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Journal articles on the topic 'Erotic poetry Erotic poetry, German'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Madrid, Anthony. "Introduction to Focus: Erotic Poetry." American Book Review 38, no. 6 (2017): 3. http://dx.doi.org/10.1353/abr.2017.0100.

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Koeneke, Rodney. "Some Thoughts On Erotic Poetry." American Book Review 38, no. 6 (2017): 7–8. http://dx.doi.org/10.1353/abr.2017.0105.

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3

Charalambidou-Solomi, Despina. "Gender Dualism in Cavafy's Erotic Poetry." Journal of Modern Greek Studies 21, no. 1 (2003): 113–25. http://dx.doi.org/10.1353/mgs.2003.0008.

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4

Adrienne L. Martín. "Challenges and Rewards of Teaching Erotic Poetry." Calíope 11, no. 2 (2005): 81. http://dx.doi.org/10.5325/caliope.11.2.0081.

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5

Jacobik, Gray. "The Ecstatic Erotic Poetry of Pattiann Rogers." Antioch Review 58, no. 3 (2000): 348. http://dx.doi.org/10.2307/4614029.

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Cleves, Rachel Hope. "The Erotic Poetry of Begué’s Breakfast Register." Victorian Review 45, no. 2 (2019): 187–91. http://dx.doi.org/10.1353/vcr.2019.0047.

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7

Smeltz, Amanda. "Some Thoughts in Favor of Erotic Poetry." American Book Review 38, no. 6 (2017): 11–12. http://dx.doi.org/10.1353/abr.2017.0109.

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8

Andreiushkina, Tatiana N. "THE HISTORY OF THE DEVELOPMENT OF THE HEXAMETER IN GERMAN POETRY." Philological Class 26, no. 1 (2021): 22–37. http://dx.doi.org/10.51762/1fk-2021-26-01-02.

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The article traces the history of the development of the hexameter on German soil: from the use of the Leonin hexameter in the Middle Ages and the Reformation, the mixed Latin-German hexameter in the period of humanism (in the form of carmina eroica) and the German hexameter in the 18th–19th centuries (mainly in the form of elegy, epigram and idyll) to derivatives and ironic forms of the XX century (memorandum, instructive poem, etc.). Klopstock played a significant role in the spread of the hexameter in German poetry, bringing a fresh stream to German poetry by rejecting the prevailing in the

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Andreiushkina, Tatiana N. "THE HISTORY OF THE DEVELOPMENT OF THE HEXAMETER IN GERMAN POETRY." Philological Class 26, no. 1 (2021): 22–37. http://dx.doi.org/10.51762/1fk-2021-26-01-02.

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The article traces the history of the development of the hexameter on German soil: from the use of the Leonin hexameter in the Middle Ages and the Reformation, the mixed Latin-German hexameter in the period of humanism (in the form of carmina eroica) and the German hexameter in the 18th–19th centuries (mainly in the form of elegy, epigram and idyll) to derivatives and ironic forms of the XX century (memorandum, instructive poem, etc.). Klopstock played a significant role in the spread of the hexameter in German poetry, bringing a fresh stream to German poetry by rejecting the prevailing in the

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10

Dorleijn, Gillis. "‘WAS HÄTTEN VERSE VON DIESER DEZENZ ZU FÜRCHTEN’." De Moderne Tijd 1, no. 2 (2017): 204–26. http://dx.doi.org/10.5117/dmt2017.2.006.dorl.

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‘WAS HÄTTEN VERSE VON DIESER DEZENZ ZU FÜRCHTEN’ On homosexuality and poetry Concepts of homosexuality circulate in the societal domain and affect literary culture. The first half of the twentieth century saw an increasing domestication of the public domain regarding homosexual practices. Using three perspectives – text, authorial posture, and reception – and focussing on a specific case, a volume of apparently homo-erotic poetry, this article identifies all kinds of tensions: poems touching on homo-erotic subjects while simultaneously covering them up by complex poetic devices; the poet’s pos

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11

Kowalik, Barbara. ""Eros" and Pilgrimage in Chaucer’s and Shakespeare’s Poetry." Text Matters, no. 3 (November 1, 2013): 27–41. http://dx.doi.org/10.2478/texmat-2013-0024.

