przed Chr., w okresie rządów Cynny w Rzymie był wieloletnim namiestnikiem Hiszpanii, a później także Galii Zaalpejskiej. Wiadomo, że Valerii Flacci chcieli doprowadzić do kompromisu między Sullą a obozem mariańskim, a gdy ich starania zakończyły się fiaskiem, opowiedzieli się za Sullą.Mimo znaczącej roli, jaką Valerii Flacci odgrywali w Republice, ich działalność pozostaje w cieniu innych postaci owego okresu. Także ich akces do obozu sullańskiego w pamięci starożytnych został odnotowany dość słabo, zwłaszcza jeśli zestawi się go z nagłośnieniem przejścia na stronę Sulli takich postaci jak Metellus Pius, Pompeius czy Crassus. Autor prezentowanego artykułu wydobywa Valerii Flacci z cienia historii, bada genezę ich dołączenia do obozu sullańskiego oraz określa ich znaczenie w tym obozie w początkowym okresie dyktatury Sulli.

2

Toohey, Peter. "VALERIUS FLACCUS." Classical Review 50, no. 1 (April 2000): 54–55. http://dx.doi.org/10.1093/cr/50.1.54.

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3

Taylor-Briggs, P. Ruth. "VALERIUS FLACCUS." Classical Review 48, no. 2 (October 1998): 318–20. http://dx.doi.org/10.1017/s0009840x98530016.

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4

Ripoll, François. "Mémoire de Valérius Flaccus dans l’Achilléide de Stace." Revue des Études Anciennes 116, no. 1 (2014): 83–103. http://dx.doi.org/10.3406/rea.2014.5861.

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The influence of the Argonautica of Valerius Flaccus on the Achilleid of Statius has received little attention from the scholars. A close examination of Statius’ second epic reveals however a deep impregnation by the work of his Flavian predecessor, on many levels : from an occasional reminiscence brought by a contextual similitude to a deliberate allusive strategy. I have tried to classify and study the different types of Valerian reminiscences in the Achilleid from the point of view of its intellectual genesis : incident memory, derived memory, combined memory, diffuse memory, and allusive memory. This inquiry throws light both on Statius’ poetical technique and on Valerius’ literary posterity

5

Manuwald, Gesine. "Valerius Flaccus 1980–2013." Lustrum 56, no. 1 (January 2014): 7–108. http://dx.doi.org/10.13109/lutr.2014.56.1.7.

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6

Liberman, G. "Notes Sur Valerius Flaccus." Mnemosyne 42, no. 1-2 (1989): 111–16. http://dx.doi.org/10.1163/156852589x00209.

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7

Nagyillés, János. "Gradivus földművesei (Valerius Flaccus 5, 142: ruricolae, Gradive, tui)." Antik Tanulmányok 54, no. 1 (June 1, 2010): 33–47. http://dx.doi.org/10.1556/anttan.54.2010.1.2.

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Valerius Flaccus Argonauticája 5, 142 ruricolae, Gradive, tui kifejezésének értelmezése vitatott: az apollóniosi eredeti mögött valószínűleg egy a görög költő által még ismert, a vasérc mosására vonatkozó forrás állt. Apollónios Rhodios Chalybsökről adott, általa még szó szerint értett információit Valerius Flaccus fordítása a vaskorhoz kapcsolódó római képzetek jegyében romanizálva, metaforikus értelemben adja vissza.

8

Liberman, Gauthier. "Correction ou corruption? La critique du texte de Valerius Flaccus." Mnemosyne 63, no. 2 (2010): 229–40. http://dx.doi.org/10.1163/156852510x456174.

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AbstractThe author tries to show through close examination of four characteristic passages of Valerius Flaccus’ Argonautica (5.614, 6.709, 7.55-6, 7.162-3) that strained exegesis or quotation of dubious parallels, to be met with in Valerian studies, may be wrong solutions of problems better dealt with if one admits textual corruption.

