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Hershkowitz, Debra. "Madness in Greek and Latin epic." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296228.
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Manioti, Nikoletta. "All-female family bonds in Latin epic." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/3523/.
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This thesis deals with the representation of all-female family bonds in Virgil’s "Aeneid", Ovid’s "Metamorphoses", Valerius Flaccus’ "Argonautica" and Statius’ "Thebaid". The themes of sisterly unanimity, love and marriage, loss and mourning, and storytelling, provide the framework within which I investigate the literary models in epic, tragedy and other genres, of each episode featuring all-female interaction. Furthermore, I demonstrate how the Roman ideal of unanimity is combined with the Apollonian representation of Medea and Chalciope in the portrayal of Dido and Anna in Virgil, which then provides the basis for four often more extreme pairs of unanimae sorores in Latin epic. The final one in the series, consisting of the sisters-in-law Argia and Antigone, attests to a very Roman view about the power of adoptive relationships. In the same vein, the stories of Amata and Lavinia, and Ceres and Proserpina, are constructed around the Roman mother’s expectations of her role in her daughter’s marriage, while love stories including sisterly interference characterised by envy can be compared to specific examples of legendary Roman women. Roman mourning practices are present in all instances of heroines losing a mother, daughter or sister, and a specific analogy to the lament for Marcellus is identified in the Ovidian myth of Clymene and the Heliades. The suicide of Ismene after Jocasta’s similar death, on the other hand, corresponds to the idea of a Roman daughter following the example set by her mother taken to its limits. Finally, sister storytellers behave similarly to Roman matrons while the stories they tell are once again influenced by the interaction of Ovid’s contemporary women. Overall, I show how these epics can indirectly offer an insight into the lives of Roman women by modelling their mythical heroines both on literary tradition and on contemporary Roman ideals and practices.
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McFadyen, Johnny. "Arthur in medieval Latin : chronicle, epic and romance." Thesis, University of Bristol, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633118.
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This dissertation investigates the character and use of Arthurian narratives in medieval Latin literature, with particular emphasis on the socio-political, ideological and literary functions they were designed to serve. It focuses on a little-known assortment of writings from the twelfth and thirteenth centuries, contextualising Latin Arthurian material with analyses of contemporary history and literary culture. It begins with a re-evaluation of Geoffrey of Monmouth's role in'the development of Arthurian literature, especially his influence on Latin historiography and medieval romance, evaluating what I perceive to be a noticeable shift in register between his earlier work, Historia Regum Britanniae, and his later poem, Vita Merlini. I argue that the later work anticipates the rise of romance writing, and also consider it in relation to the emergence of the individual in twelfth-century literature. The dissertation then examines a number of understudied Latin Arthurian works, through individual case studies, in order to demonstrate the varied and interesting uses that post-Galfridian writers found for the Arthurian legend. The study of this heterogeneous collection of texts is intended to produce a deeper understanding and appreciation of Latin Arthuriana and to reassess its position in relation to the wider literary canon. A short conclusion also establishes some connections between these Latin texts and vernacular literature, and calls for further investigation into the relationship between these two linguistic traditions.
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Jorge, Diane. "Female characterisation in the epic poetry of P. Papinius Statius." Master's thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/18652.
