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Dissertations / Theses on the topic 'Hellenistic poetry'
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But, Ekaterina. "Eutrapelia: Humorous texts in Hellenistic poetry." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619032780255174.
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Constantinou, Maria. "Demeter in Hellenistic poetry : religion and poetics." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9943.
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The thesis examines the presence of Demeter in Hellenistic poetry, while it also considers the way contemporary Demeter cult informs the poetic image of the goddess. My research focuses on certain poems in which Demeter is in the foreground, that is, Philitas’ Demeter, Callimachus’ Hymn to Demeter, Theocritus’ Idyll 7, and Philicus’ Hymn to Demeter, supplemented by the epilogue of Callimachus’ Hymn to Apollo and Philicus’ Hymn to Demeter. The first part of my study is dedicated to the presentation of the evidence for Demeter’s role in the religious life of places that are directly or indirectly associated with the poems I discuss, that is, Egypt, Cyrene, Cos and Cnidus, in order to establish the cultic and historical framework within which Demeter’s literary figure appears. In the second part I closely examine the poems that feature Demeter and conclude that the goddess and motifs closely linked with her have poetological significance, which supports the view that Demeter functions as a symbol of poetics. Furthermore, I examine the social elements in the narrative of the most extant Hellenistic poem on Demeter, i.e. Callimachus’ Hymn to Demeter, and propose that these reflect Demeter’s role as a ‘social’ goddess.
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Morrison, Andrew Donald. "The narrator's voice : Hellenistic poetry and archaic narrative." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271310.
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Kidder, Kathleen. "Representations of Truth and Falsehood in Hellenistic Poetry." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1526315875733844.
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Coughlan, Taylor. "The Aesthetics of Dialect in Hellenistic Epigram." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459440096.
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Kampakoglou, Alexandros. "Studies in the reception of Pindar in Hellenistic poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:f97a0403-6f42-41c5-bff2-f7b3991fc48b.
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This thesis examines the reception of Pindar in Hellenistic poetry. More specifically it examines texts of three major Hellenistic poets: Theocritus of Syracuse, Callimachus of Cyrene and Posidippus of Pella. The texts discussed have been selected on the basis of two principles: (i) genre and (ii) subject matter. They include texts that inscribe themselves in the tradition of encomiastic, and more specifically, Pindaric poetry either through the generic discourse which they partake in or through the employment of myths that Pindar had used in his own odes. Throughout the thesis it is argued that the connections with Pindaric passages are carried out on the basis of ‘allusions’ which are picked up by the readers. This term is employed to describe one of the ways in which intertextuality functions. Following the model of Conte and Barchiesi, the discussion insists on the distinction between allusions to specific Pindaric passages and allusions to epinician generic motifs that can best be illustrated through Pindaric passages. The aim of the discussion for each case of textual correspondence suggested is to describe the means whereby this connection is suggested to the reader and to propose a ‘meaning’ for it. In this sense, equal emphasis is given to the detailed examination of all texts that partake in the intertextual connection suggested, i.e. to Pindaric and Hellenistic alike.
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HATCH, JOEL SIMMONS. "POETIC VOICES AND HELLENISTIC ANTECEDENTS IN THE ELEGIES OF PROPERTIUS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1166540258.
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Leventhal, Max Peter. "The literary past and the Hellenistic symposium." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273672.
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This thesis explores the presence of canonical texts in the Hellenistic period beyond individual reading habits. It utilises the interpersonal context of the symposium to understand the place and significance of literature as a social phenomenon. Methodologically, it combines art and text, synthesising literature which represents, and literature visualised and depicted at, Hellenistic symposia. My over-arching argument is not simply that the post-classical symposium persists, contrary to much scholarship which represents it as dead or as vain re-enactments. Rather, I claim that studying the Hellenistic symposium exposes the social mechanisms which ensured that a Greek literary past remained relevant even in the Hellenistic world. Chapter One discusses the historical shift from the Archaic and Classical symposium to the Hellenistic symposium, and defends the latter’s often-questioned existence. It also theorises a new approach for handling images and texts related to the Hellenistic symposium. the subsequent chapters offer case studies showing the utility of this approach. Chapter Two considers the reception of the Phaeacians in relation to the symposium and Chapter Three looks at the theatrical tradition. Chapter Four focuses on Callimachus’ Iambi and the Letter of Aristeas, texts which in different ways have the symposium as a structuring principle and are concerned with the literary past. The aim is to highlight how the argument obtains even when the symposium is an imagined, textual one. The Conclusion advances the thesis in two ways. First, it extends my argument beyond the Hellenistic period with a short study of the visual and verbal reception of the comic poet Menander at Late Antique symposia. Second, its theorises the greater significance of studying the literary past and the Hellenistic symposia for a wider conception of how literary reception works.
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Selzer, Christoph M. "Introduction and commentary on Nonnus' Dionysiaca Book 47.1-495." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302618.
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Kerkhecker, Arnd. "Callimachus' book of Iambi." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365349.
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Kotseleni, Sophia. "Collethus, The Rape of Helen, a stylistic commentary." Thesis, King's College London (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287784.
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Kazantzidis, Georgios. "Melancholy in Hellenistic and Latin poetry : medical readings in Menander, Apollonius Rhodius, Lucretius and Horace." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.560519.
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In the first chapter of this thesis, starting from modern scholarship on melancholy, I attempt to combat the widely-held belief that this disease is identified exclusively with madness in antiquity. In order to do this, I locate the origins of this misreading in Cicero and attempt to restore the more inclusive attitude towards melancholy manifested in ps-Aristotle's treatise on melancholic genius, given that this text defines melancholy as consisting in both madness and depression. Chapter 11 argues that Menander is the first poet who shares this double understanding of melancholy; unlike Aristophanes who conceives of melancholy exclusively as a manic condition, the New Comedian describes it also as a depressive one. I therefore analyse the ways in which the word and the notion of melancholic depression are used in his comedies, according to the ps.-Aristotelian paradigm. In Chapter Ill, I suggest thatJason in Apollonius Rhodius' Argonautica is a character that exhibits all the textbook symptoms of melancholic depression and that Apollonius describes him as such through an intertextual play with ps-Aristotle's reading of the Homeric Bellerophon as a depressive melancholic. Moving to Latin poetry, Chapter IV examines the end of De Rerum Natura III and argues that Lucretius' description of restlessness and discontent with life becomes a key-passage which later Latin writers (Horace, Persius and Seneca) identify through their medical readings as a description of melancholic depression. The thesis concludes with a chapter on the second book of Horacc's Epistles in which I argue that Horace engages with the tradition of the melancholic genius by creating an authorial persona who grounds his claims to genius on his alleged suffering from both melancholic madness and depression.
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Phipps, S. R. "The styles and voices of non-dramatic Greek poetry in the fourth century BC." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:b4003441-7b02-4441-b5c6-8990d62dad9d.
