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Journal articles on the topic 'Bucolic'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Matthews, R. J. H. "A Sylloge of Minor Bucolic." Antichthon 28 (1994): 25–51. http://dx.doi.org/10.1017/s0066477400000848.

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In this article I use ‘Minor Bucolic’ to mean ‘poems transmitted in bucolic manuscripts but not written by Theocritus’; thus the term includes, strictly speaking, pseudo-Theocritean poems, poems ascribed (correctly or otherwise) to Moschus and Bion, the Pattern Poems, and the poem called Εἰς νεκρὸν Ἄδωνιν. I use the Greek text of A.S.F. Gow in Bucolici Graeci (Oxford 1952/1958) unless otherwise stated, and follow Gow’s numbering of the so-called ‘fragments’ of Moschus and Bion in that edition; other scholars’ numerations are given on p. 186 of it. It is necessary to remember that Gow himself used a previous numeration, namely that of Wilamowitz {Bucolici Graeci, Oxford 1905/1910), when referring to Bion’s fragments in his magnum opus on (and entitled) Theocritus (Cambridge 1950/1952). The numbering of Moschus’ fragments is however the same. As poems traditionally ascribed to Moschus or Bion are mostly falsely or dubiously so ascribed, they are referred to by title or abbreviated title. Similar treatment is given to certain of the pseudo-Theocritean poems, namely Idd. 19, 20, 21, 23, as they are central to this study.

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2

Stover, Justin A. "The Date of the Bucolic Poet Martius Valerius." Journal of Roman Studies 107 (September 6, 2017): 301–35. http://dx.doi.org/10.1017/s0075435817000806.

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ABSTRACTThe collection of four Latin bucolics ascribed to one Martius Valerius was only published in the twentieth century; they have been widely considered as twelfth-century compositions. Picking up on suggestions proposed by François Dolbeau, this study presents evidence that Martius drew directly on the bucolics of Theocritus, and that his poems are late antique, not medieval, literary productions, probably written in the sixth century. Such a conclusion will require a revision of the history of post-Virgilian Latin bucolic poetry.

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3

Reeves, Richard. "Bucolic agribot." New Scientist 216, no. 2891 (November 2012): 33. http://dx.doi.org/10.1016/s0262-4079(12)62949-2.

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4

Brešar, B., J. Chalopin, V. Chepoi, T. Gologranc, and D. Osajda. "Bucolic complexes." Advances in Mathematics 243 (August 2013): 127–67. http://dx.doi.org/10.1016/j.aim.2013.04.009.

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5

Gutzwiller. "The Bucolic Problem." Classical Philology 101, no. 4 (2006): 380. http://dx.doi.org/10.2307/4620775.

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6

Gutzwiller, Kathryn. "The Bucolic Problem." Classical Philology 101, no. 4 (October 2006): 380–404. http://dx.doi.org/10.1086/519184.

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7

Editorial Submission, Haworth. "A Bucolic Brouhaha:." Technical Services Quarterly 3, no. 3-4 (August 29, 1985): 299–307. http://dx.doi.org/10.1300/j124v03n03_28.

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8

Kossaifi, Christine. "Et in Theocrito ego . . ." Mnemosyne 70, no. 1 (January 20, 2017): 40–57. http://dx.doi.org/10.1163/1568525x-12341987.

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In the bucolic world, as conceived by Theocritus in some of hisIdylls, death is rarely present; thus it is all the more important when it is. In this paper I argue that death has an existential and a generic meaning. The disappearance of all people, from a beloved one to the learned poet, cannot be avoided but is paradoxically a means of ἁσυχία, an ideal way of life fundamental to Theocritus’ bucolic world. In its conflict with Mnemosyne, death gives birth to a metapoetic reflexion on the bucolic genre, on the poetic creation and the poetic reception and is thus an essential link for continuing and renewing bucolic tradition.

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9

Matthews, R. J. H. "The Lament For Adonis: Questions Of Authorship." Antichthon 24 (1990): 32–52. http://dx.doi.org/10.1017/s0066477400000526.

