Dissertations / Theses: 'Classical literature'

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Kowalewski, Ludwik Marian. "The Jason theme in classical literature." Thesis, University of Southampton, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328273.

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Goddard, Stephen Howard. "Flaubert and the literature of classical antiquity." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:b536dbbe-2f2e-46fc-ae50-bab411ca93d4.

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It has long been recognized that Flaubert took a great deal of interest in the literature of classical antiquity. Contemporaries such as Gautier and Maupassant considered him widely-read; a significant minority of his works - La Tentation de saint Antoine, Salammbô and Hérodias- are set roughly during the classical period; and a number of critics have investigated specific aspects of his debt to antiquity. Generally critics have concentrated on Flaubert's documentary use of the literature of antiquity in the works mentioned above (this is Benedetto's and Seznec's approach) or on the incorporation of mythical imagery and symbolism into his work (this is Lowe's approach in Towards the real Flaubert). A few articles have dealt with specific classical works to which Flaubert may be indebted artistically, but there has been to my knowledge no attempt to define the overall effect upon Flaubert's work, in terms of textual influence or more broadly, of his interest in antiquity. I have attempted in this study to evaluate the impact of the literature of classical antiquity upon Flaubert's entire œuvre. I first attempt to define, mainly by reference to the Correspondance, the extent of his knowledge of classical literature. I then consider his works - juvenilia and adult material - in approximately chronological order in the light of the writers he knew and admired, with a view to suggesting ways in which classical texts may have influenced them; textual influence is investigated closely, but attention is also paid to the use of classical themes, imagery and symbolism. Works with a modern setting are considered as well as those of a more obviously classical pedigree. Having identified a range of authors as being of importance - including Homer, Virgil, Ovid and Apuleius - I conclude by considering more broadly Flaubert's position relative to that of his contemporaries and the overall implications of my findings for the understanding of his work.

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Varney, Jennifer. "H.d. And the translation of classical greek literature." Doctoral thesis, Universitat Rovira i Virgili, 2011. http://hdl.handle.net/10803/80714.

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A lo largo de su carrera, la poetisa estadounidense Hilda Doolittle (1886-1961) se comprometió con la mitología clásica. A pesar de que produjo una gran cantidad de traducciones de la tragedia griega, muy pocas investigaciones se han desarrollado sobre esta parte de su trabajo. Con el fin de identificar las influencias y las relaciones de poder que confluyeron en las traducciones de H.D. y que dieron forma a su actividad como traductora, esta tesis no solo analiza las traducciones que hizo durante los primeros años de su carrera (1913-1920), sino que también estudia el contexto en el cual se produjeron dichas traducciones. La principal motivación que impulsa este estudio es la de indagar sobre el trato que H.D. dio al género en sus traducciones y sobre la medida en que los asuntos de género fueron relevantes en su papel como traductora.
Throughout her career, the American poet H.D. (1886-1961) engaged with classical myth. Despite the numerous translations from Greek tragedy that H.D. produced, very little research has been carried out into this area of the poet’s work. In order to identify the influences and power relations that fed into H.D.’s translations and shaped her activity as translator, this thesis analyses not only the translations that H.D. produced during the early stages of her career (1913-1920), but also the contexts in which these translations were rendered. The driving force behind this study is the desire to interrogate H.D.’s treatment of gender in her translations and the extent to which questions of gender were relevant to her role as translator.

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Mackervoy, Susan Denise. "Schiller and French classical tragedy." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357834.

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Lee, Hyung-Goo. "How "authentic" was Russian Neo-Classicism? : a re-examination of the sources and dissemination of Classical knowledge and the problem of literary taste /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/7171.

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Fitzmaurice, Andrew. "Classical rhetoric and the literature of discovery 1570-1630." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307941.

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FERRARI, BRUNO. "MULTIPLE SUBVERVIONS: CLASSICAL-REFERENCED EPIC CONFIGURATIONS IN CONTEMPORARY LITERATURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34074@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O objetivo principal deste trabalho é investigar sobre a permanência do gênero épico na contemporaneidade, a partir da leitura e análise das seguintes obras: Uma viagem à Índia, de Gonçalo Tavares, Viva o povo brasileiro, de João Ubaldo Ribeiro, A odisseia de Penélope, de Margaret Atwood e A odisseia de Homero (segundo João Vítor), de Gustavo Piqueira. O trabalho parte da premissa de que, assim como todo paradigma consagrado, na contemporaneidade, o épico é retomado e modalizado em diferentes gêneros formando novas configurações. Assim, focaliza o relacionamento que as obras do corpus estabelecem com as matrizes clássicas e seus procedimentos estilísticos, temas e motivos. Ao utilizarem o gênero épico como paradigma, todos os escritores estabelecem um relacionamento intertextual explícito e ambíguo com as matrizes épicas clássicas. A partir da referência a elas, eles promovem sua desconstrução e subversão e evidenciam seus vieses, ora questionando, ora reafirmando sua viabilidade e importância nos dias de hoje.
The main aim of this work is to investigate about the permanence of the epic genre in contemporaneity by analyzing the following works: Gonçalo Tavares s Uma viagem à Índia, João Ubaldo Ribeiro s Viva o povo brasileiro, Margaret Atwood s A odisseia de Penélope, e Gustavo Piqueira s A odisseia de Homero (segundo João Vítor). This thesis departs from the point that the epic genre, like any other established paradigm, is and modalized in diferente genres, forming new configurations. Therefore, it focuses on the relationship that the works in the corpus entail with the classical matrix and its stylistic procedures, themes and motifs. All the writers studied establish an ambiguous and explicit intertextual relationship with the classical epics. Departing from the reference to them, they promote their deconstruction and subversion, evidencing their biases, both questioning and reinforcing their viability and importance nowadays.