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This thesis is an investigation into the styles and voices of the non-dramatic Greek poetry of the fourth century BC. This has been a neglected area of study in Greek literary history, and the extant poems of the fourth century have either been largely ignored or regarded contemptuously by modern critics. I seek to redress this balance by providing close readings of surviving poems, and aim to show that contrary to widespread opinion, there are signs that this is a period of dynamic creativity. The first section looks more closely at the various factors that have led to a neglect of fourth-century poetry, including issues of periodization, the transmission of texts and the canonisation of poetry, the impact of musical and technological innovations and of social changes. Scholarship on late-classical Greek art is also discussed as a comparison. I then turn to discuss specific texts in depth, focussing on the way poems characterise themselves through speakers and addressees. I begin with inscribed poetry (epigrams and hymns), in which I observe tendencies both to conform to a generic model and occasionally to produce more apparently literary-conscious works. The sometimes intrusive presence of the learned author-narrator is discussed in ‘bookish’ poems; the final section is devoted to various kinds of sung poetry, including enkomia, burlesque and parody. Although the texts I analyse are diverse in genre and character, they are sufficient to point to a wider vitality of literary activity throughout the century.
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Busnelli, Gabriele. "Reasoning, Questioning, Perception, Bibliography : The Paths of Knowledge in the Poetry of Callimachus." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1583998826913403.
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Campbell, Charles. "Poets and Poetics in Greek Literary Epigram." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384333736.
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DiLorenzo, Kate. ""To share in the roses of Pieria" relationships to the Muses' gift in the epic poets and Sappho /." Diss., Connect to the thesis, 1992. http://hdl.handle.net/10066/1475.
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Chesterton, Barnaby. "The bookish turn : assessing the impact of the book-roll on authorial self-representation in early Hellenistic poetry." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11933/.
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My thesis takes its start from the oft-used description of Hellenistic poetry as ‘bookish’, but looks beyond the connotations of this label as denoting a milieu which was self-consciously intellectual, and instead considers the more fundamental ramifications of the designation: that Hellenistic poetry was bookish in its form, as much as in outlook. To consider the implications of this, I focus upon a period, and a significant poetic topos, wherein the effects of the book-roll can be most keenly discerned, assessing the impact of the medium upon authorial self- representations - particularly in the construction of authorial personae - undertaken in early Hellenistic poetry (c.323-246 BC). In Part I of the thesis, I assess the evolution of authorial self-representation in epigram, charting developments from the inscribed form of the genre through to the book-epigram collections of the Hellenistic period: I argue that the author acquired a newfound prominence in this medial transition, asserting their presence as a voice within the text as opposed to a figure situated strictly in antecedence to it. I demonstrate this through analyses of Posidippus, Callimachus, Nossis, Asclepiades, and the epigrams ascribed to Erinna, and suggest that we repeatedly observe authors undertaking composite processes of self-representation, as a direct result of the composite context of the book-roll. In Part II of the thesis, I examine the Mimiambs of Herodas. Through the analysis of Mimiamb 8 (in which Herodas constructs an authorial persona, and defines his poetic programme) in conjunction with an appraisal of the metapoetic dimension of the other Mimiambs, I assess the manner in which Herodas undertakes a complex, intertextual process of self-representation. Arguing that the author reflects upon the generic and medial innovations of his poetic practice across his corpus, I demonstrate that this process of reflection complements Herodas’ overt authorial self-representation in Mimiamb 8. In summary, I argue that the impact of the book-roll on authorial self-representation was wide- ranging, but that the most significant consequence of the medium was the evolution of authorial self-representation as a composite, roll-spanning activity.
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George, Anita Christina. "The new Alexandrians, the modernist revival of hellenistic poetics in the poetry of T. S. Eliot and Ezra Pound." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27929.pdf.
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Gilchrist, Katie E. "Penelope : a study in the manipulation of myth." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:ace5d5e9-520e-455a-a737-0f2ee162e1e1.
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Mythological figures play a number of roles in literature: they may, of course, appear in person as developed characters, but they may also contribute more indirectly, as part of the substratum from which rhetorical argument or literary characterisation are constructed, or as a background against which other literary strategies (for example, the rewriting of epic or the appropriation of Greek culture by the Romans) can be marked out. This thesis sets out to examine the way in which the figure of Penelope emerges from unknown origins, acquires portrayal in almost canonical form in Homer's Odyssey, and then takes part in the subsequent interplay of Homeric and other literary allusions throughout later Classical literature (with chapters focusing particularly on fifth-century Greek tragedy, Hellenistic poetry, and Augustan poetry). In particular, it focuses on the manner in which, despite the potential complexities of the character and the possible variants in her story, she became quintessentially a stereotypical figure. In addition to considering example where Penelope is evoked by name, a case is also made for the thesis that allusion, or intertextual reference, could also evoke Penelope for an ancient audience. A central point of discussion is what perception of Penelope would be called to mind by intertextual reference. The importance of approaching relationships between ancient texts in intertextual terms rather terms of strict "allusion" is thus demonstrated. The formation of the simplified picture is considered in the light of folk-tale motifs, rhetorical simplification of myth, and favoured story patterns. The appendices include a summary of the myth of Penelope with all attested variants, and a comprehensive list of explicit references to her in classical literature.
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Asper, Markus. "Onomata allotria : zur Genese, Struktur und Funktion poetologischer Metaphern bei Kallimachos /." Stuttgart : F. Steiner, 1997. http://books.google.com/books?id=1BNZAAAAMAAJ.
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Purton, Jeremy Stephen. "Visualisation and description in the elegies of Propertius and Tibullus." Thesis, University of Canterbury. Classics, 2011. http://hdl.handle.net/10092/5659.
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Stanzel, Karl-Heinz. "Liebende Hirten : Theokrits Bukolik und die alexandrinische Poesie /." Stuttgart : B. G. Teubner, 1995. http://catalogue.bnf.fr/ark:/12148/cb370962455.
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Marshall, Laura Ann. "Uncharted Territory: Receptions of Philosophy in Apollonius Rhodius’ Argonautica." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu150330016014072.
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Margelidon, Cécile. "Les jeux étymologiques dans la poésie latine préclassique et classique (IIIe s. av. J.-C. -Ier s. ap. J.-C)." Electronic Thesis or Diss., Tours, 2024. http://www.theses.fr/2024TOUR2016.