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The Lament for Adonis or Epitaphios Adonidos has since the mid-sixteenth century commonly been known as ‘Bion 1’. In editions of Greek Bucolic it comes along with four long and four short poems allegedly by Moschus, a number of short poems or fragments by Bion of Smyrna, and a long fragment (32 lines) also since 1568 often attributed to him. This subcollection is sometimes conveniently called ‘Minor Bucolic’: ‘minor’ in relation to the much bulkier surviving work of Theocritus and ‘bucolic’ apparently only by association with him and through the clear reputation of Moschus and Bion in ancient times as bucolic writers. Editions of Minor Bucolic, i.e. Moschus and Bion published other than as an appendix to Theocritus (though sometimes combined with Callimachus, Musaeus, or ‘the Nine Poetesses’), appeared in 1565 (Meetkercke, Bruges), 1568 (Orsini, Rome), 1655 (Whitford, London), 1686 (Longepierre, Paris), and then copiously in the eighteenth century; I count at least eight in the years 1746-1795.

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10

Prauscello, Lucia. "Colluthus' Pastoral Traditions: Narrative Strategies and Bucolic Criticism in the Abduction of Helen." Ramus 37, no. 1-2 (2008): 173–90. http://dx.doi.org/10.1017/s0048671x00004963.

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It is nowadays a commonplace to state that every literary genre is a highly selective segment of a broader world of potential representations, and presents itself to the reader as a complete, self-contained model of interpretable mimesis of that particular aspect of reality. Yet this is especially true of bucolic poetry, whose very act of foundation rests on a joint effort, on the part both of the poets and their readers, to ‘conjure up a pre-existing “bucolic” tradition’ in the very same act of ‘founding such a tradition’. Theocritus' pastoral universe has its own bucolic hallmarks: landscape, gods and ‘professional’ accessories such as those required of a rustic life (milk-pails, shepherd's staffs, goatskin-coats and the like) are appropriately paraded and customised, and these hyper-‘realist’ markers are casually made to exist on the same level as the most unrealistic aspects of bucolic life (Theocritus' shepherds sing their time away while occasionally looking after their flocks). But it is especially in later imitators and interpreters that the possibilities of Theocritus' pastoral microcosm become necessities: generic consistency and recognisability are constantly pointed out and alluded to by obsessive repetition and normalisation of Theocritus ‘open’ pastoral world. The aim of the present paper is to read Colluthus' exploitation and, I would say, mobilisation of such a crystallised pastoral world against the background of ancient exegesis on the ‘bucolic problem’. In particular, it will be shown how bucolic criticism and Homererklärung (together with some important Hesiodic elements) are indissolubly intertwined in Colluthus' interpretation and reception of Theocritus' pastoral world. Comprehensiveness in charting Colluthus' critical response to such reading practices will not be attempted here: instead attention will be focused on those passages where Colluthus' scholarly engagement with bucolic generic conventions and their later accretions has a more direct impact on his narrative strategy.

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11

Rodrigues Júnior, Fernando. "Epopeia e poesia bucólica no Idílio XI de Teócrito." Nuntius Antiquus 8, no. 1 (June 30, 2012): 77–90. http://dx.doi.org/10.17851/1983-3636.8.1.77-90.

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Abstract: This paper discusses the relation between bucolic and epic poetry. Both genres shared the same meter – hexameter – and Theocritus was considered a poet influenced by Homer and belonging to epic tradition. In some sense it is possible to find bucolic elements in epic poetry, not only in similes in which there are shepherds in a variety of situations, but also in characters such as Polyphemus. Through the analysis of Polyphemus’ pastoral way of life in Odyssey a link is created between Theocritus’ idylls and Homeric narrative in order to distinguish bucolic poetry as a kind of epic poetry.

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12

Reif, Wanda. "Bucolic visions of rural America." Lancet 357, no. 9270 (June 2001): 1809. http://dx.doi.org/10.1016/s0140-6736(00)04883-2.

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13

Sistakou, Evina. "The Alternative Futures of the Lyric Characters:Time Imagined and Time Sung in the Bucolic Corpus." Trends in Classics 12, no. 2 (November 24, 2020): 341–58. http://dx.doi.org/10.1515/tc-2020-0020.