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The paper discusses erotic desire and the motif of going on pilgrimage in the opening of Geoffrey Chaucer’s General Prologue to The Canterbury Tales and in William Shakespeare’s sonnets. What connects most of the texts chosen for consideration in the paper is their diptych-like composition, corresponding to the dual theme of eros and pilgrimage. At the outset, I read the first eighteen lines of Chaucer’s Prologue and demonstrate how the passage attempts to balance and reconcile the eroticism underlying the description of nature at springtime with Christian devotion and the spirit of compunctio

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12

Muller-Sievers, Helmut. "Writing off: Goethe and the Meantime of Erotic Poetry." MLN 108, no. 3 (1993): 427. http://dx.doi.org/10.2307/2904754.

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13

Cánovas, Cristóbal Pagán. "Erotic Emissions in Greek Poetry: A Generic Integration Network." Cognitive Semiotics 10, no. 6 (2010): 7–32. http://dx.doi.org/10.3726/81610_7.

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Jennifer Andrews. "The Erotic in Contemporary Native Women's Poetry in Canada." Native American and Indigenous Studies 2, no. 2 (2015): 134. http://dx.doi.org/10.5749/natiindistudj.2.2.0134.

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15

Mustari, Mustari. "Erotic Narration of Syair Lebai Guntur." ELS Journal on Interdisciplinary Studies in Humanities 1, no. 3 (2018): 309–20. http://dx.doi.org/10.34050/els-jish.v1i3.5048.

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The text of Syair Lebay Guntur contained in the Syair Lebay Guntur text by Raja Ali Haji records the traces of the 'disgraceful' behavior of some Malay people in the past who practiced "Cina Buta" marriages. It is aiming to find muhallil or a proponent to reconcile a couple (wife and husband) who had divorced by triple divorce. Because the problem raised in the poetry is a matter of muhallil, inevitably, its diction appears to be erotic in every verses of the poetry. This study employed the theory of diction and language style with stylistic analysis of Malay to uncover two raised problems the

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16

Jordaan, D. J. "Fallosentrisme, feminisme en die lesbiese paradoks: Chauvinisties-getinte aantekeninge oor die erotiek in die jongere Afrikaanse poësie." Literator 13, no. 2 (1992): 55–68. http://dx.doi.org/10.4102/lit.v13i2.741.

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In this article the author examines aspects of recent Afrikaans erotic poetry, with particular reference to the work of Johann de Lange and Joan Hambidge. Deliberately disregarding psychological and sociological research as a basis for an analysis of gay and lesbian literature, the conclusion arrived at is that the erotic poetry of Hambidge exhibits, paradoxically, a male-oriented viewpoint regarding sexuality. This paradox is the result of language being man-made - a process which has the effect that women’s feelings and experience cannot be expressed without being 'contaminated', resulting i

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17

Faust, Monica. "Rejection, Repurposing and Renewal of the Self: Bodies as Texts in the Erotic Poetries of Carlos Drummond de Andrade and Ronaldo Wilson." Texto Poético 17, no. 33 (2021): 153–76. http://dx.doi.org/10.25094/rtp.2021n33a767.

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This article presents a unique uncommon intertextual staging of two erotic poets whose writings intersect and divide at times, thematically and cross-temporally, to challenge our understanding of the erotic’s liminality. I examine the erotic poetry of Carlos Drummond de Andrade in O amor natural and Ronaldo Wilson’s Poems of the Black Object and Narrative of the Life of the Brown Boy and the White Man, to understand how the body is used to explore identity (re)construction. I show how the incorporation of the body as a source of expression in poetry can be read as transgressive, especially in

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18

Creese, Helen, and Laura Bellows. "Erotic Literature in Nineteenth-Century Bali." Journal of Southeast Asian Studies 33, no. 3 (2002): 385–413. http://dx.doi.org/10.1017/s0022463402000309.