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Cette thèse rassemble toute la matière des « jeux étymologiques » dans la poésie latine, depuis les débuts de la littérature latine jusqu'à l'époque augustéenne, pour analyser ces procédés poétiques tirant un effet plaisant de l'origine des mots, présents dans des genres divers (comédie et tragédie, satire, épopée, élégie…). Le travail est complété par une annexe répertoriant près de mille cinq cents jeux étymologiques dans le corpus d'étude. Dans un premier temps, une présentation synthétique permet de proposer, à partir d'exemples caractéristiques, relevés dès l'Antiquité ou décelés récemment, une typologie des jeux étymologiques, selon une gradation qui va de l'explication la plus claire à l'allusion la plus cryptée, et où l'éponymie occupe une place centrale. Ensuite, une approche historique et générique montre l'évolution et les enjeux de ces procédés dans la poésie latine, et où interviennent à divers degrés les modèles de la poésie grecque, l'influence de l'érudition hellénistique et, chez Virgile, Properce et Ovide, l'inspiration étiologique bien marquée. Enfin, la dimension du jeu dans ces procédés poétiques est examinée sous deux aspects : son rapport à trois domaines d'application spécifiques (droit romain, allégorie et philologie alexandrine) et la relation qu'il implique entre le poète et ses lecteursThis thesis brings together all the material on “etymological games” in Latin poetry, from the beginnings of Latin literature to the Augustan period, to analyze these poetic devices, which draw a pleasing effect from the origin of words, present in various genres (comedy and tragedy, satire, epic, elegy...). The work is complemented by an appendix listing some fifteen hundred etymological games in the corpus studied.The first part is an overview of etymological games, based on characteristic examples from Antiquity and more recent times. The gradation ranges from the clearest explanation to the most cryptic allusion, where eponymy is playing a central role. Next, a historical and generic approach shows the evolution and significance of these devices in Latin poetry, in which the models of Greek poetry, the influence of Hellenistic erudition and, in Virgil, Propertius and Ovid, the clearly etiological inspiration, play a role to varying degrees. Finally, the dimension of play in these poetic procedures is examined from two angles: its relationship to three specific fields of application (Roman law, allegory and Alexandrian philology) and the relationship it implies between the poet and his readers
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Amaral, Flavia Vasconcellos. "Brindai enquanto podeis! O simpósio nos epigramas fúnebres do Livro VII da Antologia Grega." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-13032019-102855/.
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Por se tratar de um gênero flexível, o epigrama pode ser analisado em conjunto ou sozinho, propiciando diferentes recortes e abordagens metodológicas. Estudos acerca do epigrama fúnebre geralmente analisam os poemas de acordo com temas afins focando nos mortos: guerreiros mortos, mulheres mortas no parto, mortos no mar dentre outros. No entanto, uma abordagem dos epigramas fúnebres com visão descentralizada do morto permite investigação mais ampla de outros temas. Desse modo, a presente tese partiu dos estudos de Giuseppe Giangrande, Francis Cairns e Alexander Sens sobre epigramas fúnebres que lançam mão de elementos simposiais no intuito de analisar a função de tais elemento e verificar de que maneira os simposiais presentes nos epigramas fúnebres se perpetuam ou se modificam. Para tanto, foram selecionados epigramas do livro VII da Antologia Grega que possuem léxico simposial e fúnebre e, a partir dos identificados, foram configurados três grupos: 1) os dedicados ao poeta Anacreonte, 2) os dedicados às mulheres bêbadas e 3) os dedicados aos homens bêbados. Nos epigramas dedicados a Anacreonte, pode-se constatar que os elementos simposiais resgatam sua poesia e a filiam aos epigramatistas por meio da transformação do espaço funerário e das relações entre o transeunte-leitor e o poeta. Nos poemas dedicados às mulheres bêbadas, o consumo do vinho e o enterramento próximo aos locais de produção dele ressaltam a mobilidade das anciãs, o distanciamento de seus familiares e o caráter cômico das mortas por conta da caracterização da bebedeira. Por fim, nos epigramas fúnebres dedicados aos homens bêbados, evidenciam-se a moderação e a imoderação diante do consumo de vinho. Em alguns, a moderação está alinhada ao conceito poético de composição. Em outros, o excesso de vinho causa acidentes retratados com tom cômico e que advertem o transeunte-leitor a não cometer os mesmos erros. Outro grupo de epigramas se vale das referências simposiais para criar enigmas ao transeunte-leitor. O último, por sua vez, é composto por epitáfios para filósofos mortos por bebedeira. Evidencia-se aqui a tensão entre a moderação e os ensinamentos filosóficos, permeados pelos tons anedótico e cômico. Sugere-se, portanto, que a presença de elementos simposiais adquire função distinta de acordo com o grupo de mortos. Isto posto, observa-se que os epigramas do corpus de diferentes séculos lançam mão de simposiais que passam a ganhar nuances distintas. Isso permite afirmar que os epigramas fúnebres com elementos simposiais perpetuam a tensão criativa entre a tradição e a inovação, conceitos debatidos por Marco Fantuzzi e Richard Hunter, para além do período helenístico.Because it is a flexible genre, the epigram can be analyzed in groups or alone. It provides researchers with different possibilities of epigram grouping and methodological approaches. Studies on funerary epigram frequently analyze the poems according to related themes focusing on the dead: dead warriors, women dead in childbirth, dead in the sea among others. However, an approach to funerary epigrams which does not focus on the dead allows a broader investigation of other themes. Thus, the present thesis was based on the studies of Giuseppe Giangrande, Francis Cairns and Alexander Sens on funerary epigrams that use sympotic elements in order to analyze the function of such elements and to verify how the sympotic found in funerary epigrams continue being used of if they suffer modifications. In order to do so, we selected epigrams from Book VII of The Greek Anthology that display sympotic and funerary lexicon and, departing from the , three groups of epigrams were identified: 1) those dedicated to the poet Anacreon, 2) those dedicated to drunk women and 3) those dedicated to drunk men. In epigrams dedicated to Anacreon, sympotic elements recover his poetry and connect it to the epigrammatists by means of the transformation of the funeral space and the relationship between the passerby and the poet. In poems dedicated to drunken women, the consumption of wine and their burial near places of wine production emphasize the mobility of old women, their distancing from their relatives and the comic character of the dead women due to the characterization of their drunkenness. Finally, in the funerary epigrams dedicated to drunken men, moderation and immoderation are evident. In some, moderation is aligned with poetic composition. In others, the excess of wine causes accidents portrayed with comic tone. These epigrams warn the passerby not to make the same mistakes as the dead they commemorate. Another group of epigrams uses sympotic references to create charades to the passerby. The last group, in turn, is composed by epitaphs for philosophers killed by drunkenness. Here we see the tension between moderation and philosophical teachings permeated by the anecdotal and comic tone. It is suggested, therefore, that the presence of sympotic elements acquires a different function according to the group of dead. Thus, it is observed that, although the epigrams were composed in different centuries, the portrayed gain different nuances, which allows us to conclude that funerary epigrams with sympotic elements also reflect the creative tension between tradition and innovation, as debated by Marco Fantuzzi and Richard Hunter.
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Junior, Fernando Rodrigues. "Aristos Argonauton: o heroísmo nas Argonáuticas de Apolônio de Rodes." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-28012011-093845/.
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Este trabalho pretende discutir de que forma a noção de heroísmo foi abordada nas Argonáuticas de Apolônio de Rodes em oposição ao conceito de herói presente nos poemas homéricos. A análise se baseará na distinção entre as personagens Jasão e Héracles como exemplos de modos de atuação díspares e conflitantes no poema. A tradução dos livros I e n das Argonáuticas complementa o estudo.This work intends to discuss the notion of heroism present in Apollonius Rhodius\' Argonautica in opposition to the concept of hero in Homeric poems. The analysis is based on the distinction between the characters Jason and Heracles as examples of different and conflicting ways of action. The translation of Argonautica books I and n complements the study.