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Klevay, Robert. "Puckish ambivalence Thoreau's mock-heroic use of classical literature /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 204 p, 2009. http://proquest.umi.com/pqdweb?did=1891601511&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Muhlstock, Rae Leigh. "Literature in the labyrinth| Classical myth and postmodern multicursal fiction." Thesis, State University of New York at Buffalo, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3640823.

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The labyrinth is a powerful image, turning up throughout the twentieth and twenty-first centuries in modernist, high modernist, postmodern, experimental, and digital fictions. Some authors taking up the image of the labyrinth in the latter half of the twentieth century and the beginning of the twenty-first consider it more than a mere metaphor or a setting before which plots and characters unfold; it offers instead a poetics, a way to discover, explore, and conquer labyrinths constructed of the experiences of everyday life—the city, the home, the library, the computer, the mind, even the book itself. Throughout this thesis I examine a small selection of their fictions—Michael Ayrton's The Maze Maker, Alain Robbe-Grillet's In the Labyrinth, Mark Z. Danielewski's House of Leaves, Umberto Eco's The Name of the Rose, Shelley Jackson's Patchwork Girl, Steve Tomasula's TOC, and selections by Jorge Luis Borges and Ovid—each of whom deploys the labyrinth simultaneously in the diegesis and discourse of their texts in order to discover the shifting boundaries of the page and narrative form. Non-sequential narrative techniques in the spatial, formal, linguistic, and typological structures of these fictions implicitly propose the labyrinth as a model for the unique complexities of writing and reading in the modern world, one that in fact demonstrates the very labyrinth that it describes.

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BRANNIN, ALDER M. W. "Princess or Pawn: Creusa of Corinth in Classical Literature and Art." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1210778909.

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Williams, Maura Kathleen. "Homeric Diction in Posidippus." Thesis, City University of New York, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3601900.

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This dissertation is a study of the use of Homeric diction in the epigrams of Posidippus of Pella. I place the poetry in the context of the aesthetic and scholarly interests of Ptolemaic Alexandria and I provide a stylistic and intertextual analysis of the use of Homer in these 3^rd century BCE epigrams. In the subgenres of amatory and sepulchral epigrams, the repetition of Homeric diction in combination with particular topoi and themes in the poems of Posidippus and other epigrammatists becomes a literary trope. In other cases, Posidippus incorporates more complex thematic allusion to Homer and, by doing so, displays awareness of the self-reflexive and self-annotating experience of reading poetry. The repetition of Homeric diction within sections of the Milan papyrus reinforces arguments for cohesive structure within the λι&thetas;ικ[special characters omitted] and oιωνoσκoπικ[special characters omitted] sections. What this study of Homeric diction reveals is that Posidippus’ choice of topoi and themes are distinguished by the way he incorporates Homeric references and thematic allusion. Other poets share his topoi and his themes and sometimes even his Homeric diction, but these three elements rarely match the complexity in Posidippus. The combinations are what differentiate Posidippus’ stylistic tendences from other Hellenistic epigrammatists.

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Parrott, Christopher Alan. "The Geography of the Roman World in Statius' Silvae." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10963.

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This dissertation examines the poetic construction of geography in Statius' Silvae. As poems composed by Statius to praise his patrons, the Silvae are shaped by the social relationships of first-century Rome and reflect in many ways the worldview of contemporary Roman elites. In the Flavian era, political, military, technological, and commercial developments contributed to an increasingly important ideology of spatial control; the Empire was seen as encompassing the inhabited world, which was subject to Roman dominion and knowledge. Statius' treatment of geography in the Silvae, often dismissed as rhetorical embellishment, in fact presents a vision of the Empire and the world related to but distinct from this "official" geographical ideology. I develop this argument in a series of thematically organized chapters, in which I read the Silvae both collectively, to elucidate the worldview of the corpus as a whole, and individually, to demonstrate the ways in which Statius uses geography for particular poetic and social purposes. I first examine Statius’ general presentation of the Empire, which combines traditional imperialistic methods of viewing global space with contemporary political and military developments. In Silvae 3.2, an example of Statian travel narrative, the connection between military conquest and geographical knowledge is most extensively elaborated across Italy, the Empire, and the extra-imperial world. A discussion of the geographical significance of imported household luxuries shows how the poet establishes a correspondence between domestic and imperial spaces. Finally, I examine the association between geography and ethnicity in Silvae 4.5, in which Statius uses the ethnographical and poetic traditions to blur the distinction between native and assimilated identities. Statius regularly draws on the traditions of poetic and scientific geography, but he also updates his “map” to reflect the changing world of the Flavian era. But while Statius’ geography generally expresses the imperial vision of his patrons, it is not monolithic; he also constructs more private geographies, which complement this political and Rome-centered worldview. The geography of the Silvae thus also serves to enhance the poet’s personal friendship with his patrons, his praise of his various addressees, and his self-presentation as a learned poet.
The Classics

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Kelley, Matthew W. "Inflamed by the Furies| The Role of Emotion in the Imperial Destiny of the Aeneid." Thesis, Tufts University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558552.

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This thesis investigates the role that furor and other negative emotional states have on Aeneas' mission in the Aeneid. The role of the Fates is to enact change on a large scale, and this is achieved through destruction, which is caused by mortal and immortal agents manipulated by emotion. While Aeneas is trained to control his desires in the first half of the epic, in the second his rage and passions are spurred by supernatural forces.

This study will discuss the major plot points where emotion and rage interact with the main goal of Aeneas and the Fates. Included is a linguistic analysis wherein key prototypical terms - fatum, amor, and furor - are arranged visually on graphs that show their placements line-by-line and locations relative to each other. The contention is that at various points, fatum causes amor which leads to furor, which leads to change, and thus fatum.

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Whitmore, P. J. "The cadenza in the classical keyboard concerto." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376008.