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AbstractThe aim of the present study is to explore the pattern of the alternative future in the example of three love stories in the bucolic corpus involving three characters, namely the anonymous goatherd of Idyll 3, the Cyclops and Daphnis. The alternative future is expressed through the rhetorical means of the future tense, the optative or imperative mood, and the conditional sentences, and may be described as imagined, performed or narrated. The test cases from the bucolic corpus are analyzed according to three criteria: the subjective viewpoint of the lyric mind, the distanced perspective of the bucolic singer and the words uttered by the dramatized characters and/or the narrator.

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14

Gellérfi, Gergő. "Pásztori múzsa a nagyvárosban." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 9–20. http://dx.doi.org/10.14232/antikren.2018.1.9-20.

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The title of my paper refers to a remark of Charles Witke, who specifies Juvenal’s Satire 3 in his monograph of Latin Satire as the eclogue of the urban poor. The interlocutor (who is also the main speaker in this case) of the satire says farewell to a friend before leaving his home for good, just like Meliboeus in Vergil’s First Eclogue. Both dialogues take place in natural environment, so to say, in a locus amoenus, however the setting of the satire is somewhat different from the traditional bucolic scenes. In my paper, I present the aforementioned bucolic features of the beginning and closure of Satire 3, after a brief summary of the other Juvenalian Satires showing the influence of bucolic poetry.

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15

Vara, J. "The Sources of Theocritean Bucolic Poetry1)." Mnemosyne 45, no. 3 (1992): 333–44. http://dx.doi.org/10.1163/156852592x00043.

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16

Cayol, François. "Bucolic Borders from the Mediterranean to Central Asia, 2000-2017." Borders in Globalization Review 2, no. 2 (June 9, 2021): 125–33. http://dx.doi.org/10.18357/bigr22202120210.

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17

Rist, Anna. "A Fresh Look at Herodas' Bucolic Masquerade." Phoenix 51, no. 3/4 (1997): 354. http://dx.doi.org/10.2307/1192543.

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18

Daniel Buckler and Paul Hay. "Dendroepigraphy: Botanical Realities in a Bucolic Motif." Classical Journal 114, no. 1 (2018): 35. http://dx.doi.org/10.5184/classicalj.114.1.0035.

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19

Overduin, F. "THE ANTI-BUCOLIC WORLD OF NICANDER'S THERIACA." Classical Quarterly 64, no. 2 (November 20, 2014): 623–41. http://dx.doi.org/10.1017/s0009838814000342.

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The last decades have shown that Nicander's Theriaca (second century b.c.e.), a didactic hexameter poem of 958 lines on snakes, scorpions, spiders, and the proper treatment of the wounds they inflict, is a markedly more playful work than most readers thought. Rather than considering the poem as a vehicle of authentic learning, literary approaches to the nature of Nicander's strange poetic world have focussed on his eye for Alexandrian aesthetics, intertextuality, linguistic innovation, and awareness of the didactic tradition that started with Hesiod's Works and Days, but also on his predilection for horror, voyeuristic sensationalism, and gory details. Although literary-minded readers have found it hard to disprove convincingly that Nicander may have had some professional knowledge of his subject matter, a glance at his arcane language is enough to convince any reader that the Theriaca cannot be concerned solely with its explicit subject. In this article I will make some additional observations on the way in which Nicander has turned the Theriaca into a work of literature, focussing on some of the choices that he has made with regard to his less than veracious depiction of snakes and animals. While Spatafora rightly points to Nicander's eye for detail when portraying floral beauty, I will argue that the poet's play with the topos of the locus amoenus has a darker side. Rather than creating an epic world of beauty, Nicander shows his talent for taking the reader along an unpleasant path of apprehension and negative feelings, portraying a choice selection of afflictions. Not only does he have many ways of giving his quasi-scientific account a markedly negative atmosphere, but his world may well be a deliberate reversal of that other well-known Hellenistic portrayal of the natural world, Theocritus' bucolics.