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Daniel-Muller, Bénédicte. "Passion et Esthétique : le pathétique amoureux dans la poésie hellénistique." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040177.
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Il est reconnu que la poésie hellénistique a donné à l’expression du sentiment amoureux une importance inédite, mais la rupture que constitue ce fait littéraire par rapport aux œuvres du passé n’a cependant pas toujours été suffisamment mise en avant. Cette étude propose donc d’examiner les spécificités de cette représentation de l’amour et de montrer qu’elle ressortit principalement au registre pathétique. Ainsi, dans une perspective diachronique, elle s’attache tout d’abord à rappeler les particularités de la représentation de l’amour dans la poésie des époques archaïque et classique, et à montrer notamment le rôle secondaire qu’y tient cette thématique. Puis, après avoir analysé les caractéristiques, complexes mais toujours éminemment négatives, que les poètes hellénistiques attribuent à l’amour, essentiellement réduit pour eux à l’ἔρως, elle examine les modalités précises de son expression pathétique, une innovation importante grâce à laquelle la thématique amoureuse a pu accéder en littérature au rang d’un véritable sentiment. Cette étude permet enfin de montrer que la représentation pathétique du sentiment amoureux est l’une des clefs pour comprendre plusieurs caractéristiques et enjeux fondamentaux de la poésie hellénistique, à propos de laquelle il convient de parler d’une véritable poétique de l’amour. En effet, le pathétique amoureux peut s’y lire comme un paradigme méta-poétique qui ne reflète pas seulement les nouvelles valeurs esthétiques de l’époque hellénistique mais également les conditions, inédites, de création et de réception des œuvres littéraires, en particulier dans leurs rapports, aussi étroits qu’ambigus, aux cours royales et à la traditionHellenistic poetry attributed an importance to love never encountered in poetry before. This literary break with the past has only ever received scant attention. This study sets out to examine the specifics of how love was represented and to show how it essentially emerges from the pathetic register. From a diachronic perspective, the study aims to focus on the particular characteristics of the representation of love in the poetry of the classical and archaic periods, and above all demonstrate the secondary role the theme was accorded. After an analysis of the complex, but always eminently negative, characteristics, attributed to love by Hellenistic poets, which, to them, is essentially reduced to ἔρως, the study examines the precise modalities of its expression through pathos, an important innovation through which the theme of love became recognised as a genuine feeling in literature. This study ultimately enables us to show that the pathetic representation of love is one of the keys to understanding several characteristics and fundamental issues of Hellenistic poetry, through a genuine poetics of love. Romantic pathos can indeed be interpreted here as a meta-poetic paradigm which does not only reflect the new aesthetic values of the Hellenistic age but also the new conditions of creation and reception of literary works, in particular in their close and ambiguous relationships with royal courts and tradition
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Iff-Noël, Flora. "Ariane, vision parlante ? : l’ekphrasis illusionniste chez Catulle et les épigrammatistes hellénistiques." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL064.
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Catulle, dans le poème 64, invente une ekphrasis d’un nouveau genre : au lieu de décrire une œuvre d’art dans sa matérialité pour la mettre sous les yeux des lecteurs selon la tradition rhétorique, il fait parler son personnage principal, Ariane. En quoi la figure d’Ariane a-t-elle permis à Catulle d’entériner une évolution de l’ekphrasis entamée par la littérature hellénistique, à savoir la focalisation non sur la matérialité de l’objet, mais sur son sens, une réflexion sur les liens entre vision et diction ? Il convient d’éclairer ce poème majeur de la littérature latine en le réintégrant, d’une part, aux multiples représentations figurées d’Ariane dans l’Antiquité et, d’autre part, à la lignée des ekphraseis précédentes, concept entendu au sens de « texte consacré à une œuvre d’art » pour inclure descriptions mais aussi narrations ou courts dialogues comme ceux des épigrammes ecphrastiques. En particulier, la prise de parole de l’objet d’art se révèle un topos épigrammatique hellénistique qui nécessite une étude systématique. Ce motif, baptisé topos de l’illusionnisme de l’art, mesure la qualité d’une œuvre d’art à sa capacité à sembler sur le point de parler, se mouvoir ou prendre vie. La typologie de ce topos met en évidence l’évolution de l’esthétique et de la relation entre poésie et arts figurés. Le poème 64 de Catulle se révèle alors reprendre ce topos – comme de nombreux textes après lui – pour constituer une surenchère illusionniste dans l’ekphrasis où l’œuvre d’art prend vie. La poétique de Catulle trouve un éclairage nouveau qui permet de mieux tracer la réception de l’esthétique alexandrine à Rome et l’influence de Catulle sur les poètes latins postérieursThis interdisciplinary dissertation uses text and image studies, intertextuality and metapoetics to analyze the relationships between vision and diction in ekphraseis understood as texts devoted to works of art, and particularly in Catullus’s canonical poem 64. Poem 64 has puzzled many critics by its “disobedient ekphrasis” of a coverlet: not only does it scarcely describe its subject, but it turns into a long monologue by Ariadne, the main figure woven into the coverlet. I argue that, far from disregarding the coverlet, Catullus elaborates on a topos of Hellenistic ekphrastic epigrams that measures an artwork’s value by its illusionist capacity to “seem about to speak” and “come to life”. My extensive classification of the epigrammatic variants of this topos reveals its presence in Catullus through specific keywords. Ariadne’s representation on the coverlet is so lifelike that it starts to speak. Instead of following the critical tradition which considers Ariadne’s speech as another instance of epic or tragic monologue, I analyze it as a major Catullan innovation, in dialogue with the aesthetic debates of his day. Bringing together Hellenistic and Roman figurative arts and literatures sheds a new light on Catullan poetics and, more generally, on the reception of Alexandrian aesthetics in Rome and on Catullus’s influence on posterior Latin poets
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Wolff, Nadège. "Lumière et obscurité dans les Argonautiques d'Apollonios de Rhodes." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSEN072/document.