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Silkstone, Francis. "Learning Thai classical music : memorisation and improvisation." Thesis, SOAS, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388511.

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As in other oral traditions, the core of traditional training in Thai classical music is that the student memonses music given by the teacher. Teachers offer few explanations but give musical examples that transmit each skill at the right time for the student. Training on fiddles can be understood by considering three learned elements: Basic Melody: the essential structure of each composition, encapsulated in its most tangible form as the melody played on the large gong-circle, but internalised in increasingly subtle and fluid forms as the student progresses; Realisations of each composition for fiddles, improvised by the teacher and memorised by the student during each lesson; Various techniques of improvisation (ways of realising the Basic Melody of a given composition as a new melody for fiddle). Learning how to conceptualise the Basic Melody is inseparable from gaining competence in fiddle improvisation. Teachers' explanations concerning melodies they teach suggest transmission of a highly flexible conceptualisation of Basic Melody and a complex technique of improvisation. Three etic explanations of the latter are: 'Filling-in': the player inserts notes between the notes of the less dense Basic Melody so that the fiddle melody conforms to each pitch of the Basic Melody. 'Idiomatic elaboration': a fiddle melody is derived from the Basic Melody according to a musical 'grammar' in which every pitch need not conform to the v Basic Melody, though many pitches are likely to do so. Formulaic manipulation: for each Basic Melody formula, the fiddle player chooses one of several eligible fiddle-formulas, then spontaneously adjusts it in a manner appropriate to that context and moment. These three are sometimes alternative explanations of the same process, sometimes distinct processes. In each rendition, a teacher moves between the three processes. All three are necessary to the complexities and beautiful ambiguities of musical thought.

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D'Andrea, Paola. "Classical reception in Sir Walter Scott's Scottish novels : the role of Greece and Rome in the making of historico-national fiction." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.722557.

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Badnall, Toni Patricia. "The wedding song in Greek literature and culture." Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/12089/.

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This thesis examines the Greek wedding song and its function in literature and culture. The genre, hymenaios or epithalamium, has received little scholarly attention, particularly in English (cf. Muth, WS 1954; Tufte, Los Angeles 1970; Contiades-Tsitsoni, Stuttgart 1990, ZPE 1994; Swift, JHS 2006 & DPhil diss.). Yet an examination of the poetry of marriage, a crucial aspect in the study of the ancient world, contributes to our understanding of gender and social relations, as well as literature. Using elements of genre theory, gender studies, anthropology and cultural history, I argue that the epithalamium was part of a ritual of transition; for both the bride and for the community. The archaic epithalamium enacts this transition in lyric; tragic adaptations of the genre explore the consequences when this tradition is unsuccessfully performed. In contrast, the wedding songs of Attic comedy represent a 'happy ever after' ending for the communities of the protagonists, and portray these unions as a Sacred Marriage of man and goddess. The Helenistic epithalamium takes elements of these literary predecessors, and uses them to articulate a transition in marital relations, and literary politics, in the oeuvre of Theocritus. Philia relations in this era evolve to depict a more prominent mutuality between husband and wife, which also underpins the erotic writings of Plutarch. But more importantly, this author develops epithalamial topoi to present marriage as an 'initiation' for the bridal couple, which brings the thesis full-circle to the concept of transition while laying the foundation for one of the central concepts of Menander Rhetor's prescripts.

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Zourgou, Anna. "The judgement of Paris in ancient Greek art and literature." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/51092/.

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The Judgement of Paris has been one of the most influential and popular myths throughout antiquity. Significant work has been done by previous scholars on the collection and analysis of artistic representations of the Judgement. This thesis is also looking into the Judgement of Paris in ancient Greek art, but it mainly focuses on the collection and analysis of the references to the myth in Greek literature from the eighth century B.C. to the second century A.D. Special attention is paid to recurring themes and ideological implications that the Judgement story raises, as well as to the interaction between those themes and specific genres. The detailed account and analysis of the references available sheds light not only on the perception of the myth itself, but also on conceptions of morality, beauty, gods, free choice, responsibility and even humour in antiquity. Through this thesis it is possible to see the transformations of the Judgement of Paris throughout centuries of literature, from its very first appearance in Homer’s Iliad to the enjoyable world of Lucian, realising the vast possibilities of this mythological tradition.

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Barbour, John Francis. "Byron among the classics : a study of the influence of classical poetry on the work of lord Byron." Thesis, Durham University, 1994. http://etheses.dur.ac.uk/5816/.

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This study begins by defining epic to determine if Byron's claims, regarding Don Juan,to be writing an epic, are justified, concluding that though most epics preserve the form ofearlier epics, substituting a different "message" or heroic ethos, Byron, in defiance of thistradition, attempts to preserve the essence of Homeric epic, particularly its new heroicethos, but in a new form. This is where Byron and Vergil's imitations of Homer differ,Byron rejecting both Vergil's manner of imitation and his heroic ethos. In a series ofimitations, Byron parodies Vergil, borrowing his imagery to suggest the unnatural and thesterile. Differences are exposed in their respective treatments of war, Byron advocatingthe self-justifying act of love rather than the consolations of duty and fame offered byVergil, which rely on a perception of cosmic order lacking in Byron's view, a view whichlinks him to Homer and the Attic tragedians. The Greek view of the darkness andconfusion of the cosmos Byron finds congenial, appreciating the opportunities it affordsfor open-endedness, though aware that this open-endedness is always subsumed by largerclosure due to different levels of perspective (actors, chorus, and gods). In ChildeHarold's Pilgrimage, Byron attempts to emulate this multilevelledness as a means todistance himself from the cycles of Nature from which he is painfully excluded due to hismixed body and spirit nature, finally breaking out to channel these cycles of Natureproductively through art. In Byron's dramas, too, there are cycles of evil whose origins liein Attic tragedy. Ever present in Byron, as in classical tragedy, is the Promethean dilemmabetween submission, and defiance leading to inevitable defeat. In his later poetry, Byronis more reconciled to the cycles of life, though continuing his Promethean quest in thefields of love and literature.