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Two nineteenth-century Balinese genres in which the erotic predominates are epic kakawin poetry and tutur (religious manuals) on sexual yoga. The article points to the strong intertextual links between these diverse genres. Through their focus on practical sexual matters and on the pursuit of sexual pleasure as integral to spiritual growth, tutur and kakawin also offer insight into notions of gender and sexuality in nineteenth-century Bali.

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19

Ingenito, Domenico. "“A Marvelous Painting”: the Erotic Dimension of Saʿdi’s Praise Poetry". Journal of Persianate Studies 12, № 1 (2019): 103–66. http://dx.doi.org/10.1163/18747167-12341335.

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Abstract This article approaches Saʿdi’s little-studied panegyric production. The contribution focuses on an encomiastic modality that is almost completely neglected when it comes to the study of the Persian qasida as a performative text that enacts the political, ethical, and aesthetic values of the court. This modality is primarily amatory, and combines the standard erotic discourse of the Ghaznavids and late Saljuq poems of praise with Saʿdi’s original theo-erotic lyricism, which is mostly known through his ghazals. This critical approach will unfold by unearthing its underlying functions i

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20

Stapleton, M. L. "Devoid of Guilty Shame: Ovidian Tendencies in Spenser’s Erotic Poetry." Modern Philology 105, no. 2 (2007): 271–99. http://dx.doi.org/10.1086/588101.

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21

Italia, Maddalena. "Eastern Poetry by Western Poets: Powys Mathers’ ‘Translations’ of Sanskrit Erotic Lyrics." Comparative Critical Studies 17, no. 2 (2020): 205–24. http://dx.doi.org/10.3366/ccs.2020.0359.

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This essay focuses on a pivotal (if understudied) moment in the history of the translation and reception of Sanskrit erotic poetry in the West – a moment which sees the percolation of this classical poetry from the scholarly sphere to that of non-specialist literature. I argue that a crucial agent in the dissemination and inclusion of Sanskrit erotic poems in the canon of Western lyric poetry was the English poet Edward Powys Mathers (1892–1939), a self-professed second-hand translator of ‘Eastern’ literature, as well as the author of original verses, which he smuggled as translations. Using B

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22

Naved, Shad. "Teaching Indo-Islamic poetry: Sexuality in the global classroom." Thesis Eleven 162, no. 1 (2021): 46–61. http://dx.doi.org/10.1177/0725513621990989.

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The article argues that a critical encounter with pre-modern literatures from the national past is long overdue under the impact of a globalized discourse of sexuality. Its effects are already felt at the level of both pedagogy and literary reading, one reconstituting the other, in the ‘global classroom’, a self-conscious pedagogical space imagined by the new educational policy to bring about a globally accredited cultural homogeneity. The case study comes from teaching erotic poetry at an Indian university, from the joint literary complex of Hindi and Urdu in South Asia, a theme uncomfortably

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23

Aquino, André Luís Valadares de. "O cavo amor e seus ruídos." Cadernos de Literatura Comparada, no. 44 (2021): 355–67. http://dx.doi.org/10.21747/2183-2242/cad44v3.

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Study about the relationship of "deviant mastery" between the works of poetry by Carlos Drummond de Andrade and Max Martins. Therefore, it comprehends some emblematic lines of force in Drummond's poetry in convergence and metamorphosis in Max's poetry, in the late 1940s and early 1950s. According to Benedito Nunes, in the essay "Max Martins, Mestre-Aprendiz" (2001), Drummond's poetry was crucial in the formation of Max's poetry. It is dominant in the set of cycles and in the discontinuous movement of Max's work, how Benedito Nunes understands the succession of books, love as an erotic-erosive

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24

Barolsky, Paul. "OVIDIAN WIT AND EROTIC PLAY IN THE PAINTED POETRY OF CORREGGIO." Source: Notes in the History of Art 12, no. 4 (1993): 19–23. http://dx.doi.org/10.1086/sou.12.4.23203378.