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Cette thèse propose une synthèse autour des différents rôles de la lumière et de l'obscurité dans les Argonautiques d'Apollonios de Rhodes. Ce sujet comporte une forte composante lexicale, qui fait l'objet d'une étude dans la première partie, où les vocabulaires de la lumière et de l'obscurité chez Apollonios sont comparés aux emplois homériques. Ce thème interroge également les catégories de l'espace et du temps dans la mesure où lumière et obscurité structurent la narration autant qu'elles la déstructurent et proposent un itinéraire placé à la croisée de la barbarie et de la civilisation, état d'entre-deux qui reflète bien les craintes de l'époque alexandrine. La dialectique de la lumière et de l'obscurité permet aussi de mettre en perspective la notion d'héroïsme placée au cœur de l'épopée : la brillance des armes homériques fait alors place à l'éclat de la séduction, arme principale de Jason dont la valeur se mesure surtout dans le domaine érotique. Ce transfert des valeurs traditionnelles de la lumière sur le plan masculin s'accompagne d'une affirmation des pouvoirs féminins en contexte nocturne. Une quatrième partie interroge enfin le statut littéraire des Argonautiques à l'aune de la dialectique entre lumière et obscurité : l'épopée au long cours dénigrée par Callimaque peut en effet être lue comme un recueil poétique de pièces autonomes et une galerie de tableaux correspondant aux canons de l'esthétique hellénistique. Le dieu Apollon, dieu de la lumière et de la poésie placé au centre de l'oeuvre d'Apollonios, se fait le porte-parole privilégié d'un auteur au nom si proche du sien et devient le destinataire d'une sorte d'hymne atomisé qui mêle célébration poétique et réflexions métapoétiquesThrough this thesis, we aim to prove the various roles played by light and darkness in Apollonius Rhodius'Argonautica. In the first part, a lexical study specifically explores the terms expressing the ideas of light and darkness, in comparison to the Homeric references. Our thematic also tackles the issue of the construction of space and time, a notorious one in the Hellenistic period. The epic's structure is indeed based on the light and darkness' duality, but the threat of darkness symbolizing chaos is never far from the Argonauts who constantly struggle with barbarians and on the contrary symbolize Greek enlightment and civilization. The light and darkness'couple also allows us to give a new perspective on heroism, which is a central issue in Apollonius'poem. Whereas Homeric warriors project martial light due to their armour's glistening, Jason appears as love-hero shining with his purple cloak, an Hellenistic artefact replacing Achilles'shield described in the Iliad. At the same time, we can observe a kind of empowerment on the feminine side during the scenes occuring at night. In the fourth and last part, light and darkness endorse a metapoetical value, as they build a new kind of epic, like a collection of brief literary pieces joined together by a common celebration of Apollo, god of both poetry and light. Apollonius'Argonautica can therefore be seen as a prefiguration of Philostratus'Imagines, as it is built around a succession of vivid poetical paintings
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Papanghelis, T. D. "Propertius : A Hellenistic poet on love and death." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372281.
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Colborn, Robert Maurice. "Manilius on the nature of the Universe : a study of the natural-philosophical teaching of the Astronomica." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:481db8c5-4a3b-42ff-b301-eafc3e2f9ad8.
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The thesis has two aims. The first is to show that a more charitable approach to Manilius, such as Lucretian scholarship has exhibited in recent decades, yields a wealth of exciting discoveries that earlier scholarship has not thought to look for. The thesis' contributions to this project centre on three aspects of the poem: (I) the sophistication of its didactic techniques, which draw and build on various predecessors in the tradition of didactic poetry; (II) its cosmological, physical and theological basis, which has no exact parallel elsewhere in either astrology or natural philosophy, and despite clear debts to various traditions, is demonstrably the invention of our poet; (III) the extent to which rationales and physical bases are offered for points of astrological theory – something unparalleled in other astrological texts until Ptolemy. The second, related aim of the thesis is to offer a more satisfying interpretation of the poem as a whole than those that have hitherto been put forward. Again the cue comes from Lucretius: though the DRN is at first sight primarily an exposition of Epicurean physics, it becomes clear that its principal concern is ethical, steering its reader away from superstition, the fear of death and other damaging thought-patterns. Likewise, the Astronomica makes the best sense when its principal message is taken to be not the set of astrological statements that make up its bulk, but the poem’s peculiar world- view, for which those statements serve as an evidential basis. It is, on this reading, just as much a poem ‘on the nature of the universe', which provides the title of my thesis. At the same time, however, it finds new truth in the conventional assumption that Manilius is first and foremost an advocate of astrology: it reveals his efforts to defend astrology at all costs, uncovers strategies for making the reader more amenable to further astrological study and practice, and contends that someone with Manilius' set of beliefs must first have been a devotee of astrology before embracing a natural- philosophical perspective such as his. The thesis is divided into prolegomena and commentaries, which pursue the aims presented above in two different but complementary ways. The prolegomena comprise five chapters, outlined below: Chapter 1 presents a comprehensive survey of the evidence for the cosmology, physics and theology of the Astronomica, and discovers that a coherent and carefully thought-out world-view underlies the poem. It suggests that this Stoicising world- view is drawn exclusively from a few philosophical works of Cicero, but is nonetheless the product of careful synthesis. Chapter 2 explores the relationship between this world-view and earlier Academic criticism of astrology and concludes that the former has been developed as a direct response to these criticisms, specifically as set out in Cicero’s De divinatione. Chapter 3 examines the later impact of Manilius’ astrological world-view, as far as it can be detected, assessing the evidence for the early reception of his poem and its role in the history of philosophical astrology. The overwhelming impression is that the work was received as a serious contribution to debate over the physical and theological underpinnings of astrology; its world-view was absorbed into the mainstream of astrological theory and directly targeted in the next wave of Academic criticism of astrology. Chapter 4 looks at the more subtle strategies of persuasion that are at work in the Astronomica. It observes, first, a number of structural devices and word- patternings that set up the poem as a model of the universe it describes. This first part of the chapter concludes by asking what didactic and/or philosophical purpose such modelling could serve. The second part examines how, by a gradual process of habituation-through-metaphor, the reader is made familiar with the conventional astrological way of thinking about the world, which might otherwise have struck him as a baffling mass of contradictions. The third part looks at the use of certain rhetorical figures, particularly paradox, to re-emphasise important physical claims and assist the process of habituation. Chapter 5 takes on the task of making sense of the Astronomica as a whole, seeking out an underlying rationale behind the choice and ordering of material, accounting as well as is possible for its apparently premature end, and asking why, if it is a serious piece of natural-philosophical teaching, it so often appears to be self- undermining. A short epilogue asks what path can have led Manilius to embark on such a work as the Astronomica. It offers a sketch of the author as an adherent (but not a practitioner) of astrology, who had developed a philosophical system first as scaffolding for an art under threat, but had then come to see more importance in that philosophical underpinning than in the activities of prediction. The lemmatised commentaries that follow cover several passages from the first book of the Astronomica. As crucial as the remaining four books are to his natural-philosophical teaching, it is in this part of the poem that Manilius concentrates the direct expositions of his world-view. Like the chapters, the commentaries' two concerns are the nature and the exposition of the work's world-view. Each of the commentaries has its own focus, but all make full use of the format to tease out the poet's teaching strategies and watch his techniques operate 'in real time' over protracted stretches of text. Finally, an appendix presents the case for the Astronomica as the earliest evidence for the use of plane-image star maps. At two points in his tour of the night sky Manilius describes the positions of constellations in a way that suggests that he is consulting a stereographic projection of each hemisphere, and that he is assuming his reader has one to hand, too. This observation casts valuable new light on the development of celestial cartography.