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Li, Minru. "A Classical Chinese Perspective Toward Literature: Liu Xie's Theory of "Wenxin" /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487932351056897.

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Curry, Susan A. "Human identities and animal others in the second century C.E." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380072.

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Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2009.
Title from PDF t.p. (viewed on Jul 12, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4663. Adviser: Eleanor W. Leach.

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Skempis, Marios. ""Kleine Leute" und grosse Helden in Homers Odyssee und Kallimachos' Hekale." Berlin : De Gruyter, 2010. http://site.ebrary.com/id/10381235.

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Gresens, Nicholas. "Genres of history Mythos, istoria, legend, and plasma in Strabo's "Geography" /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380153.

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Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2009.
Title from PDF t.p. (viewed on Jul 15, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4663. Adviser: Timothy Long. Includes supplementary digital materials.

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Branscome, David M. "Textual rivals self-presentation in Herodotus' "Histories" (Greece) /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3185391.

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Thesis (Ph.D.)--Indiana University, 2005.
Source: Dissertation Abstracts International, Volume: 66-08, Section: A, page: 2919. Adviser: Matthew R. Christ. Title from dissertation home page (viewed Oct. 5, 2006).

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Cater, Amanda Jane. "Theocritus and the reversal of literary tradition." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25362.

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My purpose is to demonstrate Theocritus' treatment of traditional literary genres. I show the specialized character of the bucolic genre by concentrating on the combination of epic, tragic and bucolic elements in selected poems of Theocritus. My concern is the portrayal of characters and character-types from myth and literary tradition and how the traditional literary portrayal has been changed. My discussion of Theocritus' poetic technique is divided into two parts. The first section deals with Theocritus' method of "reducing" or down-grading figures who have previously been presented and accepted as heroes. This section is introduced by a brief survey of the changing attitudes towards heroes in Greek literature from Homer to Theocritus. This is followed by a discussion of four poems which illustrate Theocritus' inversion of the standard portrait. This treatment ranges from a humorous recasting of the status of Polyphemos (Idyll 11) and Herakles (Idylls 13 and 24) to a critical portrayal of the Dioscuri (Idyll 22). The second part deals with the technique operating in reverse. In this section, I show how Theocritus juxtaposes epic themes with 'low-life' scenes and how the characters involved are consequently upgraded or 'elevated1. The four poems I select endow their insignificant protagonists with heroic amplitude. In Idyl 1 1, epic and tragic elements are infused into the portrayal of Daphnis the cowherd. Simaetha in Idyll 2 envisages herself as a Medea in a context of bourgeois reality. The mythological material in Idyll 3 achieves humour from the disparity of the goatherd's rustic simplicicy and his awareness of mythological precedents. Idyll 7 expands the anti-heroic material of the Odyssey and describes a goatherd with a difference. In my conclusion I demonstrate the coherence of Theocritus' treatment of epic and dramatic narrative with his programmatic statements. The passages referred to are the epilogue of Idyll 22 (212-23), the characters cited in Idyll 16 (36-57), Simichidas' speech in Idyll 7 (45-48) and the description of the herdman's cup in Idyll 1. (29-61). In the light of this, I link Theocritus' poetic method to his attitude to the function of literature and its relation to society.
Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate

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Levis, Richard. "Customs, places and 'gentes' in Plautus." Thesis, University of Ottawa (Canada), 1998. http://hdl.handle.net/10393/4242.

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This dissertation examines the cultural constructs that are the basic elements of the comedies of Plautus. To achieve this goal the study has been divided into four chapters: Language, Customs, Places and 'Gentes'. Chapter One, Language, analyzes how the Latin language influences the way in which the characters express the various aspects of their world. Chapter Two, Customs, considers the expression of the affairs of daily life that are of common interest to the characters on stage. This chapter evaluates a cross-section of the activities that the characters describe, such as their reference to public offices and civic duties, the details of their religious practices, their dealings with wealth and money, as well as their references to travel, education and slave duties. Chapter Three, Places, looks at the wide variety of places that construct the world of Plautus' characters. This chapter is divided into three parts: the city sites, the dramatic settings, and the distant countries and cities of the world. Chapter Four, 'Gentes', examines the manner in which Plautus ascribes his characters and the people of the world into particular groups and what variation and importance there are in these attributes and specifications. The comedies of Plautus are filled with descriptions of cultural details that are evidence for some of the ways in which Latin-speaking peoples of the Middle Republican period conceptualized the world. The cultural resonance of the Latin language influences how the characters express important elements of their stage world. This influence is especially acute in the moral and familial terms that the characters use, but it filters through as well into the political world of the comic stage and other customs that are a part of the characters' interactions. Furthermore, the places that the characters of the comic stage describe maintain certain consistent associations which allows for an easy identification from play to play as well as an easy transition from the stage to the places with which the audience was familiar. Finally, Plautus draws upon a fairly narrow band of ethnic characterizations which he applies to the gentes who populate his plays. Many of these attributes follow the themes of comedy itself. Otherwise, the designation of origin is an important attribute that is tied to a character's social status and birthright as a free citizen. Plautus' characters are citizens from all over the Mediterranean world and this fact plays an important role in the development of the plots of the plays and in most of their resolutions.

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Erasmo, Mario. "The death of Turnus in the "Aeneid"." Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/5592.

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St, Louis Lisa Lianne. "Prolegomenon to an edition of the pseudo-Virgilian "Culex"." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/6264.