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25

Glazer, Aubrey L. "Auto-Erotic Cosmogenies: The Poetry of Ḥaya Esther after Walt Whitman". Hebrew Studies 46, № 1 (2005): 279–99. http://dx.doi.org/10.1353/hbr.2005.0027.

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26

Lauter, Estella, and Alicia Suskin Ostriker. "Dancing at the Devil's Party: Essays on Poetry, Politics, and the Erotic." Tulsa Studies in Women's Literature 19, no. 2 (2000): 337. http://dx.doi.org/10.2307/464433.

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27

Boullata, Issa J., Nizar Qabbani, Lena Jayyusi, and Sharif Elmusa. "On Entering the Sea: The Erotic and Other Poetry of Nizar Qabbani." World Literature Today 70, no. 3 (1996): 756. http://dx.doi.org/10.2307/40042300.

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28

Holthaus, Gary H. "Naked Heart: Talking on Poetry, Mysticism, & the Erotic by William Everson." Western American Literature 29, no. 4 (1995): 335–36. http://dx.doi.org/10.1353/wal.1995.0075.

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29

Giannakopoulou, Liana. "Eros playing satyr: Erotic motifs in Greek poetry from antiquity to today." International Journal of the Classical Tradition 13, no. 3 (2007): 431–37. http://dx.doi.org/10.1007/bf02856422.

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30

Schade, Gerson. "Pushkin and Ovid." Symbolae Philologorum Posnaniensium Graecae et Latinae 29, no. 2 (2019): 105–17. http://dx.doi.org/10.14746/sppgl.2020.xxix.2.7.

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Alexander Pushkin knew what he shared with Ovid. Both were exiled, having enjoyed a splendid life, both were highly gifted, and not too shy of erotic adventures – of which they speak amply in their poetry. The Russian formalist Tynyanov pointed at such similarities, inventing the literary genre of ‘docufiction’.

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31

Maliszewski, Karol. ""Żeby wierszowi chodziło o życie". Liryka Bogusława Kierca." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (2019): 204–19. http://dx.doi.org/10.5604/01.3001.0012.9867.

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The author of this article analyzes the poetry of Bogusław Kierc, a poet from Wrocław, pointing to the separateness and originality of this artist. Originality is revealed in risky and bold themes and a form that is a combination of something avant-garde with something very traditional. The language used by the poet, concerning ultimate and mystical problems, captivates with harmonious, musical finesse. Pictures in this poetry are seen, heard and experienced. The hero of these poems sees in his somatic and erotic experiences the source of potential mysticism, the possibility of approaching tra

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32

Maliszewski, Karol. ""So that finally it is all about life in poetry". Lyrics by Bogusław Kierc." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (2019): 204–19. http://dx.doi.org/10.5604/01.3001.0012.9887.

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The author of this article analyzes the poetry of Bogusław Kierc, a poet from Wrocław, pointing to the separateness and originality of this artist. Originality is revealed in risky and bold themes and a form that is a combination of something avant-garde with something very traditional. The language used by the poet, concerning ultimate and mystical problems, captivates with harmonious, musical finesse. Pictures in this poetry are seen, heard and experienced. The hero of these poems sees in his somatic and erotic experiences the source of potential mysticism, the possibility of approaching tra

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33

Marinaș, Andreea Mihaela. "Gherasim Luca – O Poetică Spectaculară." Lucian Blaga Yearbook 20, no. 1 (2019): 154–61. http://dx.doi.org/10.2478/clb-2019-0016.

