Dissertations / Theses on the topic 'Aeneis (Vergilius)'

Thesis (MPhil (Modern Foreign Languages. Hypermedia for Language Learning))--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT: The ancient Roman poet Vergil’s great literary epic, the Aeneid, is written in Latin. This so-called “dead” language is already almost three thousand years old and had a rich history and extensive influence on the Western world. The most influential development of the modern era is the World Wide Web (WWW). Hypertext drives the Web. The translation of just one book of the Aeneid can be a protracted process for the Latin student. Usually a great deal of information must be consulted to translate just one line into idiomatic Afrikaans or English. Hypertext can manage, link and rapidly make available large amounts of information. A discussion of Aeneidos Electronicum (“The Electronic Aeneid”) – a web-based electronic text commentary of Book I of the epic – shows the effectiveness of hypertext as a medium to facilitate the translation of the Aeneid. Moreover an examination of the Web determines the extent and nature of Vergil’s presence on it. Finally a critical evaluation of five websites provides an overview of the available resources for the reader/researcher of the classical poet and his works on the Web. The Aeneidos Electronicum-project attempts to show how hypertext can be utilised to make the translation of the Aeneid expeditious and translation aid more accessible. The aim of the project is to support and expand Vergil’s place in the field of computer assisted language learning. The examination and evaluation of the classical poet’s presence on the Web wishes to confirm that his and his works’ enduring influence and impact not only exists on paper, but also in cyberspace. Chapter 2 deals with Latin and Vergil respectively. Chapter 3 discusses the theory of good hypertext and web design. Chapter 4 describes and explains the contents, structure, navigation and design of the Aeneidos Electronicum-project. Chapter 5 examines Vergil’s presence on the Web and critically evaluates five websites according to the principles of good web design. Aeneidos Electronicum utilises hypertext’s ability to manage and link large amounts of information to produce an electronic text commentary of Book I of Vergil’s Aeneid. It is web-based and follows the guidelines of good hypertext and web design to be a userfriendly and extremely functional electronic translation aid. Similar websites exist, but its object is to make Latin students’ experience of Vergil and his great epic easy, informative and enriching. Vergil’s presence on the Web is considerable and there is a wide variety of websites with information and interactivity for study of the classical poet and his works available to the student/teacher/researcher as well as the lay person. The random sample of five websites shows not only the application of good and less effective web design principles, but also the predominantly good quality and importance of the presentations. Thus Vergil and his works gain further ground in computer assisted language learning and he lives on in the 21st century with all the possibilities that the Web and hypertext can offer.<br>AFRIKAANSE OPSOMMING: Die antieke Romeinse digter Vergilius se grootse literêre epos, die Aeneïs, is in Latyn geskryf. Dié sogenaamde “dooie” taal is al ongeveer drieduisend jaar oud en het ’n ryke geskiedenis en omvattende invloed op die Westerse wêreld gehad. Die invloedrykste tegnologiese ontwikkeling van die moderne era is die Wêreldwye Web (WWW). Hiperteks dryf die Web. Die vertaling van net een boek van die Aeneïs kan ’n langdurige proses vir die Latyn-student wees. ’n Magdom inligting moet gewoonlik geraadpleeg word om net een reël in idiomatiese Afrikaans of Engels te vertaal. Hiperteks kan groot hoeveelhede inligting hanteer, verbind en vinnig beskikbaar stel. ’n Bespreking van Aeneidos Electronicum (“Die Elektroniese Aeneïs”) – ’n webgebaseerde elektroniese tekskommentaar van Boek I van die epos – toon die effektiwiteit van hiperteks as ’n medium om die vertaling van die Aeneïs te vergemaklik. Voorts bepaal ’n ondersoek van die Web die omvang en aard van