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Lorgeoux-Bouayad, Laetitia. "Poésie et pédagogie dans l'oeuvre d'Aratos de Soles." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040095.
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Au-delà d’être un poème didactique, les Phénomènes d’Aratos sont un poème pédagogique qui unit étroitement le fond et la forme. On y trouve une conscience méthodique de la construction d’un savoir ; l’analyse du vocabulaire, pourtant issu de la poésie homérique, révèle une réflexion sur la transmission scientifique déjà définie comme un processus dynamique, à une époque où les écoles et leurs méthodes sont encore jeunes : percevoir, délimiter, nommer, et enfin assurer la conservation d’un objet de science. Cette idée de transmission prouve la préoccupation pédagogique d’Aratos, qu’il met en scène dans le poème à travers des figures de maîtres et d’élèves. Il s’y lit, notamment dans le mythe de l’Âge d’Or, une foi en la collaboration entre tous les vivants, fondée sur un respect qui tranche avec la dureté des poèmes didactiques archaïques. La pédagogie devient dans les Phénomènes un enjeu poétique : Aratos définit le poète comme un des membres de cette collaboration universelle, derrière laquelle il doit s’effacer, dans une éthique et une esthétique de l’anonymat qui remettent en question le kléos archaïque. La tradition poétique peut désormais être bousculée au nom de la transmission scientifique, et cette nouvelle conception n’est pas sans rappeler les récentes critiques opérées par Platon. Tout se passe comme si Aratos avait voulu relever le défi que Platon a lancé aux poètes de son temps : chanter le Dieu et sa création selon le Vrai ou le Vraisemblable, et devenir par son chant l’éducateur de la cité idéale. C’est probablement la réussite de cette gageure qui a assuré la gloire des Phénomènes dans les siècles où la philosophie de Platon a été suivie et admiréeThe Phaenomena by Aratus are not only a didactic, but also pedagogical poem, in which form and content are tightly bound. One may find in it a methodical conscience of how knowledge is built; the analysis of vocabulary, although taken from Homeric poetry, shows that scientific transmission is already understood as a dynamic process, in a time when schools and their proceedings were still young : to perceive an object of science, to delimitate it, to name it, and at last to guarantee his preservation. This idea of transmission proves that Aratus is concerned with pedagogy, which is illustrated in the poem through different figures of masters and pupils. We can observe, especially in the myth of the Golden Age, all his faith in the collaboration between all kinds of living being bound together by a respect that is really different from the harsh tone of archaic didactic poetry. In the Phaenomena, pedagogy becomes a poetic matter: Aratus defines the poet as a member of this universal collaboration, behind which he has to fade because of an ethic and an aesthetic of namelessness; so is the archaic kleos questioned. Poetic tradition can be shaken up in the name of scientific transmission, and this new conception may remind us of Plato’s recent criticism. Apparently, Aratus did want to take up Plato’s challenge to the poets of his time: to sing the God and his creation according to Truth or Verisimilitude, and to become the teacher of an ideal state, thanks to his song. In all likelihood, Aratus’fame came from the success of this wager, during all the centuries when Plato’s philosophy was followed and admired
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PASQUALI, RACHELE. "LA IONIA DI CALLIMACO. UN CAPITOLO DI GEOGRAFIA E STORIA DELLA POESIA CALLIMACHEA." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/252253.
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The present work investigates Callimachus’ literary purposes and his method by focusing on the recurring presence of Ionia in his poetic production. Different reasons can explain the diffuse presence of Ionia in Callimachus’ work: the geopolitical interests in the region by the Ptolemies – Callimachus’ protectors - on the one hand, and the crucial role of Ionia in the foundation of Greek civilization and culture, on the other. In order to understand what Ionia was in the eyes of Callimachus, this thesis follows several research directions. It starts from identifying all references to Ionia, its places, cults and myths – the so called Ioniká - in Callimachus’s work, and it then investigates the importance of Ionic literary models (Mimnermus and Hipponax, in particular) in Callimachus’ poetic production.
After an introduction to Ionia and its influence on the Greeks’ collective imagination and on Hellenic history, the thesis proposes a review of all Ioniká present in Callimachus’ opera and of all references to Mimnermus and Hipponax, the two poets chosen by Callimachus as models for his project of renovating the traditional genres of elegy and iambus. Finally, the thesis proposes a synthesis of the collected data in order to identify which sources and stimuli are at the base of the literary representation of Ionia in Callimachus’ poetry and to highlight his creative and compositional manners.
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Taretto, Erika. "Poets and places : sites of literary memory in the Hellenistic world." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12223/.
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This dissertation argues for the existence of a widespread yet underexplored Hellenistic habit of linking the memory of archaic and classical Greek poets to specific places. Through a combination of in-depth case studies and a panoramic overview of Hellenistic sites of literary memory, the dissertation establishes the significance of literary geographies and explores the means through which they were established. The first chapter focuses on the house of Pindar and its alleged treatment on the part of Alexander the Great. The second chapter investigates the memorialisation of Homer in Alexandria, showing that the desire to shape literary geographies fundamentally shapes the identity of the new Egyptian city. The third chapter moves from the centre to the periphery of the Hellenistic world and focuses on the best documented case of a site of memory dedicated to an ancient poet: the Archilocheion on Paros. The fourth and last chapter offers an overview of the evidence for Hellenistic sites dedicated to the memory of archaic and classical poets in the Hellenistic age. By demonstrating that sites of literary of memory are an important Hellenistic aspect of the reception of poetry, this dissertation hopes to open the way to further studies about both the Hellenistic and later literary geographies.
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RAPELLA, ESTER. "GLI EPIGRAMMI DI MNASALCE DI SICIONE. INTRODUZIONE, TRADUZIONE E COMMENTO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58406.
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La ricerca è dedicata all’analisi della poesia e della poetica di Mnasalce di Sicione, epigrammatista greco della metà del III sec. a.C. La prima parte del lavoro consiste in un’introduzione generale relativa a tutti gli aspetti più importanti concernenti il poeta e la sua opera: dati biografici e cronologia; fonti degli epigrammi, con particolare attenzione a P. Köln V 204; sottogeneri epigrammatici coltivati; lingua e stile; usi metrici e prosodici. La seconda parte, che costituisce il corpo principale della tesi, è invece dedicata all’analisi dei singoli epigrammi, disposti secondo un criterio tematico. Il corpus esaminato consta di ventiquattro componimenti, di cui due dubbi; rispetto alle precedenti edizioni commentate di W. Seelbach (1964) e di A.S.F. Gow e D.L. Page (1965), esso risulta ampliato da cinque nuovi epigrammi conservati da P. Köln V 204 e dal dubbio SGO I 06/02/05. Di ciascun componimento si presenta il testo, corredato di traduzione e apparato critico, e, dopo una breve introduzione, il commento lemmatico, volto a evidenziare le relazioni di transtestualità intessute da Mnasalce e gli elementi di continuità e innovazione rispetto alla tradizione epigrammatica, sia letteraria che epigrafica. Il lavoro comprende inoltre un index verborum.The research is focused on the poetry and poetics of Mnasalces of Sicyon, a Greek epigrammatist of the middle of the III century B.C. The first part of the dissertation is a general introduction that deals with all the most important aspects concerning the poet and his work: biographical information and chronology; sources of the epigrams, with particular attention to P. Köln V 204; epigrammatic subgenres; language and style; metrics and prosody. The second part, which represents the main body of the dissertation, is devoted to the analysis of the epigrams, arranged thematically. The examined corpus consists of twenty-four poems, including two dubia; the corpus of the previous editions by W. Seelbach (1964) and A.S.F. Gow and D.L. Page (1965) is thus enriched by five new epigrams from P. Köln V 204 and the dubium SGO I 06/02/05. The critical text of each poem is followed by a translation, a brief introduction and a word-by-word commentary, aimed at investigating the elements of transtextuality and those of continuity and innovation in relation to the epigrammatic tradition, both literary and epigraphic. The dissertation also includes an index verborum.
