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Journal articles on the topic 'Bucolica'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Lugarini, Carlo M. "L'origine della poesia bucolica in Grecia." Giornale Italiano di Filologia 59, no. 2 (2007): 213–44. http://dx.doi.org/10.1484/j.gif.5.101732.

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2

Finazzi, Maria. "Riprese strutturali della bucolica classica nel Quattrocento." Italique, no. XX (October 1, 2017): 47–72. http://dx.doi.org/10.4000/italique.452.

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3

Tufano, Vera. "Le Eclogae di Pontano e la bucolica in." Italique, no. XX (October 1, 2017): 73–94. http://dx.doi.org/10.4000/italique.454.

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4

Pataki, Elvira. "Vergilius Provence-ban: Marcel Pagnol Bucolica-fordítása II." Antikvitás & Reneszánsz, no. 4 (December 1, 2019): 169–87. http://dx.doi.org/10.14232/antikren.2019.4.169-187.

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In the long history of French translations of Vergilian Eclogues, the work of M. Pagnol (1895–1974) has a special place. The novelist, playwright and filmmaker (the first one of them elected to Académie Française) published his version of pastoral poems in 1958, two years after the highly artistic edition of P. Valéry. In a sociocultural approach, Pagnol’s translation is usually considered as a sophisticated tool of marketing used to remodel the image of the author. The popular and rich star of French theatre and cinema is not really accepted neither by academic literature nor by the movements

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5

Gagliardi, Paola. "Ecloga haec paene tota Theocriti est: riflessioni sull´Ecloga VII di Virgilio." Emerita 87, no. 1 (2019): 83. http://dx.doi.org/10.3989/emerita.2019.05.1801.

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[it] L’Ecloga VII di Virgilio, giudicata da Servio paene tota Theocriti, è in realtà un componimento ricco di spunti originali, entro il quale Teocrito è citato come termine di confronto: in tal modo il poeta latino può affermare e sottolineare la novità della propria produzione bucolica, debitrice di altri modelli, anche attinti dal panorama culturale contemporaneo.

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6

Fonseca, Rívia Silveira, and Thaíse Bastos Pio. "A natureza como 'tópos' da poesia virgiliana: sentidos possíveis." Cadernos de Letras da UFF 29, no. 58 (2019): 107–25. http://dx.doi.org/10.22409/cadletrasuff.2019n58a650.

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Este trabalho tem por objetivo analisar a construção do sentido de natureza, na X Bucolica, do poeta latino Virgílio. Como dispositivo analítico, são mobilizados conceitos da Análise do Discurso peucheutiana, a fim de compreender, partindo-se da materialidade linguística, os efeitos de sentido do tópos natureza na sua relação com a noção grega de phyÌsis (natureza).

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7

Bernasconi, Angelo. "Un trattatello sull’origine della poesia bucolica ( schol. in Theocr. vet. prol. b )." Acta Antiqua Academiae Scientiarum Hungaricae 50, no. 1 (2010): 27–62. http://dx.doi.org/10.1556/aant.50.2010.1.2.

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8

Marinčič, Marko. "Alegorična eksegeza Homerja, pripovedni suspenz in metapoezija v Vergilijevi pripovedi o Aristaju (Georg. IV 315-558)." Keria: Studia Latina et Graeca 5, no. 1 (2003): 23. http://dx.doi.org/10.4312/keria.5.1.23-50.

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Intertekstualno funkcijo štirih homerskih epizod, ob katerih se zgleduje sklepna pripoved Vergilijevih Georgik (Il. 1 in 18, Od. 4 in 8), je mogoče povezati z moralizirajočimi interpretacijami Homerja, izpričanimi zlasti pri Plutarhu (De aud. poet. 19f-20a), Horaciju (Epist. 1,2) in v Vergilijevi zbirki Bucolica (Ecl. 2). Klimenin spev (Georg. 4,345-7), ki so ga dosedanji interpreti povezovali predvsem s kozmološko alegorezo Homerja, posnema homersko tehniko prefiguracije; ta značilni pojav pripovedne poezije pa v novem zvrstnem kontekstu dobi močan filozofsko-didaktični naboj.

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9

Skoie, Mathilde. "Didactic translation: The first Scandinavian translation of theEclogues: Peder Jensen Roskilde,Bucolica(1639)." Symbolae Osloenses 83, no. 1 (2008): 104–19. http://dx.doi.org/10.1080/00397670903094242.

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10

Vela, Claudio. "Prima esplorazione di una linea di ricerca: la bucolica come veicolo di tradizione indiretta." Italique, no. XX (October 1, 2017): 173–93. http://dx.doi.org/10.4000/italique.461.

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11

Loupiac, Annick. "Summa bucolica, une mise au point sur la composition modulaire des Bucoliques de Virgile." Bulletin de l'Association Guillaume Budé 1, no. 2 (2011): 170–85. http://dx.doi.org/10.3406/bude.2011.6794.

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12

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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13

Fielding. "Naples and the Landscape of Virgilian otium in the Carmina Bucolica of Petrarch and Boccaccio." Illinois Classical Studies 40, no. 1 (2015): 185. http://dx.doi.org/10.5406/illiclasstud.40.1.0185.

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14

Gagliardi, Paola. "Dal chalcidicus versus al pastor siculus: Verg. Ecl. 10,50-51 e la «conversione bucolica» di Gallo." Giornale Italiano di Filologia 68 (March 2016): 165–86. http://dx.doi.org/10.1484/j.gif.5.112484.