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AbstractThe purpose of this paper is to analyse the spectacular features of Gherasim Luca’s poetry. More specifically, the research starts from what generates the spectacular in his poetry: the erotica and the advertising feature of the poems. This study intends to analyse and explain how the eroticism of poetry, by its advertising dimension (meaning that poetry highlights the woman and erotic scenes like an advertising) offers to Gherasim Luca’s poetry the spectacular dimension. The blend of the two areas (erotica and the conative function of language) creates the spectacular, transferring se

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34

Kane, D. "STEPHEN FREDMAN. Contextual Practice: Assemblage and the Erotic in Postwar Poetry and Art." Review of English Studies 62, no. 255 (2011): 497–500. http://dx.doi.org/10.1093/res/hgr028.

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35

Fonder-Solano, Leah. "MIRRORING AND THE (RE) VISION OF IDENTITY IN CRISTINA PERI ROSSI'S EROTIC POETRY." Latin Americanist 47, no. 3-4 (2008): 75–88. http://dx.doi.org/10.1111/j.1557-203x.2004.tb00016.x.

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36

Brunvand, Amy. "The Poetry of Government Information." DttP: Documents to the People 47, no. 2 (2019): 16. http://dx.doi.org/10.5860/dttp.v47i2.7033.

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Anne Carson’s Autobiograpy of Red is one of those beloved poetry books that everyone kept telling me to read, but somehow I never got around to it until recently. Imagine my surprise to find government documents librarianship at the crux of the story! In Carson’s poetic novel, our hero Geryon is so full of artistic and erotic passion that he appears as a winged red monster. After he is dumped by a lover, “Geryon’s life entered a numb time, caught between the tongue and the taste,” a poetic dark-night-of-the-soul rendered metaphorically as a job shelving government documents in a joyless librar

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37

Campone, Maria Carolina. "Dabit ubera Christus. Metafore erotiche e rielaborazioni classiche nel concetto dell’immutabilità divina di Paolino di Nola." Augustinianum 59, no. 2 (2019): 407–24. http://dx.doi.org/10.5840/agstm201959226.

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Poem XXII of Paulinus Nolanus constitutes an important testimony to the saint’s personality and of his mystical experience. Reinterpreting classical poetry according to Christian faith, he expresses the bond of love between Christ and man through erotic symbols and classic metaphors. Through this union, Paulinus also clarifies the concept of divine immutability, fundamental to the patristic theology of the first centuries.

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38

Witalisz, Władysław. "“I cluppe and I cusse as I wood wore”: Erotic Imagery in Middle English Mystical Writings." Text Matters, no. 3 (November 1, 2013): 58–70. http://dx.doi.org/10.2478/texmat-2013-0026.

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The mutual influences of the medieval discourse of courtly love and the literary visions of divine love have long been recognized by readers of medieval lyrical poetry and devotional writings. They are especially visible in the affinities between the language used to construct the picture of the ideal courtly lady and the images of the Virgin Mary. Praises of Mary’s physical beauty, strewn with erotic implications, are an example of a strictly male eroticization of the medieval Marian discourse, rooted in Bernard of Clairvaux’s allegorical reading of the Song of Songs, where Mary is imagined a

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39

Wyke, Maria. "Taking the Woman's Part: Engendering Roman Love Elegy." Ramus 23, no. 1-2 (1994): 110–28. http://dx.doi.org/10.1017/s0048671x00002411.

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When a woman writes herself into the genre of Roman love elegy she appears to break the recognised conventions for its production, according to which woman is the passive object of erotic desire not its active subject, the written not the writer. In discussing the elegiac poetry composed by Sulpicia, one means by which critics have expressed her extraordinary achievement has been to engender Roman love elegy. For Nick Lowe, Sulpicia's unique intervention was to compose poetry on the subject of her own erotic experience in ‘an obstinately male genre’. For Amy Richlin, Sulpicia breached a double

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40

Haugen, Kristine Louise. "Aristotle My Beloved: Poetry, Diagnosis, and the Dreams of Julius Caesar Scaliger*." Renaissance Quarterly 60, no. 3 (2007): 819–51. http://dx.doi.org/10.1353/ren.2007.0278.