9

Ripoll, François. "Silius Italicus et Valerius Flaccus." Revue des Études Anciennes 101, no. 3 (1999): 499–521. http://dx.doi.org/10.3406/rea.1999.4779.

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10

MURGATROYD, P. "AMYCUS' CAVE IN VALERIUS FLACCUS." Classical Quarterly 58, no. 1 (April 18, 2008): 382–86. http://dx.doi.org/10.1017/s0009838808000451.

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Дисертації з теми "Valerius Flaccus":

1

Baier, Thomas. "Valerius Flaccus : Argonautica Buch VI /." München : C. H. Beck, 2001. http://catalogue.bnf.fr/ark:/12148/cb38965184m.

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2

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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3

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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4

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.

5

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.

6

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.

7

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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8

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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9

Gärtner, Ursula. "Gehalt und Funktion der Gleichnisse bei Valerius Flaccus /." Stuttgart : F. Steiner, 1994. http://catalogue.bnf.fr/ark:/12148/cb36678487m.

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10

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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Книги з теми "Valerius Flaccus":

1

Sauer, Christoph. Valerius Flaccus' dramatische Erzähltechnik. Göttingen: Vandenhoeck & Ruprecht, 2011. http://dx.doi.org/10.13109/9783666252969.

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2

Sauer, Christoph. Valerius Flaccus' dramatische Erzähltechnik. Göttingen: Vandenhoeck & Ruprecht, 2011.

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3

Eigler, Ulrich. Monologische Redeformen bei Valerius Flaccus. Frankfurt am Main: Athenäum, 1988.

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4

Hurka, Florian. Textkritische Studien zu Valerius Flaccus. Stuttgart: Steiner, 2003.

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5

Fonte, Bartolommeo. Adnotationes Bartolomaei Fontii in Valerii Flacci Argonautica: Kommentar des Valerius Flaccus : Edition. Rahden/Westf: Verlag Marie Leidorf, 2009.

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6

Stadler, Hubert. Valerius Flaccus, Argonautica VII: Ein Kommentar. Hildesheim: G. Olms, 1993.

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7

Wijsman, H. J. W. Valerius Flaccus, Argonautica, Book V: A commentary. Leiden: E.J. Brill, 1996.

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8

Wijsman, H. J. W. Valerius Flaccus, Argonautica, Book VI: A commentary. Boston: Brill, 2000.

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9

Wacht, Manfred. Juppiters Weltenplan im Epos des Valerius Flaccus. Mainz: Akademie der Wissenschaften und der Literatur, 1991.

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10

Wacht, Manfred. Juppiters Weltenplan im Epos des Valerius Flaccus. Mainz: Akademie der Wissenschaften und der Literatur, 1991.

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Частини книг з теми "Valerius Flaccus":

1

Kuhlmann, Peter Alois. "Valerius Flaccus." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22194-1.

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2

Rieks, Rudolf, and Peter Alois Kuhlmann. "Valerius Flaccus: Argonautica." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22195-1.

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3

Manuwald, Gesine. "Valerius Flaccus 1980–2013." In Lustrum Band 56 - 2014, 7–108. Göttingen: Vandenhoeck & Ruprecht, 2015. http://dx.doi.org/10.13109/9783666802201.7.

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4

"Valerius Flaccus." In Roman Epic, 251–75. BRILL, 1999. http://dx.doi.org/10.1163/9789004351417_011.

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5

Stover, Tim. "Silius Italicus’ Punica." In Valerius Flaccus and Imperial Latin Epic, 9—C1P151. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192870919.003.0002.

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Abstract This chapter seeks to shed new light on Silius Italicus’ epic technique by focusing on the Punica’s allusive interactions with Valerius’ Argonautica. In it the author demonstrates that Silius’ intertextual engagement with Valerius’ poem is more explicit than is often acknowledged and argues that Silius’ stance vis-à-vis Valerius is less antagonistic than other critics see it. The chapter shows that in Book 11 of the Punica Silius highlights Valerius’ Argonautica as an important and respected model. It then demonstrates that Silius frames the Punica as the culmination of the historical process inaugurated in the Argonautica before illustrating how he enriches his poem in various ways by reworking Valerian material.