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"No serious Latinist will deny the probability that Statius will again emerge from the current scholarly re-evaluation of Silver Age Epic as the great poet he seemed to the finest spirits of High Middle Ages and Renaissance, rather than as the pale imitator of Virgil he appeared to the censorious criticism of the nineteenth century, obsessed as it was with its twin heresies of originality and inevitable progress." (Tanner, R G 1986. Epic Tradition and Epigram in Statius ANRW II 32.5, 3020) Publius Papinius Statius (c.AD 40-96) is best known for his occasional poetry, the Silvae, which is in scholarly vogue at present. He also composed a monumental twelve-book epic, little known until this century, concerning the myth of the Seven Against Thebes, as well as beginning a poem, popular in the Middle Ages, intended to chronicle the full career of the hero, Achilles. Death prevented the completion of the latter work, so that there are only 1127 lines extant. I here undertake an evaluation of female characterisation in the Thebaid and Achilleid, as a positive contribution to the rehabilitation programme described in the quotation above. Because Statius' poetry properly observes the ancient literary convention of imitatio, an examination of any feature thereof necessarily first takes account of the treatment of these myths before Statius. Although there is no precise literary precedent for the Achilleid, there are various possible Greek and Roman sources for the Thebaid, among them Euripides' Phoenissae and Hypsipyle, Apollonius' Argonautica and Seneca's Phoenissae. Naturally Homer's Iliad provided many of the poetical techniques for depicting the pathos of young warriors killed in battle and the subsequent grief of their relatives. A vital consideration, given Statius' reputation as a "pale imitator of Virgil", is to identify the influence of the Aeneid on Statius' techniques of characterisation, as well as to assess his usage of Virgilian style and phraseology. An equally significant contribution to Statius' presentation of women, and one of especial importance for the Achilleid, is made by Ovidian poetry, particularly the Metamorphoses and Heroides. To a lesser extent Statius was influenced by contemporary Latin epics: Valerius Flaccus' mythological Argonautica, Lucan's politico-historical Pharsalia and Silius Italicus' Punica. In analysing the presentation of heroines and goddesses in the Thebaid, little attempt is made to divine a method or spirit of characterisation "common" to both poems. Rather, the contrast between the portrayal of female personality in the two epics emphasises the very different tone of each: the distinctly comic tone of the Achilleid is reflected in the light-hearted portrayal of the three main characters Thetis, Deidamia and Achilles; on the other hand, the tragic atmosphere of the Thebaid is reflected in the intense portrayal of the chief female characters, Argia, Antigone, Jocasta and Hypsipyle. Insofar as it is ever valid or possible to expect literature to reflect the "real" perceptions and ideals of author and audience, I make some brief attempt to set Statius' treatment of his female characters against the prevailing attitudes and socio-cultural norms of his day. Statius' portrayal of women in his Silvae is of some relevance here, though chiefly the poems are to be regarded as literary texts rather than sociological documents.
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Moss, Carina M. "Elegy with Epic Consequences: Elegiac Themes in Statius’ Thebaid." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592134478208502.
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Kennedy, Ross Alexander. "The Franciad of Joshua Barnes : a previously unstudied Anglo-Latin Epic." Thesis, University of Cambridge, 2004. https://www.repository.cam.ac.uk/handle/1810/272128.
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Callaway, Cathy L. "The oath in epic poetry /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11449.
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McIntyre, James Stuart. "Written Into the landscape : Latin epic and the landmarks of literary reception." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/543.
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Landscape in Roman literature is manifest with symbolic potential: in particular, Vergil and Ovid respond to ideologically loaded representations of abundance in nature that signal the dawn of the Augustan golden age. Vergil's Eclogues foreground a locus amoenus landscape which articulates both the hopes of the new age as well as the political upheaval that accompanied the new political regime; Ovid uses the same topography in order to suggest the arbitrary and capricious use of power within a deceptively idyllic landscape. Moreover, for Latin poets, depictions of landscape are themselves sites for poetic reflection as evidenced by the discussion of landscape ecphrases in Horace's Ars Poetica. My thesis focuses upon the depiction and refiguration of the locus amoenus landscape in the post-Augustan epics of the first century AD: Lucan's Bellum Civile, Valerius Flaccus' Argonautica, Statius' Thebaid and Silius Italicus' Punica. Landscape in these poems retains the moral, political and metapoetic force evident in the Augustan archetypes. However, I suggest that Lucan's Neronian Bellum Civile fundamentally refigures the landscapes of Latin epic poetry, inscribing the locus amoenus with the nefas of civil war in such a manner that it redefines the perception of landscape in the succeeding Flavian poets. Lucan perverts the landscape, making the locus horridus, a landscape of horror, fear and disgust, the predominant landscape of Latin epic; consequently, the poems of Valerius, Statius and Silius engage with Lucan's refiguration of landscape as a means of expressing the horror of civil war. In the first part of my thesis I examine archetypal landscapes, including those of the Augustan poets and Lucan's Bellum Civile. Taking an approach which engages with literary reception theory and the concept of the â horizon of expectationâ as a framework within which literary topographies can be understood as articulating a response to the thematics of civil war, in the second part of my thesis I demonstrate the manner in which landscapes represent a coherent and paradigmatic response to Lucan's imposition of his civil war narrative within the literary landscape of Roman literature.