Vergilius se teenwoordigheid daarop. Ten slotte bied ’n kritiese evaluering van vyf webwerwe ’n oorsig van die beskikbare hulpbronne vir die leser/navorser van die klassieke digter en sy werke op die Web. Die Aeneidos Electronicum-projek poog om te toon hoe hiperteks ingespan kan word om die vertaling van die Aeneïs te bespoedig en vertaalhulp meer toeganklik te maak. Die oogmerk van die projek is om Vergilius se plek in die rekenaarondersteunde taalonderrigveld te ondersteun en uit te brei. Die ondersoek en evaluasie van die klassieke digter se teenwoordigheid op die Web wil bevestig dat hy en sy werke se blywende invloed en trefkrag nie net op papier voortleef nie, maar ook in die kuberruim. Hoofstuk 2 behandel onderskeidelik Latyn en Vergilius. Hoofstuk 3 bespreek die teorie van goeie hiperteks en webontwerp. Hoofstuk 4 beskryf en verklaar die inhoud, struktuur, navigasie en ontwerp van die Aeneidos Electronicumprojek. Hoofstuk 5 ondersoek Vergilius se teenwoordigheid op die Web en evalueer krities vyf webwerwe volgens die beginsels van goeie webontwerp. Aeneidos Electronicum benut hiperteks se vermoë om groot hoeveelhede inligting te hanteer en te skakel om ’n elektroniese tekskommentaar van Boek I van Vergilius se Aeneïs teweeg te bring. Dit is webgebaseerd en volg die riglyne van goeie hiperteks en webontwerp om ’n gebruikersvriendelike en uiters funksionele elektroniese vertalingshulpmiddel te wees. Soortgelyke webwerwe bestaan, maar dit het ten doel om Latyn-studente se ervaring van Vergilius en sy grootse epos gemaklik, insiggewend en verrykend te maak. Vergilius se teenwoordigheid op die Web is aansienlik en daar is ’n wye verskeidenheid webwerwe met inligting en interaktiwiteit vir studie van die klassieke digter en sy werke vir die student/onderwyser/navorser asook die leek beskikbaar. Die steekproef van vyf webwerwe toon nie net die toepassing van goeie en minder doeltreffende webontwerpbeginsels nie, maar ook die oorwegend goeie gehalte en belangrikheid van die aanbiedinge. Dus wen Vergilius en sy werke nog verder veld in rekenaarondersteunde taalonderrig en leef hy in die 21ste eeu voort met al die moontlikhede wat die Web en hiperteks kan bied.

This thesis uses philosophy of fiction to analyse episodic fictions in Vergil' s Aeneid. I argue that due to repeated lapses in the narrative framework, individual episodes seem to constitute deviant 'worlds' of their own, rather than incorporated insets. This fragmentation militates against the Aeneid's claims to a universalized totality. Chapter 1 uses ancient and modem theories of fiction to argue that mythical narratives are incomplete discourses lacking metalinguistic information about how they should be interpreted and made true. I propose that critical approaches seek to solve this anomaly by framing myths in new pragmatic structures. The question I pose is whether the Aeneid, in its incorporation of other narratives, propagates or corrects the pragmatic incompleteness of archaic material. To answer it I consider a series of adventitious fictions which test the narrative's incorporating frame. Chapter 2 concerns Aeneas and Sinon as inset narrators: are they just characters speaking or rival narrators creating their own separate worlds? Chapter 3 focuses on Book 3' s incorporation of the literary world of romance within the world of the Aeneid. I argue that Vergil moves away from paradox as mimetic representation of fantastical things, and embraces logical paradox. A prime example of the latter is Achaemenides, the traveller across fictional worlds. Chapter 4 is on the catabasis. It again accents metapoetry, arguing for Hades as a storehouse in which abstract fictions achieve embodied existence, while also detecting an equivalence between the changed realities of fiction and the changed realities of mystical experience. Chapter 5 considers ecphrasis as an incorporation of a rival representational world within the poem. I argue that the physical boundary separating artwork from narrative thematizes the boundaries, constantly lapsing, between Vergil's representational world and that of the rival artificer. Due to the lapses, the poem becomes an unframable multiplicity of contradictory worlds.