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This thesis lays the foundation for a new edition of the pseudo-Virgilian Culex. Fifty manuscripts containing the text are gathered along with all relevant information which would assist a scholar in locating, identifying and tracing the history of each one. The findings are presented in the form of a catalogue. Next, the manuscripts are collated in detail and their variant readings are entered into a computer program which is specifically designed to determine the relationship between manuscripts. The results prove that some manuscripts belong to the Florilegium Gallicum or Iuuenalis Ludi Libellus groups which have been defined by previous researchers. Others have been copied from printed books and are valuable only for conjectures as they add nothing to the construction of a stemma. The data from the manuscripts forms the basis for an apparatus criticus along with many readings from incunabula. The main goal of the thesis is to present late manuscripts which have not been sufficiently studied as well as incunabula and other rare books which are not readily accessible to scholars. During the composition of the apparatus, it becomes apparent that old conjectures have been improperly attributed to some scholars and that more work needs to be done to assess the contribution of certain individuals. Once the apparatus is complete, the task of editing the text begins. Professor Clausen's Oxford Classical Text serves as the starting point but original conjectures and changes proposed by other scholars are also inserted into the text. Finally, these alterations as well as issues of grammar and scansion are discussed in a commentary at the end of the work.

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Petrova, Erma. "The semiotics of time travel: Studies in simulation and causality." Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6282.

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The Semiotics of Time Travel: Studies in Simulation and Causality is a study of the philosophical/literary idea of simulation as defined mainly by Jean Baudrillard. The thesis, however, does not aim to be a commentary on Baudrillard. It uses his ideas as a starting point, and then proposes its own definition of simulation, with emphasis on temporality and causality. Specific cases of simulation are traced in Oedipus Rex, Macbeth, Italo Calvino's short stories, and Paul Auster's The New York Trilogy. In each case, a detailed literary analysis of the work is used to advance the theoretical argument. The approach is best described as interdisciplinary, covering a range of ideas in philosophy, semiotics, and literature. The strong unifying thread in all the chapters is a semiotic analysis of temporal paradoxes, as well as the underlying definition of temporal paradoxes as a subset of simulation, a connection whose various aspects are explored in the different chapters. The thesis also seeks to broaden the definition of simulation, making connections between simulation and other concepts, such as analytical statements (Hans Reichenbach), performative statements (Stanley Cavell), scientific observation (John Searle), narrative structure (Aristotle), and the nature of signs (Umberto Eco). The aim is a philosophical platform for the analysis of simulation as a tool for a semiotic analysis of temporal and causal paradoxes.

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Littlejohn, Murray Edward. "The narrative unity of St. Augustine's "Confessions": Augustine's journey to wisdom through faith and understanding." Thesis, University of Ottawa (Canada), 1991. http://hdl.handle.net/10393/7737.

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Haase, Barbara S. "Ennodius' panegyric to Theoderic to Great: A translation and commentary." Thesis, University of Ottawa (Canada), 1991. http://hdl.handle.net/10393/7776.

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Lypeckyj, Mark Alexander. "The homeric êthos, Cimonian-Periclean rivalry and the speeches of Pericles in Thucydides' account of the Athenian-Peloponnesian war." Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9207.

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The speeches in Thucydides have long been a source of lively historical controversy. Many scholars have discounted their historical veracity in differing degrees. This has been true even of the speeches of Pericles, particularly his famous Funeral Oration, although scholarly objections to the content and tone of the Periclean speeches have largely been of a purely subjective nature. However, an examination of how the Homeric h&d5; ,qov , with its stringent demand for the studied cultivation and possession of timh&d12; and a ,r3t h&d12; , functions within the speeches of Pericles as a key motivating force for the steadfast pursuance of a highly aggressive foreign policy, sheds an interesting light on the question of the historical nature of the speeches and the outbreak of the Athenian-Peloponnesian War. In conjunction with this "Homeric reading" to the speeches, a further consideration of the more realistic analyses of modern manifestations of Realpolitik in the sphere of international politics and diplomacy, adduces additional support for the acceptance of the speeches of Pericles as important forms of historical evidence for the basic workings of Machtpolitik.

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Anderson, Peter John. "Verse-scraps on attic containers and the practice of the 'skolion': The material evidence in its literary context." Thesis, University of Ottawa (Canada), 1997. http://hdl.handle.net/10393/9701.

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The symposion is the most frequently represented artistic theme on Attic red-figure containers of the Archaic period. Within this fundamental theme lie several sub-themes, many of which we know from literary sources--of this period and later--to have been the defining activities of the symposion: wine, entertainment (dancing, music and song), conversation and last, but certainly not least, sex. One activity in particular portrayed on these containers is the singing of a poem, a practice which soon came to be known as singing the $\sigma\kappa\acute o\lambda\iota o\nu,$ or $\acute\eta\ \pi\alpha\rho o\acute\iota\nu\iota\alpha\ {\buildrel{,}\over{\\omega}}\grave o\acute\eta,$ a term which, it is argued, we can properly extend back to the Archaic period. These visual representations of sympotic singing offer a valuable record of the public performance of poetry in Archaic Greece, and offer a glimpse into the mechanics of the practice of the $\sigma \kappa \acute o \lambda\iota o\nu$. A small group of containers (numbering about fourteen) also record the song itself--at least in part--by means of dipinto (or once, incised) inscriptions; some of these verse-scraps have been paralleled to surviving poetry of the period. This thesis catalogues and examines these containers and their inscriptions as evidence, after examining in detail the surviving literary record, for the practice of the $\sigma\kappa\acute o\lambda\iota o\nu$. Original solutions for previously misunderstood verse-scraps are proposed and two containers preserving verse-scraps are identified for the first time as records of $\sigma\kappa o\lambda\acute\iota\alpha.$ It is concluded that, while this small group of containers cannot be entirely representative of the total body of surviving material evidence for the practice of the $\sigma\kappa\acute o\lambda\iota o\nu$, there are striking parallels between the artistic and literary records which call for attention of a wider scope.