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McIntyre, James Stuart. "Written into the landscape : Latin epic and the landmarks of literary reception /." St Andrews, 2008. http://hdl.handle.net/10023/543.
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McCloskey, Jason A. "Epic conflicts culture, conquest and myth in the Spanish Empire /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3350507.
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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2008.Title from PDF t.p. (viewed on Oct. 8, 2009). Source: Dissertation Abstracts International, Volume: 70-03, Section: A, page: 0890. Adviser: Steven Wagschal.
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Parkes, Ruth. "A commentary on Statius, Thebaid 4.1-308." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275753.
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Gilbert, Giles Edworthy. "The aesthetics of slaughter : a study in the battle descriptions of Latin epic." Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394927.
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Titman, Neil Richard. "Deference and dissent : responses to Latin epic in the nineteenth-century French novel." Thesis, University of Bristol, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245425.
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McClellan, Andrew Michael. "Dead and deader : the treatment of the corpse in latin imperial epic poetry." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54458.
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This dissertation examines the maltreatment of dead bodies in the epic poems of Lucan (Bellum Ciuile), Statius (Thebaid), and Silius Italicus (Punica). I focus on the depiction of corpses, their varied functions in each epic, and the literary engagement these authors have with the treatment of corpses in epics past, particularly Homer’s Iliad and Virgil’s Aeneid. I demonstrate the ingenuity with which these poets deploy corpses in their works by emphasizing the interplay and intertextuality between these authors, how they strive to be different from their epic predecessors and each other through their skillful elaborations on a major epic motif. The two main categories of maltreatment I analyze include the physical abuse directed at an enemy corpse and, similarly, the withholding or perversion of burial rites. In my Introduction I identify a major gap in scholarship concerning the treatment of corpses in Roman Imperial epic that my dissertation aims to fill. My project begins from a number of studies on corpse treatment in the Iliad, and my desire to provide a similar analysis of this theme for the Roman epics. Chapter 2 sets a baseline for epic corpse treatment by looking in detail at the Iliad and Aeneid, with the intention of establishing a normative framework which proves valuable for highlighting deviations from the norm in the treatment of corpses in Imperial epic. Chapter 3 analyzes decapitation in Lucan, Statius, and Silius, scenes which directly target and exploit less explicit constructions in Homer and Virgil. Chapter 4 looks at the wide array of burial perversions and abuses in Lucan, with a focus on Pompey’s fragmented burial rites. Chapters 5 and 6 analyze burial perversions in Statius and Silius, respectively, structured around Creon’s burial denial edict in the Thebaid and Hannibal’s warped funerals for Roman generals in the Punica. A brief Conclusion summarizes my findings, and looks ahead to further research on this topic. My project shows that encapsulated in the corpses and their treatment, these epics reveal a deep concern with violence, horror, life, and death, that reflects the larger disturbed functioning of each poet’s epic universe.Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
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Campbell, Celia Mitchell. "A space for song : Ovid's metapoetic landscapes." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:e6361617-1b25-4339-a6f0-5487ff127818.