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20

Kania, Raymond. "Orpheus and the Reinvention of Bucolic Poetry." American Journal of Philology 133, no. 4 (2012): 657–85. http://dx.doi.org/10.1353/ajp.2012.0038.

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21

Buckler, Daniel, and Paul Hay. "Dendroepigraphy: Botanical Realities in a Bucolic Motif." Classical Journal 114, no. 1 (2018): 35–58. http://dx.doi.org/10.1353/tcj.2018.0038.

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22

Rudoni, Elia R. "IDYLL 7AND THEHYMN TO HERMES." Cambridge Classical Journal 61 (June 29, 2015): 99–110. http://dx.doi.org/10.1017/s1750270515000032.

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Simichidas' self-presentation as a poet at Theocritus 7.37 is modelled on Apollo's self-presentation as a musician atHomeric Hymn to Hermes450. Through this allusion, in his own Dichterweihe as a bucolic poet Simichidas hints at the invention of the bucolic genre by Hermes. The reference is crafted so as to point self-reflexively to its status as reference; in particular, the expression καὶ γὰρ ἐγώ (‘I too’) of line 37 functions as an intertextual signpost. If Simichidas is a literary projection of Theocritus, the allusion has important implications for our understanding of his self-positioning within the poetical tradition.

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23

Fantuzzi, Marco. "Mythological paradigms in the bucolic poetry of Theocritus." Proceedings of the Cambridge Philological Society 41 (1996): 16–35. http://dx.doi.org/10.1017/s0068673500001917.

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Theocritus' treatment of myth has been discussed many times in the last few decades, particularly in connection with the non-bucolic ‘epyllia’. In this paper I will consider whether anything like what has been called the ‘Destruktion der Tradition’ applies to the bucolic idylls as well; my litmus test will be above all Theocritus' exploitation of mythological paradigms, because almost all the mythological stories which enter the shepherds' world areexempla. All theseexemplawill turn out to display either a certain or a possible ‘collapse of exemplarity’, because Theocritus more or less expressly focuses both on their exemplary and their opposite, non-exemplary aspects, which complicate and destroy the univocality usually typical of paradigms.

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24

Hubbard, Thomas K. "Poetic Succession and the Genesis of Alexandrian Bucolic." Syllecta Classica 4, no. 1 (1993): 27–42. http://dx.doi.org/10.1353/syl.1993.0000.

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25

Kreuger, Anders. "Ion Grigorescu: My Vocation Is Classical, Even Bucolic." Afterall: A Journal of Art, Context and Enquiry 41 (March 2016): 22–37. http://dx.doi.org/10.1086/687084.

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26

Alberto, Paulo F. "Notes on Eugenius of Toledo." Classical Quarterly 49, no. 1 (May 1999): 304–14. http://dx.doi.org/10.1093/cq/49.1.304.

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Eug. carm. 70 (Vollmer)At the end of line 3, all the extant manuscripts offer -melos. This has been accepted by the editors without discussion. But is it plausible to accept camels in this bucolic landscape?

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27

Kocher, Ursula. "Im Schnittpunkt. Sibylle Schwarzʼ Faunus und die Mischung der Diskurse." Daphnis 44, no. 1-02 (July 21, 2016): 12–25. http://dx.doi.org/10.1163/18796583-04401013.

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Sibylle Schwarz’s pastoral, Faunus, is among those works of the Greifswald author that generally receive scant critical attention. The reason for this may lie in the fact, that some scholars perceive the text to be flawed and lacking in originality. A closer examination, however, reveals an aesthetic experiment on the principles of a traditional bucolic. The narrative combines different stylistic devices, genres and ways of representation. Furthermore, it can be seen as a reflection on writing, the status of the imaginary and even on literature itself. Sibylle Schwarz exploited the possibility of combining differing parts of the text offered by the bucolic, while at the same time making use of a fixed arsenal of topoi. The blending of diverse discourses enabled her to achieve a high degree of codification that turns a simple narration into a reflection on art and literature.