A cursory reading of the poetry of Arthur Rimbaud brings about an immediate awareness that classical allusion and myth were of significant interest to the poet. Biographical data indicates that Rimbaud not only excelled in the study of the Latin language and literature, but exhibited enthusiasm for the subjects. Closer scrutiny of Rimbaud's life and works reveals the emergence of patterns evident in the poetry of Vergil, especially his Aeneid. I have endeavored to locate and define thematic areas that may correlate the works of both poets, thereby indicating the presence of an epic motif structure within the body of Rimbaud's poetry that resembles, in several respects, motifs discovered within the Aeneid. My study has explored five major areas in which similarities occur: the significance of heritage, the function of journey as theme, the concept of descent into an Underworld, the quest for a city and the quest for a bride. Both poets depict man facing the challenge of pursuing lofty ideals in the actual world. Rimbaud's work suggests that the basic goals of Aeneas are still those of modern man. While it is not my intention to offer proof of literary influence, it is hoped that demonstration of a parallel motif structure may invite a spirit of inquiry regarding the significance of the occurring similarities, especially, with respect to the importance of the Aeneas myth in the modern world.

A linha que separa os conceitos de magia e de religião no mundo antigo nem sempre é clara. Por vezes, são mais as perguntas que estes termos levantam do que as respostas que dão. Não será, contudo, meu objectivo nesta tese trabalhar as diferenças entre estes dois planos, o religioso e o da feitiçaria, mas antes estudar um conjunto de textos e fenómenos tradicionalmente associados a actos mágicos que se encontram, por exemplo, em testemunhos como as tabellae defixionum e os Papiros Mágicos Gregos. Estudando um episódio concreto da Eneida (4.474-521), momento em que assistimos à realização de um ritual de magia, partirei para outros textos e temas relacionados com a prática de feitiçaria na literatura clássica. Quando Eneias está em Cartago, Vergílio representaVo vestido de púrpura tíria, claro sinal de perda da grauitas!romana que Augusto pretende recuperar durante os seus anos de principado. Júpiter, observando a atitude do herói troiano, envia Mercúrio para o relembrar do objectivo da sua missão. Contudo, abandonar Cartago significa deixar para trás Dido, que por ele se apaixonara. Perante a iminência da partida, a rainha, contra a sua vontade e levada pelo desespero, decide iniciar um conjunto de rituais mágicos. O texto de Vergílio, porém, não é claro sobre o tipo de efeito a alcançar. De facto, é possível interpretáVlo de duas formas: por um lado, Dido quer reter o amor de Eneias, por outro, deixar de sentir amor por ele. Perante um passo tão complexo e rico em ecos, afigurouVse útil elaborar primeiro um breve comentário que sistematizasse todas as fontes relevantes para a compreensão do episódio. A partir desta leitura prévia, ficamos com uma visão mais ampla deste trecho e dos elementos que Vergílio usou para a sua composição: aspectos métricos e estilísticos, fontes e modelos literários e não literários, como defixiones e papiros mágicos. As descrições de actos de feitiçaria na literatura latina são, em muitos aspectos, devedoras das práticas narradas por autores gregos, especialmente a partir da época helenística. Os capítulos seguintes, que compõem a segunda parte deste trabalho, incidem sobre estes aspectos. Foi com Teócrito que se tornou comum a descrição de rituais mágicos nas suas mais variadas vertentes, sobretudo no que diz respeito à bruxaria de teor erótico. Não pode, por isso, haver uma total compreensão do que entendemos por magia erótica, nomeadamente no caso dos feitiços de condução (agogai), sem uma análise prévia de textos de autores como Calímaco e Teócrito. Dido refere que é contra a sua vontade que vai recorrer a artes mágicas, pois entende que é a única forma que tem de lidar com a decisão de Eneias de partir. Deste modo, Vergílio está a filiar o seu texto numa longa tradição literária de mulheres que decidem encetar rituais de feitiçaria plenamente conscientes de que esta não é uma solução correcta nem aceitável. Fazem-no, por exemplo, Dejanira e Fedra. Estas figuras estão, pois, a agir em sentido contrário ao que é comum