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Journal articles on the topic 'Imperial Latin poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Kliszcz, Aneta, and Joanna Komorowska. "Transcendency of conceptual framework: some reflections on the non-translatability of Latin epic poetry." Tekstualia 1, no. 5 (2019): 31–44. http://dx.doi.org/10.5604/01.3001.0014.4098.

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The essay explores questions related to the intrinsic elusiveness of intertextual dimensions of Latin imperial poety. Starting with the existing Polish translations of imperial epic poets (Lucan, Silius, Statius) it considers the relationship of thir opening verses to the iconic Arma virumque cano… of Virgil’s Aeneid thus unveiling the massive semantic and poetic losses suffered by the target text, as its newfound independence results in the loss of an essential and purposeful connection with the ‘master poem’.

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2

Langlands, Rebecca. "Latin Literature." Greece and Rome 61, no. 1 (2014): 118–22. http://dx.doi.org/10.1017/s0017383513000284.

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First up for review here is a timely collection of essays edited by Joseph Farrell and Damien Nelis analysing the way the Republican past is represented and remembered in poetry from the Augustan era. Joining the current swell of scholarship on cultural and literary memory in ancient Greece and Rome, and building on work that has been done in the last decade on the relationship between poetry and historiography (such as Clio and the Poets, also co-edited by Nelis), this volume takes particular inspiration from Alain Gowing's Empire and Memory. The individual chapter discussions of Virgil, Ovid

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3

Malamud, Martha. "Making A Virtue of Perversity: The Poetry of Prudentius." Ramus 19, no. 1 (1989): 64–88. http://dx.doi.org/10.1017/s0048671x00002964.

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Not long ago, the publication of two volumes of essays devoted to a rereading and rethinking of imperial Latin literature would have been held up as a classic example of professional Latinists making a virtue out of necessity — since we cannot all write on Vergil and Horace, some of us must therefore stiffen our upper lips and attempt to produce ‘sound’ scholarship on the reams of inferior poetry that make up the rest of Latin literature. The unspoken assumptions behind this attitude are beginning to be voiced, scrutinized, and rejected. Poetic works that until recently appeared mannered, dege

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4

Vazquez, Adriana. "The cruelest harvest: Virgilian agricultural pessimism in the poetry of the Brazilian colonial period." Classical Receptions Journal 12, no. 4 (2020): 445–69. http://dx.doi.org/10.1093/crj/claa006.

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Abstract Classical imagery and mythological narratives provided ready literary analogues for framing European expansion into the New World in the colonial and early modern periods. This article examines the manipulation of classical images of agricultural fecundity and Virgilian pessimism in select works of two Brazilian poets working in the neoclassical tradition during the colonial period, José Basílio da Gama (1740–95) and Inácio José de Alvarenga Peixoto (1744–93), by which both poets advance a critique of Iberian expansion into Latin America. I argue that both poets, writing in dialogue w

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5

Hutchinson, G. O. "APPIAN THE ARTIST: RHYTHMIC PROSE AND ITS LITERARY IMPLICATIONS." Classical Quarterly 65, no. 2 (2015): 788–806. http://dx.doi.org/10.1017/s0009838815000452.

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If we had no idea which parts of Greek literature in a certain period were poetry or prose, we would regard it as our first job to find out. How much of the Greek prose of the Imperial period is rhythmic has excited less attention; and yet the question should greatly affect both our reading of specific texts and our understanding of the whole literary scene. By ‘rhythmic’ prose, this article means only prose that follows the Hellenistic system of rhythm started, it is said, by Hegesias, and adopted by Cicero and by many Latin writers of the Imperial period. Estimates of how much Greek Imperial

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6

Brickhouse, Anna. "The Black Legend of Texas." PMLA/Publications of the Modern Language Association of America 131, no. 3 (2016): 735–42. http://dx.doi.org/10.1632/pmla.2016.131.3.735.