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15

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 u

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16

Caruso, Carlo. "«Adonis et berger et chasseur tout ensemble»: un mito ibrido e la sua fortuna nella bucolica rinascimentale." Italique, no. XX (October 1, 2017): 261–76. http://dx.doi.org/10.4000/italique.465.

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17

Thomas, Richard F. "Scholia Bernensia in Vergili Bucolica et Georgica. Vol. 2, Fasc. 1 : In Georgica Commentarii (Prooemium/Liber I 1-42) (review)." Classical World 100, no. 3 (2007): 318–19. http://dx.doi.org/10.1353/clw.2007.0044.

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18

de las Nieves Muñiz Muñiz, María. "Sul contributo della bucolica italiana al rinnovamento della poesia rinascimentale in Spagna (le fonti del locus amoenus e la mediazione di Garcilaso)." Italique, no. XX (October 1, 2017): 149–71. http://dx.doi.org/10.4000/italique.459.

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19

Mankin, David. "P. Vergilius Maro Bucolica, Georgica. Edited by S.Ottaviano and G.Biagio Conte. Bibliotheca Teubneriana BT, 2011. Berlin: Walter De Gruyter, 2013. Pp. 220. Cloth, $80.20." Religious Studies Review 40, no. 1 (2014): 39. http://dx.doi.org/10.1111/rsr.12107_3.

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20

Gagliardi, Paola. "Hesperus nelle Bucoliche di Virgilio." Myrtia 35 (November 12, 2020): 249–73. http://dx.doi.org/10.6018/myrtia.454911.

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The treatment of the τόπος of morning and evening, or “East / West τόπος” (Eous and Hesperus ) in the Augustan poets, borrowed from Cinna fr. 10 Hollis (= fr. 6 Morel) and variously developed, seems to suggest that it had been treated in an original way by Cornelius Gallus. The analysis of Hesperus in Virgil’s Bucolics seems to confirm this impression, since the term always appears in contexts related to Gallus. Il trattamento del τόπος del mattino e della sera, ovvero dell’oriente e dell’occidente, (Eous ed Hesperus ) nei poeti augustei, mutuato da Cinna fr. 10 Hollis (= fr. 6 Morel) e variam

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21

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

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22

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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23

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

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24

Schaeffer, Peter, Simon Lemnius, and Lothar Mundt. "Bucolia: Funf Eklogen." Sixteenth Century Journal 29, no. 1 (1998): 218. http://dx.doi.org/10.2307/2544461.

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25

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

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26

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

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27

Kossaifi, Christine. "Et in Theocrito ego . . ." Mnemosyne 70, no. 1 (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 continuin

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28

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

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29

Pétrarque (book author), [F], and Stephen Murphy (review author). "Bucolicum Carmen." Renaissance and Reformation 38, no. 1 (2002): 74–75. http://dx.doi.org/10.33137/rr.v38i1.8754.

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30

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

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31

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

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32

Rodrigues Júnior, Fernando. "Epopeia e poesia bucólica no Idílio XI de Teócrito." Nuntius Antiquus 8, no. 1 (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 poe

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33

Sistakou, Evina. "The Alternative Futures of the Lyric Characters:Time Imagined and Time Sung in the Bucolic Corpus." Trends in Classics 12, no. 2 (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

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34

Rundin, John. "The Epicurean Morality of Vergil's "Bucolics"." Classical World 96, no. 2 (2003): 159. http://dx.doi.org/10.2307/4352735.

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35

Freyburger-Galland, Marie-Laure. "The humanist reception of Vergil’s Bucolics." Acta Antiqua Academiae Scientiarum Hungaricae 53, no. 2-3 (2013): 301–10. http://dx.doi.org/10.1556/aant.53.2013.2-3.11.

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36

Gratwick, A. S. "Catullus 1. 10 and the title of his Libellus." Greece and Rome 38, no. 2 (1991): 199–202. http://dx.doi.org/10.1017/s0017383500023573.

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It was a natural and well-established usage in antiquity that works of literature might readily be referred to by their opening words. Aristophanes accidentally lends the ‘Παλλάδα περсέέολιν δεινάν …. ’ ‘Pallas the awful city-sacker …’ of a certain Lamprocles or maybe of Stesichorus and the ‘Τηλέπορον τι βόαμα …’, ‘Some far-reaching shriek …’ of one ‘Kydidas’ a pale and partial immortality this way (Nub.967), and in the imaginary world of Theocritus an imaginary poem the ‘τὸν ἐμὸν Λύκον….’ ‘Lycus my lover…’ by an imaginary ‘Larisaean fellow’ is thus evoked (Id. 14.30). Cicero refers to Ennius'

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37

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 closu

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38

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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39

Schindel, Ulrich. "Scholia Bernensia in Vergilii Bucolica et Georgica. Recensuerunt Luca Cadili, David Daintree, Marius Geymonat. Vol. II fasc. 1: In Georgica commentarii (Prooemium/ Liber I 1–42). Moderante Mario Geymonat praefatus est, textum edidit, adnotationibus, indicibus et appendice instruxit Luca Cadili." Gnomon 78, no. 4 (2006): 316–20. http://dx.doi.org/10.17104/0017-1417_2006_4_316.

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40

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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41

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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42

Overduin, F. "THE ANTI-BUCOLIC WORLD OF NICANDER'S THERIACA." Classical Quarterly 64, no. 2 (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 predilecti

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43

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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44

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

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45

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-positionin

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46

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 express

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47

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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48

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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49

Tissoni Benvenuti, Antonia. "Genere bucolico poesia pastorale. Le metamorfosi dell’egloga nel Quattrocento." Italique, no. XX (October 1, 2017): 13–31. http://dx.doi.org/10.4000/italique.448.

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50

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

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