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RAPELLA, ESTER. "GLI EPIGRAMMI DI MNASALCE DI SICIONE. INTRODUZIONE, TRADUZIONE E COMMENTO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58406.
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La ricerca è dedicata all’analisi della poesia e della poetica di Mnasalce di Sicione, epigrammatista greco della metà del III sec. a.C. La prima parte del lavoro consiste in un’introduzione generale relativa a tutti gli aspetti più importanti concernenti il poeta e la sua opera: dati biografici e cronologia; fonti degli epigrammi, con particolare attenzione a P. Köln V 204; sottogeneri epigrammatici coltivati; lingua e stile; usi metrici e prosodici. La seconda parte, che costituisce il corpo principale della tesi, è invece dedicata all’analisi dei singoli epigrammi, disposti secondo un criterio tematico. Il corpus esaminato consta di ventiquattro componimenti, di cui due dubbi; rispetto alle precedenti edizioni commentate di W. Seelbach (1964) e di A.S.F. Gow e D.L. Page (1965), esso risulta ampliato da cinque nuovi epigrammi conservati da P. Köln V 204 e dal dubbio SGO I 06/02/05. Di ciascun componimento si presenta il testo, corredato di traduzione e apparato critico, e, dopo una breve introduzione, il commento lemmatico, volto a evidenziare le relazioni di transtestualità intessute da Mnasalce e gli elementi di continuità e innovazione rispetto alla tradizione epigrammatica, sia letteraria che epigrafica. Il lavoro comprende inoltre un index verborum.The research is focused on the poetry and poetics of Mnasalces of Sicyon, a Greek epigrammatist of the middle of the III century B.C. The first part of the dissertation is a general introduction that deals with all the most important aspects concerning the poet and his work: biographical information and chronology; sources of the epigrams, with particular attention to P. Köln V 204; epigrammatic subgenres; language and style; metrics and prosody. The second part, which represents the main body of the dissertation, is devoted to the analysis of the epigrams, arranged thematically. The examined corpus consists of twenty-four poems, including two dubia; the corpus of the previous editions by W. Seelbach (1964) and A.S.F. Gow and D.L. Page (1965) is thus enriched by five new epigrams from P. Köln V 204 and the dubium SGO I 06/02/05. The critical text of each poem is followed by a translation, a brief introduction and a word-by-word commentary, aimed at investigating the elements of transtextuality and those of continuity and innovation in relation to the epigrammatic tradition, both literary and epigraphic. The dissertation also includes an index verborum.
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Collins, Nina Lydia. "A critical investigation of the provenance and date of the Hellenistic poet Ezekiel, with special reference to the post-biblical traditions of the names of the father-in-law of Moses." Thesis, University of Leeds, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328687.
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Nardone, Claire-Emmanuelle. "L'humilité dans la poésie hellénistique." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN007.
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Selon Callimaque, l’artiste a pour tâche d’emprunter des sentiers non encore battus parses prédécesseurs. Explorer de nouveaux chemins de création va de pair avec le fait de chanter une nouvelle catégorie de figures : celle des humbles. L’humilité, c’est-à-dire le caractère de ce qui présente un manque considéré comme un défaut, est à distinguer de la pauvreté, qui n’est liée qu’à la possession des biens. Elle est un élément de caractérisation des figures poétiques et revêt des formes multiples, particulièrement liées aux âges de la vie, à l’apparence et au statut social des personnages, et devient un champ d’expérimentations poétiques pour les poètes hellénistiques. Bien qu’aucun terme ne désigne en grec ancien, à l’époque hellénistique, l’humilité et qu’on ne peut de ce fait affirmer l’existence d’un concept d’humilité en tant que tel à cette période, les figures caractérisées par l’humilité apparaissent structurées en réseau, par des biais sémantiques, lexicaux et stylistiques. Ce phénomène est particulièrement observable dans les Idylles et les épigrammes de Théocrite, ainsi que dans l’Hécalé et les épigrammes de Callimaque, les Mimiambes d’Hérondas et les épigrammes de Léonidas de Tarente. Ces oeuvres, où des figures caractérisées par leur humilité occupent des rôles de premier plan contrairement à ce qui était le cas dans la poésie antérieure, constituent le corpus choisi pour notre étude de manière à permettre l’analyse du traitement de la thématique au sein de genres poétiques divers. Ce sont les modalités et les enjeux du traitement dont fait l’objet l’humilité dans la poésie hellénistique qui sont ici analysées. Il s’agit de déterminer les critères qui permettent de distinguer des sèmes d’humilité afin de reconstruire ce « concept » omniprésent bien que non nommé, puis, à partir des réseaux sémantiques liées à l’humilité qui parcourent la poésie hellénistique, de montrer les enjeux métapoétiques que le traitement de ce thème soulèveThe aim of this work is to study hellenistic poetry through a new concept of « humility ». Poetic and metapoetic aspects of Callimachus’ Hecale andepigrams, Theocritus’ Idylls and epigrams, Herodas’ Mimiambi and Leonidas’ of Tarentum epigrams are explored in this light
Secondo Callimaco, l’artista deve scegliere delle strade diverse da quelle che hanno percorso i suoipredecessori. Il fatto di cantare una nuova categoria di personaggi, gli umili, fa parte dell’esplorazione diun nuovo modo di comporre poesia.L’umiltà, cioè la caratteristica di tutto ciò che presenta una qualche mancanza ed è perciò consideratoin difetto, è diversa dalla povertà, che corrisponde alla sola mancanza dei beni. L’umiltà è un modo percaratterizzare i personaggi. Le forme della sua realizzazione, legate in particolare all’età, all’apparenza, allivello sociale e alla ricchezza, sono varie e offrono un campo di sperimentazione ai poeti ellenistici.Siccome il senso di nessuna parola greca corrisponde a quello della parola «umiltà» in epoca ellenistica,non è possibile essere sicuri dell’esistenza, in quel periodo, di un simile concetto. Gli elementicaratterizzati dall’umiltà, tuttavia, sembrano organizzati secondo la struttura di una rete, grazie a deiprocessi semantici, lessicali e stilistici. Questo fenomeno appare in modo particolarmente chiaro negliIdilli e negli epigrammi di Teocrito, nell’Ecale e negli epigrammi di Callimaco, nei Mimiambi di Eroda, enegli epigrammi di Leonida di Taranto. Il corpus analizzato è composto da questi quattro gruppi di testipoetici, in cui alcuni personaggi umili svolgono ruoli da protagonisti, affinché la tematica dell’umiltà possaessere studiata in generi poetici differenti.In questo lavoro analizziamo le modalità di sviluppo di questa tematica nella poesia ellenistica e lesfide estetiche che essa implica. Si tratta, in primo luogo, di individuare i criteri che permettono diriconoscere la presenza della nozione di umiltà, per ricostruire questo «concetto» ben percepibile anche semai nominato, e poi di studiare le reti semantiche che lo strutturano; infine, di mettere in luce gli aspettimetapoetici tanto della nozione di umiltà quanto degli stessi personaggi umili
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Tzotzi, Armela. "Innovation in tradition : women's voices in hellenistic literature." Thèse, 2017. http://hdl.handle.net/1866/20133.