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Among The Many Significant Contributions of Raúl Coronado's A World Not to Come: A History Of Latino Writing and Print Culture is its vivid account of a lost Latino public sphere, a little-known milieu of hispanophone intellectual culture dating back to the early nineteenth century and formed in the historical interstices of Spanish American colonies, emergent Latin American nations, and the early imperial interests of the United States. In this respect, the book builds on the foundational work of Kirsten Silva Gruesz's Ambassadors of Culture: The Transamerican Origins of Latino Writing, which

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7

Langlands, Rebecca. "Latin Literature." Greece and Rome 63, no. 2 (2016): 256–63. http://dx.doi.org/10.1017/s0017383516000139.

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Mairéad McAuley frames her substantial study of the representation of motherhood in Latin literature in terms of highly relevant modern concerns, poignantly evoked by her opening citation of Eurydice's lament at her baby's funeral in Statius’ Thebaid 6: what really makes a mother? Biology? Care-giving? (Grief? Loss? Suffering?) How do the imprisoning stereotypes of patriarchy interact with lived experiences of mothers or with the rich metaphorical manifestations of maternity (as the focus of fear and awe, for instance, or of idealizing aesthetics, of extreme political rhetoric, or as creativit

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8

Michalopoulos, Charilaos N. "POETRY, POWER AND ICONOGRAPHY - (N.B.) Pandey The Poetics of Power in Augustan Rome. Latin Poetic Responses to Early Imperial Iconography. Pp. xiv + 302, ills. Cambridge: Cambridge University Press, 2018. Cased, £75, US$105. ISBN: 978-1-108-42265-9." Classical Review 70, no. 2 (2020): 394–96. http://dx.doi.org/10.1017/s0009840x20000724.

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9

Flores Militello, Vicente. "Venationes en la poesía latina tardoimperial. El poder de la arena y su final." Nova Tellus 39, no. 2 (2021): 113–44. http://dx.doi.org/10.19130/iifl.nt.2021.39.2.79286.

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This article analyzes various passages from Claudian’s and Gorippus’s political poems (Claud., Ruf., 2; Theod.; Stil., 3; VI Hon.; Goripp., Laud. Iust. Min., 3) which describe hunting games in the Roman arena (venationes) and have communicative aims: they either praise officeholders (consuls, generals, and emperors), or they criticize their opponents. This theme plays a fundamental role in early imperial poetry. But while early imperial poets (Calpurnius, Statius, Martial, and Juvenal) convey their message of praise or invective with briefer passages, Claudian and Gorippus present concatenated

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10

JOHN, ALISON. "LEARNING GREEK IN LATE ANTIQUE GAUL." Classical Quarterly 70, no. 2 (2020): 846–64. http://dx.doi.org/10.1017/s0009838821000112.

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Greek had held an important place in Roman society and culture since the Late Republican period, and educated Romans were expected to be bilingual and well versed in both Greek and Latin literature. The Roman school ‘curriculum’ was based on Hellenistic educational culture, and in the De grammaticis et rhetoribus Suetonius says that the earliest teachers in Rome, Livius and Ennius, were ‘poets and half Greeks’ (poetae et semigraeci), who taught both Latin and Greek ‘publicly and privately’ (domi forisque docuisse) and ‘merely clarified the meaning of Greek authors or gave exemplary readings fr

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11

Malamud, Martha. "Out of Circulation? An Essay on Exchange in Persius' Satires." Ramus 25, no. 1 (1996): 39–64. http://dx.doi.org/10.1017/s0048671x00002204.