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Foley, Donna M. "The religious significance of the human body in the writings of Ambrose of Milan." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9711.

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This study, an investigation into Ambrose of Milan's thought on the human body, is based on his writings which provide a panorama of intellectual and spiritual development recorded over the course of his twenty-three year bishopric (A. D. 374-397). Adding to earlier research, this study proposes an examination of one major idea within this remarkable man's literary legacy. Although he never wrote a specific treatise on the subject, his works are imbued with the genesis, nature, meanings and religious significance of the human body. Ambrose's anthropological thought is permeated with the tridimensional dynamic of God, humanity and the world. From this essential premise, his thoughts, beliefs and attitudes flow. In his deliberations, descriptions and interpretations about the human body, he subjugates both Classical and Christian sources to his perceived task, a Christian understanding of human nature. The framework follows an incremental pattern which describes and interprets bodily nature. Seven interpretative levels provide a systematic model of inquiry for textual and conceptual analyses. Special emphasis is given to Ambrose's adaptation of the Stoic infrarational faculties. The interpretative levels describe the human body as constituted, created, healthy, controlled by passions, mediated by reason, celebrated and transformed. This theoretical construct illuminates the data drawn from his writings in an orderly fashion.

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Cummings, Michael S. "Observations on the development and code of the pre-elegiac paraklausithuron." Thesis, University of Ottawa (Canada), 1997. http://hdl.handle.net/10393/9936.

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This dissertation surveys and analyzes the development of the Greek and Latin paraklausithuron (paraclausithyron) from its earliest origins through to Horace, but omits detailed discussion of Tibullus, Propertius, and Ovid. It examines not only true paraklausithura, the actual songs or speeches of excluded lovers at their beloveds' doors, but also paraklausithuric situations, where reference is made to a paraklausithuron or to a situation in which a paraklausithuron can easily be presumed to have been sung or said. The survey occupies Chapters 2 and 3 and shows that the paraklausithuron was more popular and pervasive than has been previously recognized. In Chapter 2, paraklausithuric passages are identified in early Greek lyric; it is suggested that Gnesippus was a possible major early influence on the development of the literary paraklausithuron; paraklausithuric parodies are found as early as Aristophanes. Other authors discussed in depth include Euripides and Theocritus. Chapter 3 surveys the paraklausithuron from Plautus through Lucretius, Catullus, and Horace. Throughout, the occurrence and manipulation of topoi are noted and discussed briefly. For the more important topoi, cross-listings are given for occurrences in other paraklausithura. Chapter 1 analyses and defines what is meant by the word "paraklausithuron", supports its utility against the word "komos", states this paper's definitions of "genre" and "topoi", and discusses the connection between the pasaklausithuron and the komos. The survey of the genre before Latin elegy is followed in Chapter 4 by an analysis of several of the most prominent aspects of the relationship between paraklausithura before and in Latin elegy. The identity and status of the paraklausithuric beloved is discussed first, followed by some of the possible religious implications of Greek versus Roman paraklausithura. Finally, by using primary sources from other cultures of antiquity, it is shown that the continued popularity of the paraklausithuron is due to the paraklausithuric situation's essential grounding in reality. Appendix 1 provides a listing, with texts, of paraklausithuric passages after Latin elegy. Appendix 2 contains a word list extracted from the texts presented in Chapters 2 and 3, and Appendix 1.

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Loube, Heather. "The "Metz Epitome": Alexander (July, 330 B.C.-July, 325 B.C.). A commentary." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/10107.

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This historical commentary on the Metz Epitome, a late fragmentary account of Alexander's exploits, compares the work with the extant early Alexander historians. The sources of the anonymous author have much in common with the Cleitarchan historians, in particular, Diodorus Siculus and Quintus Curtius Rufus. Non-Cleitarchan elements in the text seem to reflect a certain affinity with a Hebraic tradition concerning Alexander. An examination of the author's methodology suggests that "epitome" is not an accurate description of the work in question. The anonymous author has achieved a unique portrait of Alexander and included information not found elsewhere. In view of its late authorship and the few new crumbs of historical fact it offers, the value of the Metz Epitome lies in its interpretation of Alexander's career rather than as a source for it.

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Parker, Sarah J. "Alcaeus and the sea." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/10453.

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The first usage of the ship of state allegory is commonly attributed to the seventh century B.C. poet Alcaeus. While it is true that in his corpus of poetry we see the first explicit usage of such imagery, the possibility that it was employed by earlier poets is strong. This thesis is a detailed examination of five fragmentary poems and commentaries, its purpose being to determine Alcaeus' sources of inspiration for the ship of state allegory and to assess the degree of his originality and his effectiveness in using it. After surveying contemporary literary sources for definitions of allegory, it can be established that the ancients viewed it as a lengthened metaphor or metaphorical sequence, employed to veil the meaning of a text. The expressions chosen by Alcaeus to describe the travails of the ship are then examined to determine whether he has directly imitated or adapted phrases from his literary predecessors and if this is so, to assess the effectiveness of the imitation in terms of an allegorical representation of political strife. Although it is evident that Alcaeus adopts images and expressions previously employed, this study reveals that he is creative in assigning new meaning to certain expressions and that he imitates passages for their power to evoke a particular image. The association with the model is subsequently elaborated upon through the employment of unusual choices in vocabulary, either to sustain dual imagery or predispose his audience to think in figurative terms. Thus the evocation of images from earlier authors coupled with key internal allegorical indicators allows Alcaeus to convey successfully to his closed audience their political plight in the guise of danger at sea. (Abstract shortened by UMI.)

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Hodgkinson, Michael. "The politics of Saturninus." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/10678.

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Tyson, Margaret. "The first elegy of Maximianus, a translation and commentary based on an analysis of possible earlier latin influences found by a computer search on the PHI CD-ROM disk." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq20957.pdf.