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28

Hudson, Robert J. "Bucolic Influence: Marot’s Gallic Pastoral and Maurice Scève’s Arion." Romanic Review 105, no. 3-4 (May 1, 2014): 253–72. http://dx.doi.org/10.1215/26885220-105.3-4.253.

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29

Synn, Andrew, and Mary B. Rice. "Is Bucolic Life Bad for Chronic Obstructive Pulmonary Disease?" Annals of the American Thoracic Society 15, no. 7 (July 2018): 799–800. http://dx.doi.org/10.1513/annalsats.201804-234ed.

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30

Lu, I. "Ancient Bucolic Songs of Nomadic Tribes in North China." Университетский научный журнал, no. 46 (2019): 138–46. http://dx.doi.org/10.25807/pbh.22225064.2019.46.138.146.

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31

Rozokoki, Alexandra. "Eratosthenes’ Erigone fr. 4 Rosokoki (= 22 Powell)." Mnemosyne 70, no. 6 (October 26, 2017): 939–57. http://dx.doi.org/10.1163/1568525x-12342219.

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AbstractThe proposal I make for the restoration of fr. 22 Powell of the Erigone by Eratosthenes faithfully rewrites the manuscript tradition and does not conflict with the metre, as the line Ἰκαριοῖ, etc. (see fr. 4 R.) is balanced, thanks to the trihemimeral caesura and the bucolic diaeresis. To further my argument, I cite a series of hexameters from both earlier epic as well as that of the Hellenistic era, where the secondary caesurae (trihemimeral + hephthemimeral or bucolic) are either found alone or are reinforced, as the main caesura is absent or cannot be applied given the enclitic, preposition, and (sometimes) elision. Starting from the surviving line, I argue that in the Erigone mention was certainly made of the origins of tragedy, which are located in Attica. Eratosthenes drew from a pre-existing theory and, through his authority, made it the prevailing one. This can be seen from a plethora of similar evidence, in both later Greek and Latin authors and scholars.

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32

Davis, Gregson. ""Pastoral Sites": Aspects of Bucolic Transformation in Derek Walcott's "Omeros"." Classical World 93, no. 1 (1999): 43. http://dx.doi.org/10.2307/4352370.

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33

Sickle, John B. Van. "Gregson Davis: Parthenope: The Interplay of Ideas in Vergilian Bucolic." Gnomon 86, no. 8 (2014): 696–702. http://dx.doi.org/10.17104/0017-1417_2014_8_696.

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34

Segal, Charles, and David M. Halperin. "Before Pastoral: Theocritus and the Ancient Tradition of Bucolic Poetry." Comparative Literature 38, no. 1 (1986): 92. http://dx.doi.org/10.2307/1770230.

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35

Nagel, Rebecca. "Virgil’s Garden: The Nature of Bucolic Space by Frederick Jones." Mouseion: Journal of the Classical Association of Canada 11, no. 3 (2011): 399–401. http://dx.doi.org/10.1353/mou.2011.0030.

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36

Meier, Barbara. "BUCOLIC: A Program for Teaching Color Theory to Art Students." IEEE Computer Graphics and Applications 5, no. 7 (1985): 57–65. http://dx.doi.org/10.1109/mcg.1985.276464.

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37

Laxmiprasad, P. V. "The Poetry of T.VASUDEVA REDDY: A Critique on Bucolic Representation." American Research Journal of English and Literature 7, no. 1 (May 28, 2021): 1–8. http://dx.doi.org/10.21694/2378-9026.21008.

