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Relevant bibliographies by topics / Argonautica (Valerius Flaccus) Tekstuitgaven

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Academic literature on the topic 'Argonautica (Valerius Flaccus) Tekstuitgaven'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Argonautica (Valerius Flaccus) Tekstuitgaven"

1

Poortvliet, H. M. "Textual Problems in Valerius Flaccus’ Argonautica." Mnemosyne 66, no. 4-5 (2013): 791–93. http://dx.doi.org/10.1163/1568525x-12341241.

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Adkin, Neil. "VALERIUS FLACCUS’ LANIABOR-ACROSTIC (ARGONAUTICA 4.177-84)." Classical Quarterly 67, no. 1 (March 13, 2017): 327–28. http://dx.doi.org/10.1017/s0009838817000027.

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‘Of course laniabor is not a name.’ Thus very recently Cristiano Castelletti in a discussion of this notorious acrostic, which he associates with Aratean ἄρρητον (Phaen. 2) and Virgilian MA VE PV (G. 1.429-33). If, however, laniabor is itself ‘not a name’, the aim of the present annotatiuncula is to argue that it is an etymological play on a ‘name’. Laniabor spans the description of Amycus’ cave, which is adorned with the dismembered limbs of his victims: Amycus himself will shortly suffer the same fate at Pollux’ hands. The name ‘Amycus’ was etymologized from ἀμύσσω (‘tear’; LSJ s.v. I), which exactly matches lanio (‘tear’; OLD s.v. 1a). Hence by a cutely etymological jeu onomastique ‘Tearer’ says ‘I'll be torn’.

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Zissos, Andrew. "The King's Daughter: Medea in Valerius Flaccus' Argonautica." Ramus 41, no. 1-2 (2012): 94–118. http://dx.doi.org/10.1017/s0048671x00000278.

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Medea's awakening love for Jason is the great theme of the third book of Apollonius Rhodius' Argonautica. At the opening of that book—that is to say, at the very centre of the four-book epic—the Hellenistic poet signals a programmatic redirection, invoking the Muse Erato to inspire his tale of Jason's winning of the golden fleece, aided by the love of the Colchian princess (Мηδείηϛ ὑπ' ἔϱωτι, Ap. Rhod. 3.3). This is the first mention of Medea in the poem. Writing a few centuries later, the Flavian poet Valerius Flaccus for the most part adheres closely to Apollonius' narrative outline. As we shall see, however, he manifests comparatively little interest in the love story between Jason and Medea, and takes a different approach to the problem of integrating Medea into the plot. Though, as with the earlier epic, she will not appear as a dramatis persona until the second half of the epic, she is mentioned at the very outset of the narrative (1.61-63), and a number of times thereafter in the early books. Thus by the time the Argonauts reach Colchis and Medea enters the narrative proper, she has already been presented to the reader in a number of ‘previews’.

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Davis, P. J. "Remembering Ovid: The Io Episode in Valerius Flaccus' Argonautica." Antichthon 43 (2009): 1–11. http://dx.doi.org/10.1017/s006647740000191x.

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The insertion of the story of Io into Book 4 of Valerius' narrative of the Argonauts' voyage to Colchis follows a familiar pattern, for here we have an apparently irrelevant digression, delivered by a figure of authority, which experienced readers of Roman epic will expect to encapsulate some of the poem's key issues. Some will think of Evander's tale of Hercules and Cacus in Aeneid 8 or of Adrastus' account of Apollo and Coroebus in Thebaid 1. And then there is Lucan's version of the struggle between Hercules and Antaeus in Pharsalia 4. Theoreticians will invoke the concept of ‘mise-en-abîme’, because Valerius' inclusion of this standard epic device creates semiotic expectations.

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Pucci, Joseph, and Debra Hershkowitz. "Valerius Flaccus' "Argonautica": Abbreviated Voyages in Silver Latin Epic." Classical World 94, no. 1 (2000): 90. http://dx.doi.org/10.2307/4352513.

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Kotova, Anastasia V. "Successive Similes in Valerius Flaccus’ Argonautica 4. 682–688." Philologia Classica 14, no. 2 (2019): 318–23. http://dx.doi.org/10.21638/11701/spbu20.2019.211.

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Heerink, Mark. "Virgil, Lucan, and the Meaning of Civil War in Valerius Flaccus’ Argonautica." Mnemosyne 69, no. 3 (May 7, 2016): 511–25. http://dx.doi.org/10.1163/1568525x-12341977.

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In his recent monograph (2012) Tim Stover has provided the first full-scale study of Valerius Flaccus’ interaction with Lucan’s Bellum Civile, arguing that the Argonautica restores epic after Lucan and optimistically supports Vespasian’s restoration of the Principate after the civil wars of 68-69 ad. Focusing on the ‘civil war’ between the Argonauts and the Doliones in Book 3 of Valerius’ epic, I will propose an alternative reading of the influence of Lucan as well as Virgil’s Aeneid. Although Valerius at first sight seems to set up the Cyzicus episode in Virgilian fashion, he in fact deconstructs this reading, revealing the impossibility of (re)writing an Aeneid in the Flavian age.