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Vachon, Gérard. "La démonologie d'Apulée et la réplique de Saint Augustin." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0011/MQ32560.pdf.

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41

Nelson, Max. "The magical Narcissus, a study of the water-gazing motif in the Narcissus myth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq27071.pdf.

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42

McAllister, Michael A. "Significant otherness, Herodotos' use of a dominant female motif to illustrate the superiority of the Greeks." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ46532.pdf.

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43

Wells, James Bradley. ""Singers heed the signs" : speech and performance in Pindar's epinikia /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3220179.

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Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2006.
Source: Dissertation Abstracts International, Volume: 67-05, Section: A, page: 1721. Adviser: William Hansen. "Title from dissertation home page (viewed June 20, 2007)."

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Huard, Warren. "Hero cult in Pausanias." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110538.

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The explicit and implicit definitional criteria of cult heroes as described by Pausanias are examined in an attempt to understand heroes in the terms of ancient Greek religion. The distinctions between gods, heroes, and other mortals are examined. Particular attention is paid to the rituals indicated by the verbs enagizein and thyein with a view towards understanding their role in hero cult. It is found that the sacrifice made to heroes distinguishes the one who sacrifices to them from the one who sacrifices to gods and that hero cult plays an important role in the religious life of the polis through its rituals of purification.
Les critères définitionnels des héros de culte, aussi bien implicites qu'explicites, tels qu'ils sont décrits par Pausanias, sont examinés dans une tentative de comprendre les héros du point de vue religieux de la Grèce antique. Les distinctions entre les dieux, les héros, et les autres mortels sont examinés. En particulier, nous nous concentrons sur les verbes enagizein et thyein, indicateurs de rituels, pour mieux comprendre leur rôle dans le culte des héros. Nous trouvons que le sacrifice aux héros distingue ceux qui les font de ceux qui sacrifient aux dieux. À part cela, nous trouvons aussi que le culte des héros est très important dans la vie religieuse de la polis à travers les rituels de purification.

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Mocanu, Alin. "Ovidian influences in Seneca's Phaedra." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121474.

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The following thesis is an examination of the way Seneca constructs Phaedra, the main character of an eponymous tragedy. It aims to prove that the tragedian uses a mixing of mainly two literary genres, tragedy and elegy, and it analyzes the way the elegiac genre is transformed so it can fit this new generic hybrid. Seneca finds inspiration for the elegiac topoi in Ovid's love poems. The author uses the recurrent elegiac convention involving a soft man, the lover, and a dominant woman, the beloved, but he reverses this literary tradition: Phaedra becomes the lover while Hippolytus becomes the beloved. Besides a series of elegiac topoi such as fiery love metaphors, servitium amoris or symptoms of love, Seneca also deals with the erotic hunting. Roman love elegy often associates the lover, the feeble man, with a hunter, while it represents the beloved, the dominant woman, as his prey. In Phaedra, Hippolytus, a true hunter, becomes an erotic prey, while the female character takes on the role of the erotic predator, which causes the young man's tragic death.
Dans ce mémoire de maîtrise on examine la manière dont Sénèque construit Phèdre dans la tragédie portant le même nom. On prouve que pour créer son personnage, le tragédien romain mélange deux genres littéraires : la tragédie et l'élégie. On analyse aussi la façon dont Sénèque altère le genre élégiaque afin qu'il puisse créer un nouveau genre littéraire hybride. L'auteur trouve son inspiration pour les topoi élégiaques dans les poèmes érotiques ovidiens. En dépit de l'utilisation d'une convention élégiaque par excellence qui concerne la relation entre un amoureux, un homme faible, et une bien-aimée, une femme forte et dominante, Sénèque inverse ces éléments et Phèdre devient l'amoureux, tandis qu'Hyppolite se voit attribué le rôle du bien-aimé. À part une série de topoi élégiaques comme les métaphores érotiques du feu, le servitium amoris ou les symptômes de l'amour, le tragédien emploie aussi le lieu commun de la chasse érotique. L'élégie romaine associait très souvent l'homme faible à un chasseur et la femme forte à sa proie. Dans Phèdre, Hippolyte, un vrai chasseur, devient une proie érotique, tandis que le personnage féminin prend le rôle du prédateur, ce qui mène le jeune homme à une fin tragique.

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46

Wentzel, Rocki Tong. "Reception, gifts, and desire in Augustines’s Confessions and Vergil’s Aeneid." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1198858389.

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47

Paschalis, Sergios. "Tragic palimpsests: The reception of Euripides in Ovid's Metamorphoses." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467245.

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The subject of this dissertation is the reception of Euripidean tragedy in Ovid’s Metamorphoses. In Chapter 1 I offer a general survey of the afterlife of Euripidean drama in the major mediating intertexts between Euripides and Ovid, namely Hellenistic poetry, Roman Republican tragedy, and Virgil’s Aeneid, as well as a review of the pervasive presence of the Greek tragedian in the Ovidian corpus. Chapter 2 focuses on the reception of Euripides’ Bacchae in the Metamorphoses. The starting point of my analysis is Ovid’s epic rewriting of the Euripidean play in the Pentheus episode. Next, I argue that Ovid makes use of the allusive technique of “fragmentation”, in the sense that he grafts elements of the Bacchae in the narratives of the Minyads and Orpheus. The final section examines Ovid’s portrayal of Procne, Medea, and Byblis as maenads and their evocation of the Virgilian Bacchants Dido and Amata. In Chapter 3 I begin by investigating Ovid’s intertextual engagement with Euripides’ Medea in the Medea narrative of Book 7, which is read as an epicized “mega-tragedy” encompassing the Colchian’s entire mythical career. In the second part of the chapter I discuss the Roman poet’s reworking of the Euripidean tragedy in other episodes of the Metamorphoses and argue that Procne, Althaea, and Deianira constitute “refractions” of Euripides’ Medea. Chapter 4 examines Ovid’s epic refashioning of Euripides’ Hecuba, which he merges with Virgil’s alternative variant of the Polydorus myth in Aeneid 3. The Roman poet reshapes the main plot components of the Greek play, but also makes subtle allusions to the Virgilian version of the story. Chapter 5 is devoted to the episode of Virbius in Metamorphoses 15. Ovid produces a novel version of the myth by melding together his Euripidean model with Virgilian and Sophoclean intertexts. The Roman poet adapts Virgil’s Virbius story in Aeneid 7 by altering its context from a catalogue of Latin warriors into an exchange between Virbius and the nymph Egeria. Moreover, the Ovidian narrative draws on Euripides’ two Hippolytus plays, the extant Hippolytos Stephanephoros and the fragmentary Hippolytos Kalyptomenos, as well as on Sophocles’ Phaedra.
Classics