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ndian English Poetry is replete with both ancient and modern elements. Pre-independent and post-independent India marked two different phases in poetry. Poets predominantly dealt with conventional themes in the past. But, one distinguishing feature of Post –independent poetry has been to portray a diversified representation of multiple themes. A careful analysis of thoughts, feelings, and psyche of the poets not only genuinely but eloquently reveals urban ‘cynicism and anguish’ and reveals ‘hope and anticipation’ quite aptly. Poets differed according to the age in which they had lived but ultimately, their poetry became a subject matter of anguish and agony. There have been obvious expressions of urban life in the beginnings but as the poets emerged in the early twentieth century, rural side of the life figured prominently in their writings. PCK Prem observes, “Poetry depicting rural background and the inner world of man is also conscious of the collapse of human bonds and aspirations even as sufferings, struggles, and failures dishearten but carry elements of hope, and thus, infuse a spirit to live life persuasively”. (2006: 21) Poetry is not only a study of thoughts or emotions but it also involves reading of a huge poetic landscape, literary yield, political thought process and its evolution, and the social and economic environment. From 1920, after taking into consideration various social and historical facts, one assumes that contemporary Indian English Poetry begins its ambitious journey --- in rising cities and other rural areas, developing towns of various regions to be more specific Indian English Poetry begins its journey. One such element is the delineation of bucolic elements in poetry. India is predominantly a rural country side with 60% of population living in villages. The countryside is a geographic area located outside the cities and towns. Indian villages have low population density and small settlements. The poetry of T.V. Reddy is rooted in bucolic elements. In fact, all his poetry collections carry the hallmarks of rural life, pastoral panorama and idyllic nature. They beautify his poetry against rural background. Rural life in India forms the very basis of economy and essential living conditions. In fact, it is the backbone of development in diversity. Life in cities is always different from life in rural areas.

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38

Josa, Lola. "«Al aire» del to barroc." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 11, no. 11 (June 11, 2018): 159. http://dx.doi.org/10.7203/scripta.11.12590.

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Resum: El paisatge bucòlic es va convertir en una espècie de partitura i de joc metalíric en els tons barrocs de tal manera que sembla com si els intèrprets i les veus que els canten només tinguessin que seguir les indicacions que els tòpics poètics dicten des del text per a que la sonoritat, l’harmonia i la música fossin possibles. Resulta molt curiós també que, tan tardanament, fos a propòsit de l’amor bucolicopastoral el pretext amb què l’incipient art del to es mostrés més experimental. Només aquest motiu musical podria justificar, que, a principis del segle XVII, proliferessin les composicions de tons de temàtica bucòlica i d’aquells altres que estan centrats en una Natura, si bé no idealitzada, no advertida pel més tardà panteisme egocèntric. En aquest treball ens centrarem, per tant, en les causes d’aquest esforç d’originalitat musical i de llurs èxits, així com la repercussió que va tenir en la poesia musicada. També seguirem l’evolució poeticomusical del to bucolicopastoral de la mà dels millors compositors peninsulars (alguns encara desconeguts) per a terminar oferint les característiques més significatives que permeten fixar-lo com una de les importants tipologies de la història de la música peninsular del segle XVII.. Paraules clau: to barroc, poesia i música del segle XVII, bucolisme líric, estudi interdisciplinar, llenguatge poeticomusical. Abstract: The bucolic landscape became a kind of sheet music and metalyrical game in baroque tonos in such a way that it seems as if the performers and the voices that sing them have only to follow the indications that the poetic topics dictate from the text so that the sonority, harmony and music were possible. It is very curious also that, so belatedly, it was on the subject of pastoral-bucolic love the pretext with which the incipient art of the tono was more experimental. Only this musical motif could justify, that, at the beginning of the XVII century, the compositions of bucolic tonos proliferated and of those others that are centered in a Nature, although not idealized, not noticed by the later egocentric pantheism. In this work we will focus, therefore, on the causes of this effort of musical originality and its achievements, as well as the repercussion that it had on musicalized poetry. We will also follow the poetic-musical evolution of the bucolic-pastoral tono along with the best peninsular composers (some still unknown) to end up offering the most significant characteristics that allow us to fix it as one of the important typologies of the history of the peninsular music of the XVII century. Keywords: Baroque tono; Poetry and music of the seventeenth century; Lyric bucolicism; Interdisciplinary study; Poetic-musical language.

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39

Sickle, John Van. ""Shepheard Slave": Civil Status & Bucolic Conceit in Virgil, "Eclogue" 2." Quaderni Urbinati di Cultura Classica 27, no. 3 (1987): 127. http://dx.doi.org/10.2307/20546927.