pensar-se das mulheres que praticam bruxaria, uma vez que estas últimas são sempre retratadas de forma negativa e descritas como elementos que vivem à margem das sociedades. Figuras como Dejanira, Fedra ou Dido encontram-se num nível diferente, são membros da realeza mitológica, obedecendo, por isso, a uma conduta distinta. Não são mulheres do quotidiano, banais, sem instrução. Como já referimos, a grande questão que o episódio de magia da Eneida tem levantado é se estamos perante um ritual de magia erótica ou de magia destrutiva. Sobre este aspecto procuro oferecer alguns dados na terceira parte da tese. Dido, com efeito, não é clara no seu objectivo, resultado da perturbação mental que sente perante a súbita partida de Eneias. Para dar uma nova luz a este problema, é necessário olhar para outros textos mágicos que sustentem a tese mais plausível. A meu ver, estamos diante de um ritual essencialmente de magia erótica (embora a outra hipótese não possa ser totalmente descartada, acabando os dois planos, de certa forma, por se confundir). Os elementos que sustentam esta ideia são mais claros e significativos e encontram paralelo em outras fontes literárias anteriores e posteriores a Vergílio, como, por exemplo, Teócrito, Calímaco, Luciano ou Apuleio. O facto de a memória ser um aspecto presente no ritual levado a cabo por Dido constitui mais um argumento a favor da tese de que estamos perante um texto de feitiçaria erótica. Há, de facto, inúmeros exemplos de rituais de magia amorosa em textos não literários nos quais, não raras vezes, se pretende obliterar a memória das vítimas dos feitiços, tornando-as mais frágeis. Por ser um episódio de referência na obra vergiliana, muitos foram os autores que nele se inspiraram. No capítulo final da tese, analiso vários textos relacionados com temáticas de magia abordados do ponto de vista do género didáctico. Após uma leitura dos poemas didácticos de Ovídio e, em particular, dos passos sobre a ineficácia da feitiçaria, apresento uma análise da oitava Ecloga de Vergílio e do episódio da descrição do laboratório de magia de Pânfila no livro 3 das Metamorfoses de Apuleio, além da própria cena de bruxaria da Eneida, comparando indícios de um eventual estilo didáctico nestes textos com elementos de ensinamento inerentes às práticas mágicas descritas nos papiros gregos. Proceder-se-á a uma análise filológica, incidindo, designadamente, sobre o registo linguístico e o vocabulário que é habitualmente associado a textos tidos como educativos, como as Gergicas.

碩士<br>國立臺灣師範大學<br>英語學系<br>84<br>In literary creation, caves are often associated with the human body and thefemale womb. Literary cave experiences dramatize our internal experiences ofdesire, love, hate and untamed unconscious forces and metaphorically incarnatethe confrontation of the inner and the outer worlds in the experiences ofhuman consciousness. Caves thus become psychological and metaphysical spacesof projection and abstraction to express the inexpressible, to enact thepossibilities of the self as genuine experiences. This thesis purports toexplore the cave as the metaphorical manifestation of the dynamics of theself, as we find it in the pre-Hellenic mythology, in the Hellenic epic poetryof Hesiod and Homer, and in Plato and Vergil. The discussion will come tofocus on the allegorical functions of caves as static (metaphysical) imagesand as the dynamic dialectic on both psychological (vertical) and narrative(horizontal/vertical) levels. This scrutiny will witness its culmination inthe Aeneid, for Vergilian caves illuminate triadic tensions at psychological,socio-historical and literary levels. Given the contemporary awareness thatthe conscious self and sexuality are socially and historically constructed,the cave becomes a symbolic medium through which social values can work on thehuman soul and body. Therefore, in caves, we perceive a symbiosis of theindividual, sexuality and society. Cave experiences then illustrate thethe concentration of the natural, cosmic movements and also the allegoricalexpansion of human psychological turmoil. The implied ambiguity and mutabilitythus constitute the core meaning of caves as the dynamics of the self, forthis ambiguity and mutability mirror the ongoing process of indeterminacyinvolved in the forging of the conscious self.

The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism.<br>Art<br>D. Litt. et Phil.