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Miller, Rebecca Anne. "The Roman Odysseus." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467359.

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This dissertation investigates how Roman authors, especially of the Augustan period, comment on their literary relationship with their Greek literary predecessors through the complex character of Odysseus. It argues that Roman writers emphasize Odysseus’ deceptive qualities to distance themselves from the Greek literary tradition, and at the same time to underscore their own inheritance of and indebtedness to that tradition. Odysseus’ multi-faceted character and wide-ranging travels, I suggest, made him an ideal lens through which Roman authors, spanning from Livius Andronicus in the 3rd century BCE to Juvenal in the 1st century CE, could consider their own position as poets in a simultaneously Greek and Roman literary tradition. The dissertation focuses on Odysseus as he is portrayed in extended scenes of Latin poetry and considers the evolution of Odysseus’ Roman character chronologically, beginning with Livius Andronicus’ translation of the Odyssey and the establishment of the Latin literary tradition. His next major appearance is in Plautus’ Bacchides, where he serves as an exemplum for the tricky slave as well as the playwright himself. Odysseus is later picked up in the comedic vein by Horace in Satire 2.5, in which the hero acts as a model for the duplicitous figure of the inheritance hunter. After Horace, Ovid employs Odysseus in two different works, first as the ideal Roman orator in Metamorphoses 13 and then later as a foil for the poet’s own trials and travails throughout his exile poetry. Lastly, there is a return to satire, where Odysseus is brought in by Juvenal as an antithesis to his own poetic authority in Satire 15. All of these examples of Odysseus in Latin literature demonstrate how Roman authors use this particular Homeric epic hero to articulate issues that are temporally and culturally specific to Rome. Roman authors furthermore reimagine Odysseus in Roman terms and contexts in an effort to construct and tear down bridges between their own Roman culture and that of their Greek predecessors, which in turn renders Odysseus as a stand-in for the Latin literary tradition vis-à-vis the Greek literary tradition.
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Lannom, Sarah Case. "Pindaric Aspects of Ovid's Metamorphoses." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493558.

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This dissertation analyzes Ovid’s Metamorphoses through the lens of praise and blame poetry and focuses on Pindar and possible allusions to epinician poetry. In particular, I look at the Apollo and Daphne episode (Met. 1.452–567), Lycaon’s transformation (Met. 1.163–252), the armorum iudicium (Met. 12.620–13.398), and Ovid’s praise (or not) of Julius and Augustus Caesar during the end of Metamorphoses 15 (Met. 15.745–879). In Chapter 1, I discuss how reading the Apollo and Daphne episode in the context of Pythian 9 and the founding of Cyrene illuminates darker aspects of Roman Ktisissagen by altering the epinician paradigm. Chapter 2 concerns the Lycaon episode and the way in which Jupiter takes on the role of an iambic poet. Chapter 3 consists of an analysis of Ulysses’ speech and structural correspondences with praise poetry in Ovid’s account of the armorum iudicium. In my conclusion, I consider Ovid’s use of epinician topoi during the end of the Metamorphoses. When read through a Pindaric lens, these episodes illuminate Ovid’s use of praise and blame poetry and his relationship with Augustus at this point in his career.
Classics

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Roynon, Tessa Kate. "Transforming America : Toni Morrison and classical tradition." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/3672/.

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This thesis examines a significant but little-studied feature of Toni Morrison's work: her ambivalent engagement with classical tradition. Analysing all eight novels. it argues that her allusiveness to the cultural practices of Ancient Greece and Rome is fundamental to her political project. Illuminating hegemonic America's consistent recourse to the classical world in the construction of its identity, I expand on prior scholarship by reading Morrison's own revisionary classicism as a subversion of dominant US culture. My three-part study examines the way her deployment of Graeco-Roman tradition destabilizes mythologies of the American Dream, prevailing narratives of America's history, and national ideologies of purity. Part I shows that Morrison enlists tragic conventions to problematize the Dream's central tenets of upward mobility, progress and freedom. It argues that while her engagement with Greek choric models effects her refutation of individualism, it is her later novels' rejection of a wholly catastrophic vision that enables her to avoid reinscribing the Dream. Part II demonstrates that it is through her classical allusiveness that Morrison rewrites American history. Her multiply-resonant echoes of the epic, pastoral and tragic traditions that have consistently informed the dominant culture's justifications for and representations of its actions enable her reconfiguration of colonization, of the foundation of the new nation, of slavery and its aftermath and of the Civil Rights Movement. Part III illuminates how the author uses the discourse of pollution or miasma to challenge Enlightenment-derived valorizations of racial purity and to expose the practices of scapegoating and revenge as flawed means to moral purity. Her interest in the hegemonic fabrication of classical tradition as itself a pure and purifying force is matched by her insistence on that tradition's African elements, and thus on its potent impurity. Her own radical classicism, therefore, is central to the transformation of America that her novels envision.

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Dissertations / Theses on the topic 'Classical literature'

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