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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.

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9

Davis, Martha A. "Ratis Avdax: Valerius Flaccus' Bold Ship." Ramus 18, no. 1-2 (1989): 46–73. http://dx.doi.org/10.1017/s0048671x00003039.

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Surprises await the reader who approaches the Argonautica of Valerius Flaccus expecting to find a pleasant but unchallenging version of the content of Apollonius Rhodius' epic retold in Vergilian style. The poem is much more than ‘a thrilling tale that has absorbed and delighted readers and hearers’ and much more than an imitation of the work of two great predecessors. If we consider the matter of story line alone, Valerius differs from Apollonius. He included the rescue of Hesione by Hercules, which was part of the myth of Argo but not used by Apollonius, and he created an entire book (Book 6) full of new material by recounting how Jason and the Argonauts joined Aeetes in a civil war at Colchis. The syntax, long supposed to be Vergilian, on closer examination appears to have departed from Vergil's ways.Valerius made his individuality clear from the beginning of his epic:prima deum magnis canimus freta peruia natis fatidicamque ratem, Scythici quae Phasidis oras ausa sequi mediosque inter iuga concita cursus rumpere flammifero tandem consedit Olympo.(Arg. 1.1-4)I sing the straits first navigable for great sons of gods and the prophetic ship that dared to seek the shores of Scythian Phasis, that dared to burst a course between clashing rocks, that settled down at last on fiery Olympus.

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Gärtner, Thomas. "Kritische Bemerkungen zu den Argonautica des Valerius Flaccus." Emerita 78, no. 2 (December 30, 2010): 211–29. http://dx.doi.org/10.3989/emerita.2010.v78.i2.496.

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Dissertations / Theses on the topic "Argonautica (Valerius Flaccus) Tekstuitgaven"

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

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.

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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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5

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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6

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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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.

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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.

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9

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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10

Liberman, Gauthier, and 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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Books on the topic "Argonautica (Valerius Flaccus) Tekstuitgaven"

1

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

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2

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

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3

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

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4

Valerius Flaccus, Gaius, 1st cent., ed. Valerius Flaccus, Argonautica, Book I: A commentary. Leiden, Netherlands: Brill, 2005.

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5

Valerius Flaccus, Argonautica 4, 1-343: Ein Kommentar. Hildesheim: G. Olms, 1989.

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Poortvliet, Harm Marien. C. Valerius Flaccus Argonautica book II: A commentary. Amsterdam: VU University Press, 1991.

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7

Valerius Flaccus Argonautica Buch VI: Einleitung und Kommentar. München: C.H. Beck, 2001.

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8

A commentary on Book 4 of Valerius Flaccus' Argonautica. Leiden: Brill, 2009.

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9

Prophezeiungen und Prodigien in den Argonautica des Valerius Flaccus. München: Utz, 2003.

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10

Hershkowitz, Debra. Valerius Flaccus' Argonautica: Abbreviated voyages in silver Latin epic. Oxford: Clarendon Press, 1998.

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Book chapters on the topic "Argonautica (Valerius Flaccus) Tekstuitgaven"

1

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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Schimann, Frank. "Feuer auf Lemnos. Feuer und Furie in den Argonautica des Valerius Flaccus." In Fabrica, 103–28. Wiesbaden: Vieweg+Teubner Verlag, 1997. http://dx.doi.org/10.1007/978-3-663-12112-1_6.

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Flaccus], Valerius Flaccus [C Valerius. "Argonautica." In Valerius Flaccus' Argonautica Book I, edited by Andrew Zissos. Oxford University Press, 2008. http://dx.doi.org/10.1093/oseo/instance.00088152.

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Valerius Flaccus. "Argonautica." In Valerius Flaccus: Argonautica, Book 7, edited by P. J. Davis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oseo/instance.00266985.

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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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"Navigating Power: Valerius Flaccus’ Argonautica." In Writing Politics in Imperial Rome, 351–66. BRILL, 2009. http://dx.doi.org/10.1163/9789004217133_016.

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"Chapter 6: Valerius Flaccus’ Argonautica." In Noscendi Nilum Cupido, 133–63. De Gruyter, 2012. http://dx.doi.org/10.1515/9783110297737.133.

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"Gesine Manuwald Valerius Flaccus’ Argonautica." In Geography, Topography, Landscape, 463–86. De Gruyter, 2013. http://dx.doi.org/10.1515/9783110315318.463.

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"Preliminary Material." In Valerius Flaccus, Argonautica, Book I, I—XVIII. BRILL, 2005. http://dx.doi.org/10.1163/9789047405672_001.

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"THE ANNOUNCEMENT OF THE SUBJECT 1–4." In Valerius Flaccus, Argonautica, Book I, 1–10. BRILL, 2005. http://dx.doi.org/10.1163/9789047405672_002.

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