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Mori, Anatole. "Alliance, ambush, and sacrifice : political authority in Apollonius' Argonautica /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9965124.
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Claros, Yujhan. "(Post-)Classical Coloniality; Identity, Gender (Trouble), and Marginality/subalternity in Hellenized Imperial Dynastic Poetry from Alexandria, with an epilogue on Rome." Thesis, 2021. https://doi.org/10.7916/d8-rtx8-ez62.
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This dissertation is about how dominant identity is constructed through the centering and incorporation of marginal and subaltern subjectivities in Ancient Greek thought, with some preliminary consideration of the Classical Age but chiefly devoted to a study of Hellenistic poetic aesthetics at Ptolemaic Alexandria. The thesis argues ultimately for a specifically Queer and Afrocentric reading of the ArgonautikaI use postcolonial methods, tactics, and strategies to theorize the genealogical intersection(s) of gender and race, and explore the ancient roots of racism. I am indebted in my work to Critical Race Theory, Gender and Queer Theory, Intersectionality Theory and Decolonial Studies.
Guided by the millennial discourses of the Coloniality of power and the contributions of Aníbal Quijano and his intellectual heirs to critical thought and theory—positing the fundamental and central functions of epistemological thought, knowledge-production and the control and regulation of knowledge within oppressive social orders as specifically and particularly interrelated practices in the European colonialism of Modernity, and enabling us to deconstruct out of our contemporary knowledge and social practices the oppressive consequences in Modernity as a result of the aftermath of Old World regimes in the New World—the argument throughout this dissertation subjects monuments of Classical Greek literature to an analysis that traces loosely a genealogy of how ideology and identity were constructed and fabricated in imperial contexts in the aftermath of the Greco-Persian Wars, during which time Hellenic peoples were first exposed to Empire, and some great portions of the Greek-speaking world came under the dominion of the Achaemenid imperial regime.
In a manner of speaking, this dissertation deconstructs the intersections of identity, including gender (and ethnicity) and “race”, at pivotal moments in the history of Greek Antiquity. Principal test-cases for this study analyze monumental texts produced in societies under the hegemony of “democratic” imperial authority at Athens in the 5th Century BCE and Ptolemaic Egypt in the 3rd Century, in the aftermath of Alexander’s conquests. This dissertation explores how the control and regulation of racialized and ethnic marginalities and subalternities is critical to civic and political structures in the Classical Age, as well as how the interrelated concept of the gendered other, in artistic expressions of knowledge and authority—high literary monuments—functioned critically to reify and justify imperial and colonial practices in the Ancient Greek World.
Chapter 1 consists primarily of readings of the Wesir-Heru (“Osiris-Horus”) dynastic succession myth from Egypt in representations of kingship and dynastic succession particularly in Africa and African spaces in the texts of Pindar, Herodotos, and Aiskhylos, including an exploration of the what at the instigation of Jackie Murry I call the Imagistic Poetics of Pindar and Aiskhylos in comparative consideration of Egyptian symbolic literary culture, including even the mdw-ntjr (“hieroglyphs”), and an especially instructive close reading of the center of the Agamemnon. To support my readings of Aiskhylos’ interactions with Egypt and Egyptian thought, I also consider how Aiskhylos interacted with the legacy of the Danaid myth. Situated in their proper historical contexts these readings demonstrate that during the height of the Achaemenid Empire in the Mediterranean World, which coincides incidentally with what we call the Greek Classical Age, Hellenism and Africanism were not mutually exclusive.
In fact, as we see early in Chapter 1 with Pindar, Africanism is coextensive with Panhellenism. Furthermore, and critically, as part of my readings of gender as racialized—i.e., constructed under the Ancient Greek linguistic paradigms that govern “racial” otherness (genos)—I show that Blackness, beyond representing masculinity and the male body in the Greek artistic and visual imagination, is separable notionally in the Ancient Greek imagination, and in critical contrast to the modern and contemporary situation, from Africanism. In order to perform this work, I call upon archaeology and material evidence to render a more coherent picture of the networks of culture accessible in the micro- and macro-regions of an interconnected and transnational Ancient Mediterranean. In Appendixes to Chapter 1, I also provide brief readings of intertextuality in the Hellenistic reception at Alexandria of Classical Greek interactions with Egypt, Libya, and the African cultural past and show the embeddedness of that interaction in literary encounters especially, a fact evident from the Classical Greek texts.
Chapter 2 explores the Hellenistic origins of Afro-Greek subjectivity in the literary record with Theokritos at Alexandria. I explore “race” in the West and the formation of Greek ethnicity in the East as a “kairological” artistic and poetic projection that exposes of the roots of 3rd-century universalist and globalist Ptolemaic imperial ideology. I also explore Space and identity, the social imaginary, and consequent(ial)ly the gendering of space in the poetry of Poseidippos. In my readings, we see texts engaged intimately with discourses about Sovereignty, and implicitly with the history of Rome and Qrt-ḥdšt (“Carthage”).
Chapters 3 and 4 function as a pair or couple. After a full historical and social contextualization of Ptolemaic Alexandria in the Hellenistic Age of the 3rd Century BCE, as well as an exploration of an inclusive range of Queer (including “LGBTQ+”) subjectivities in Alexandrian poetry in Chapter 3, in Chapter 4 I argue that in the Argonautika of Apollonios Rhodios Medeia represents a Queer woman who endures systematic heteronormative and patriarchal oppression, or heterosexism. This opens up Book 4 of the Argonautika for fertile close readings of the inclusive and all-encompassing aesthetics that constitute Hellenistic poetry, including authentically Kemetic (“Egyptian”) voices.
The Epilogue provides a roadmap for applying these analytic tools to the Latin Literature of Rome.