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AbstractNotoriously Aristotelian in his poetic theory, linguistics, and natural philosophy, Julius Caesar Scaliger (1484–1558) also reimagined the lost love poetry that Aristotle himself was said to have written. Scaliger'sNew Epigramsof 1533 combine a distinctively humanist view of Aristotle as an elegant polymath with a sustained experiment in refashioning the Petrarchan love lyric. Most visibly in poems about dreams and dreaming, Scaliger educes his speaker's erotic despair from philosophical problems in contemporary Aristotelian accounts of the soul, knowledge, and personal identity. The s

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41

Tarán, Sonya Lida. "ΕΙΣΙ ΤΡΙΧΕΣ: an erotic motif in the Greek Anthology". Journal of Hellenic Studies 105 (листопад 1985): 90–107. http://dx.doi.org/10.2307/631524.

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In Book xii of the Greek Anthology many of the old motifs of erotic poetry are applied to the love of boys. Among these motifs a form of the carpe diem calls our attention. Youth and the beloved's charms are there granted a very short span: the growth of hair marks the end of a boy's attraction. Of this basic idea we find numerous variations in over thirty epigrams, Hellenistic and late, not unlike those on the more general motif of fleeting youth. We shall group the poems and interpret them according to the variations of this motif.The boy is now willing to love when it is too late: the hairs

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42

Kumala, Aleksandra. "The bodies of Zuzanna Ginczanka." Tekstualia 2, no. 57 (2019): 55–70. http://dx.doi.org/10.5604/01.3001.0013.3541.

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The article focuses on the representations of the body in Zuzanna Ginczanka’s poetry. There are four crucial poetic constructions in this respect that need to be properly contextualized: the Jewish body (Ginczanka’s beauty and stigma, her legendary eyes), the lyrical body (the feminine origin of her poetry, its erotic, emancipatory character, the meaning of victim and revenge themes), the individual and the social body (the ways of shaping her identity and some of her key performative gestures), and, fi nally, the visual body (the poet’s public image in the past and now). Aside from Bożena Kef

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43

Howland, Jacob. "Poetry, Philosophy, and Esotericism: A Straussian Legacy." Polis 33, no. 1 (2016): 130–49. http://dx.doi.org/10.1163/20512996-12340076.

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This article concerns the ‘ancient quarrel between philosophy and poetry’ (Plato, Rep. 607b). With the guidance of Leo Strauss, and with reference to French cultural anthropology and the Hebrew Bible, I offer close readings of the origin myths told by the characters of Aristophanes in Plato’s Symposium and Socrates in book 2 of the Republic. I contrast Aristophanes’ prudential and political esotericism with Socrates’ pedagogical esotericism, connecting the former with poetry’s affirmation of the primacy of chaos and the latter with philosophy’s openness to the measures of nature or phusis. Ari

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44

Ragusa, Giuliana. "Tramas de Afrodite e Eros: sedução e capitulação na mélica grega arcaica." Nuntius Antiquus 7, no. 1 (2011): 60–78. http://dx.doi.org/10.17851/1983-3636.7.1.60-78.

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This article presents a study of Aphrodite’s and Eros’s images in archaic Greek melic poetry, in some fragments where the “I”, as a result of their divine action, becomes a helpless victim of the power of erotic desire and/or a seducer/seductress in pursuit of the beloved one. These are the melic poets and fragments herein commented: Alcman (Fr. 59(a) Dav.), Sappho (Frs. 1, 102 Voigt), Ibycus (Frs. 286, 288, 287 Dav.).

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45

Boos, Florence S. "Sexual Polarities in The Defence of Guenevere." Browning Institute Studies 13 (1985): 181–200. http://dx.doi.org/10.1017/s0092472500005423.