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40

Myers, Tobias. "Ō Poimēn: Addresses and the Creation of the Theocritean Bucolic Milieu." Classical Philology 111, no. 1 (January 2016): 19–31. http://dx.doi.org/10.1086/684817.

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41

Schmidt, Ernst A. "Ancient bucolic poetry and later pastoral writing: Systematic and historical reflections." International Journal of the Classical Tradition 5, no. 2 (December 1998): 226–51. http://dx.doi.org/10.1007/bf02688424.

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42

Evzonas. "The Tragedy of Eros in a Bucolic Short Story by Alexandros Papadiamantis." Mediterranean Studies 23, no. 1 (2015): 46. http://dx.doi.org/10.5325/mediterraneanstu.23.1.0046.

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43

Almeida, Ana Maria De. "A morte como conclusão." Cadernos de Linguística e Teoria da Literatura 4, no. 8 (December 31, 2016): 203. http://dx.doi.org/10.17851/0101-3548.4.8.203-218.

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Resumo: Considerações sobre o tempo em D. Quixote, observando-se as ilhas de quase-eternidade das seqüências bucólicas e o universo de pura ocorrência da narrativa cavaleiresca.Abstract: This paper presents some considerations about time in the novel D. Quixote. It points out that a temporal order, distinct from either concrete time or eternity, prevails in the bucolic sequences; on the other hand, the pure occurrence appears as the main process in the temporal structure of the chivairic narrative.

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Dosuna, Julián Méndez. "The Literary Progeny of Sappho's Fawns: Simias' Egg (AP 15.27.13-20) and Theocritus 30.18." Mnemosyne 61, no. 2 (2008): 192–206. http://dx.doi.org/10.1163/156852508x252830.

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AbstractThis paper analyses two deer similes by Simias and Theocritus that depend directly on a simile found in the New Sappho. Both passages confirm the interpretation of Sappho's simile as a case of so-called 'compendious comparison'. In turn, the New Sappho sheds new light on the texts of Simias and Theocritus. Simias' simile finds also resonances in two short similes in Id. 13.62-3 and Id. 18.41-2. This is possibly a literary tribute of Theocritus to Simias as his 'bucolic' predecessor.

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ALMANDOZ, ARTURO. "The garden city in early twentieth-century Latin America." Urban History 31, no. 3 (December 2004): 437–52. http://dx.doi.org/10.1017/s0963926805002439.

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As it happened in other parts of the world, the ‘Garden City’ was used more as an image than as a model in early twentieth-century Latin America. While attempting to set the regional diffusion of the model in international perspective, the review intends to explore the analogous use of the concept by Latin American historiography, following the two senses according to which it has been simplified: namely for its bucolic resonance, and to denote the suburban layouts that were different from traditional models.

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Petrovitz, Walter. "Towards a Grammar of Allusion: A Cross-Linguistic Study of Vergil's Seventh "Bucolic"." Classical World 96, no. 3 (2003): 259. http://dx.doi.org/10.2307/4352760.

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Nava, Lucrezia, Jorge Chiapetti, Rui Barbosa Da Rocha, and Maja Tampe. "Rediscovering the Bucolic Tale: The Role of Place Embeddedness in Fostering Sustainable Practices." Academy of Management Proceedings 2020, no. 1 (August 2020): 20078. http://dx.doi.org/10.5465/ambpp.2020.20078abstract.

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Walsh, George B. "Before Pastoral: Theocritus and the Ancient Tradition of Bucolic Poetry. David M. Halperin." Classical Philology 81, no. 1 (January 1986): 85–90. http://dx.doi.org/10.1086/366964.

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Béhar, Roland. "The Poetry of Garcilaso: Bucolic Tradition and the Invention of a Visual Signature." Bulletin of Spanish Studies 93, no. 10 (November 25, 2016): 51–63. http://dx.doi.org/10.1080/14753820.2017.1298320.

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Wellman, Sara. "Ceding to Bucolic Temptation: Negotiating Fictional and Real Nature in Montpensier's Pastoral Republic." Romance Notes 59, no. 2 (2019): 361–69. http://dx.doi.org/10.1353/rmc.2019.0032.

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