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Twenty five years ago in the infantRamus, J.P. Sullivan wrote ‘In Defence of Persius’. Not many scholars writing today would think of choosing that title: having contemplated the indefensible aspects of Classical literature, most are far too wary to leap to the defence of any classical author, let alone a writer of Satire, a genre distinguished by its combination of crassness and cruelty, its insistence on turning its audience into victimisers. Sullivan's defence rests partly on his perceptive appreciation of Persius' unusually complex and intense poetic style. Twenty years later, also inRamus

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12

Cole, Spencer. "The Poetics of Power: Latin Poetic Responses to Early Imperial Iconography by Nandini B. Pandey." Classical World 113, no. 2 (2020): 228–29. http://dx.doi.org/10.1353/clw.2020.0012.

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13

Cardoso, Zelia De Almeida. "Ecos da pretexta latina em nossos dias." CODEX -- Revista de Estudos Clássicos 6, no. 2 (2018): 96–113. http://dx.doi.org/10.25187/codex.v6i2.21531.

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No século III a.C., quando o teatro culto foi introduzido em Roma, alguns poetas itálicos compuseram as primeiras “fábulas pretextas”, dramas cujos enredos se baseavam na história romana, em acontecimentos coetâneos ou em lendas latinas. Entretanto, embora a produção de pretextas se tenha estendido da época republicana ao período imperial, apenas Otávia, drama de autoria discutível, que aborda a condenação da esposa de Nero, chegou na íntegra até nossos dias. Durante o Renascimento, o período barroco e o neoclassicismo numerosos dramaturgos modernos voltaram a explorar assuntos romanos históri

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14

Pandey, Nandini B. "Ovid, the Res Publica, and the ‘Imperial Presidency’: Public Figures and Popular Freedoms in Augustan Rome and America." Polis: The Journal for Ancient Greek and Roman Political Thought 37, no. 1 (2020): 123–44. http://dx.doi.org/10.1163/20512996-12340260.

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Abstract How did Romans perceive the changing relationships among leaders, the people, and the public sphere as their commonwealth (res publica) fell under the control of an emperor? This paper examines Ovid’s uses of the Latin adjective publicus, ‘public, common, open’, to explore strands of implicitly ‘republican’ political thought behind his poetic corpus. Ovid first celebrates Augustus’ material benefactions as common goods for private consumption; then dramatises the tragic consequences of arbitrary domination; and finally, from exile, treats the emperor himself as a public property, subj

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15

Boyle, A. J. "Introduction." Ramus 16, no. 1-2 (1987): 1–3. http://dx.doi.org/10.1017/s0048671x00003222.

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oratio certam regulam non habet; consuetudo illam ciuitatis, quae numquam in eodem diu stetit, uersat.Style has no fixed rules; the usage of society changes it, which never stays still for long.Seneca Epistle 114.13This is the first of two volumes of critical essays on Latin literature of the imperial period from Ovid to late antiquity. The focus is upon the main postclassical period (A.D. 1-150), especially the authors of the Neronian and Flavian principates (A.D. 54-96), several of whom, though recently the subject of substantial investigation and reassessment, remain largely unread, at best

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16

Crofton-Sleigh, Lissa. "NANDINI B. PANDEY, THE POETICS OF POWER IN AUGUSTAN ROME: LATIN POETIC RESPONSES TO EARLY IMPERIAL ICONOGRAPHY. Cambridge/New York: Cambridge University Press, 2018. Pp. xiii + 302, illus. isbn 9781108422659. £75.00/US$105.00." Journal of Roman Studies 110 (February 24, 2020): 291–92. http://dx.doi.org/10.1017/s0075435820000076.

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17

Curran, Bev. "Portraits of the Translator as an Artist." M/C Journal 4, no. 4 (2001). http://dx.doi.org/10.5204/mcj.1923.

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The effects of translation have been felt in the development of most languages, but it is particularly marked in English language and literature, where it is a highly charged topic because of its fundamental connection with colonial expansion. Britain shaped a "national" literary identity through borrowing from other languages and infected and inflected other languages and literatures in the course of cultural migrations that occurred in Europe since at least the medieval period onward. As Stephen Greenblatt points out in his essay, "Racial Memory and Literary History," the discovery that Engl

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