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William Morris's early poetry is striking for its erotic intensity and powerful evocations of passionate and unhappy women. Indeed, his portrayals of confined, alienated, and dependent women are so sharp that they pose some obvious questions. Do they, in the end, simply stylize and project some of the most destructive conventions of Victorian patriarchy? Or do they actually provide some “defence” of female passion and sexuality, against the social hierarchies and emotional suffocation they depict?

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46

Whitaker, Richard. "Did Gallus Write ‘Pastoral’ Elegies?" Classical Quarterly 38, no. 2 (1988): 454–58. http://dx.doi.org/10.1017/s000983880003706x.

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It has long been noticed that Virgil's Eclogue 10, in which Gal I us plays so prominent a rôle, contains a combination of pastoral and elegiac elements. But this prompts the question: who was responsible for this combination? Was the fusion of pastoral and erotic-elegiac detail Virgil's own, or did Gallus himself write love-elegies with a strong pastoral colouring, a type of poetry which Virgil then echoed in Eclogue 10?

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47

Bouchard, Elsa. "Aphrodite Philommêdês in the Theogony." Journal of Hellenic Studies 135 (2015): 8–18. http://dx.doi.org/10.1017/s0075426915000038.

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Abstract:Discussion of Aphrodite’s epithet philommeidês/philommêdês in Hesiod Theogony 200. Hesiod’s aetiological account of this name suggests the meaning ‘wiles-loving’ as well as ‘genitals-loving’. This interpretation is supported by a number of episodes from Archaic poetry in which literary or mythical figures make use of a ruse to permit the fulfilment of their erotic longing, or conversely exploit someone else’s desire as a means to achieve supremacy in a power struggle.

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48

Simsone, Bārbala. "Erotiskās prozas fenomens Latvijā un pasaulē." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 222–32. http://dx.doi.org/10.37384/aplkp.2021.26-1.222.

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The present paper “The Phenomenon of Erotic Fiction in Latvian and World Literature” is devoted to the fiction genre acquiring immense popularity in Western literature while having attracted only fragmentary attention in Latvian literary scholarship, namely the erotic fiction, which is currently among those genres of literature most widely read among Latvian readers and therefore titled as somewhat phenomenal. The first part of the paper provides insight into the history of the erotic world literature and the most common division of the genre into the three basic categories; this part also pro

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Harden, S. J. "Eros Through the Looking-Glass? Erotic Ekphrasis and Narrative Structure in Moschus' Europa." Ramus 40, no. 2 (2011): 87–105. http://dx.doi.org/10.1017/s0048671x00000357.

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Moschus' Europa has long been recognised to be a highly visual and pictorial poem. It is also dominated by an erotic theme: the sexual awakening of the maiden Europa and her love affair with Zeus. This article will focus on a connection between erotic theme and highly visual narrative that has received attention in relation to Greek texts from the Roman Empire, but none in relation to Moschus. The sophisticated and self-conscious use of vision and ekphrasis in erotic narrative which has been traced in authors such as Achilles Tatius (in particular by Goldhill) is anticipated, I shall argue, in

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Vardi, Amiel D. "An anthology of early Latin epigrams? A ghost reconsidered." Classical Quarterly 50, no. 1 (2000): 147–58. http://dx.doi.org/10.1093/cq/50.1.147.

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In Book 19, chapter 9 of the Nodes Atticae Gellius describes the birthday party of a young Greek of equestrian rank at which a group of professional singers entertained the guests by performing poems by Anacreon, Sappho, ‘et poetarum quoque recentium ⋯λεγεῖα quaedam erotica’ (4). After the singing, Gellius goes on, some of the Greek συμπόται present challenged Roman achievements in erotic poetry, excepting only Catullus and Calvus, and criticized in particular Laevius, Hortensius, Cinna, and Memmius. Rising to meet this charge, Gellius’ teacher of rhetoric, Antonius Julianus, admits the superi

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