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Stover, Tim. "The Thebaid’s Argonautic Program." In Valerius Flaccus and Imperial Latin Epic, 47—C2P65. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192870919.003.0003.

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Abstract This chapter focuses on Statius’ Thebaid, a poem whose use of programmatic allusivity in relation to Valerius’ Argonautica exceeds what we see in the work of the other Latin epicists studied in this book. In it the author examines two passages from the Thebaid that are rich in programmatic significance, the ekphrasis on Harmonia’s necklace in Book 2 and the consecutive prophecies of Melampus and Amphiaraus in Book 3. The author demonstrates that in these passages Statius allusively declares engagement with Valerius’ Argonautica to be an important feature of his epic technique. The chapter reveals that Statius’ interaction with Valerius’ narrative is designed to extract from his predecessor the macabre material he deemed suitable for his poem of fratricidal madness. It also suggests that Statius distinguishes his poetic enterprise from that of Valerius by replacing Valerian ambivalence with unmitigated horror.

7

Stover, Tim. "Statius’ Achilleid." In Valerius Flaccus and Imperial Latin Epic, 135—C4P107. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192870919.003.0005.

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Abstract This chapter continues the exploration of Statius’ engagement with Valerius by turning to an analysis of his allusions to the Argonautica in his unfinished Achilleid. In it the author elucidates how Statius’ allusive interaction with Valerius reveals the extent to which the Argonautica contributed to the conception, construction, and tenor of the Achilleid. The chapter demonstrates that Statius intertextually declares the Argonautica to be an important model before examining how Statius’ refashioning of Valerius’ epic enriches the Achilleid’s exploration of a range of important themes, such as literary belatedness, generic propriety, and gender dynamics. From this analysis, it emerges that a full appreciation of the aesthetic complexities of Statius’ most audacious poetic endeavor requires scrutinizing his reworking of Valerian material.

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"STATIUS AND VALERIUS FLACCUS." In Valerius Flaccus, Argonautica, Book VI, 287–88. BRILL, 2000. http://dx.doi.org/10.1163/9789004351158_004.

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9

Stover, Tim. "Statius’ Thebaid." In Valerius Flaccus and Imperial Latin Epic, 71—C3P240. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192870919.003.0004.

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Abstract This chapter builds upon the findings of the previous one, as it seeks to delve deeper into Statius’ subversive approach to Valerius in the Thebaid by demonstrating that Statius often rewrites Valerian passages in order to reverse what can be read as positive sequences in his model text. The chapter then examines a related practice, i.e. Statius’ use of allusion to establish contrasts between the Thebaid and the Argonautica, a strategy that seeks to create distance between the two poems. The chapter comes to a close with a section on Statius’ use of allusion to Valerius’ poem to enrich his narrative in various ways.

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Stover, Tim. "Claudian’s De Raptu Proserpinae." In Valerius Flaccus and Imperial Latin Epic, 161—C5P105. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192870919.003.0006.

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Abstract This chapter sees the book’s study of Valerius’ influence on the epic tradition move beyond the Flavian era (69– 96 ce) and into the world of later Latin epic by examining Claudian’s allusive interactions with Valerius’ Argonautica in the De Raptu Proserpinae. In so doing the author contributes a new chapter to the reassessment of Claudian’s poetry which has been under way for the past three decades, while also offering the first sustained analysis of Claudian’s engagement with Valerius. This chapter demonstrates that Claudian too, like Valerius’ Flavian contemporaries, programmatically presents himself as an epigone of the Argonautica, before going on to elucidate how Claudian uses allusion to Valerius’ narrative to enrich his poem in various ways.