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This study seeks to renew interest in the poetically constructed landscapes of Ovid’s Metamorphoses. Far from existing as mere background to the epic, close investigation and analysis reveals the reflective relationship and mutually exerted force between landscape and narrative. Detailed readings show how the landscapes are created in order to reveal Ovid’s poetic programme, especially as concerns the intersection of genre; landscape descriptions are read as interpretive strategies for understanding the crossing of genres that comprise Ovid’s hyper-Alexandrian epic. I argue for this interest as indicated to the reader by three points of departure made by the poet that show up against the background of his interconnected patterning of narrations. These are choices demanding exegesis beyond mere recognition, and are designed to reveal a purposeful agenda that focuses attention upon the descriptions of the natural world. The first chapter explores the construction of Thessalian Tempe in Book 1, made prominent by Ovid’s mythological placement of Daphne as a Thessalian nymph. Tempe represents a landscape consequentially shaped by the narrative of Apollo and Daphne, memorialising topographically the intersection of the ‘high’ and ‘low’ genres of epic and elegy exemplified in their interaction. This narrative influence over the landscape is explored in this programmatic tale, and Tempe’s metapoetic construction is argued for using Callimachus’ Hymn to Delos as a poetic model, focusing on the figure of the Peneus common to both texts. The second chapter focuses on Helicon in Book 5, and examines the finely-drawn relationship between the contest songs and Helicon’s position as the contest prize across the complex layers of narrative space, demonstrating how the inspiratory springs of Helicon provide the narrative motivation for the contest songs and tracing the generic topography of Calliope’s song. The third chapter offers a new interpretation of Orpheus’ grove as an atmospheric doublet of the Underworld, examined through the patterning of meaning imposed by the dual meaning of umbra, and identifies Ovid’s transformation of a literary topos.
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Collier, David Andrew. "Nam mihi Carment erit Christi vitalia gesta the Evangeliorum libri iv of Juvencus and the evolution of Latin epic in late antiquity /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5784.
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Thesis (M.A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 28, 2008) Vita. Includes bibliographical references.
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Hodges, Gregory W. Q. "Ethnographic characterization in Lucan's 'Bellum Civile'." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1099344529.
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Piccolo, Alexandre Prudente 1978. "O arco e a lira : modulações da épica homérica nas Odes de Horácio." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271113.
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Orientador: Paulo Sergio de VasconcellosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-26T16:17:45Z (GMT). No. of bitstreams: 1 Piccolo_AlexandrePrudente_D.pdf: 2779565 bytes, checksum: 0f3f5e04731996d36193d0822473c58d (MD5) Previous issue date: 2015
Resumo: A partir das Odes de Horácio, esta tese investiga a presença de elementos épicos, sobretudo homéricos, e como o poeta latino os ajusta em sua obra lírica ¿ processo mais bem definido como "modulação." Antes de tratar de algumas odes específicas, um breve panorama pelos textos horacianos destaca diversas alusões às epopeias de Homero. Então, teorias intertextuais ajudam a analisar tanto poemas que aparentemente rejeitam a épica ou outros padrões elevados (como os Carmina 4.15, 4.2, 2.1, 2.12, 1.6 e 3.3), quanto aqueles que incorporam, de modo patente ou latente, diferentes passagens, versos, fórmulas e palavras das epopeias de Homero. Essas odes são agrupadas em três grandes conjuntos: o conflito entre amor e guerra (C 1.15, 1.17, 2.4, 3.7 e 3.20); a passagem pelos infernos (C 2.13 e 2.14); a poesia da memória e da eternidade, disfarçada em poemas laudatórios (C 4.6, 4.8 e 4.9). Como um anexo final, uma tabela apresenta mais de quinhentas referências nas Odes à Ilíada e à Odisseia de Homero, coletadas ao longo da pesquisa
Abstract: Starting from Horace¿s Odes, this dissertation investigates the presence of epic features, mainly Homeric ones, and how the Latin poet adjusts them to his lyric work ¿ a process better defined as `modulation.¿ Before dealing with a selection of odes, a quick survey of Horace¿s texts highlights several allusions to Homer¿s epics. Then, theories of intertextuality help to analyse both poems that apparently refuse an epic or elevated standard (like Carmina 4.15, 4.2, 2.1, 2.12, 1.6, and 3.3), and those that frankly or evasively incorporate different passages, lines, formulas or words from Homer. These odes are divided into three main groups: the conflict of love and war (such as C 1.15, 1.17, 2.4, 3.7, and 3.20); the passage through the underworld (C 2.13 and 2.14); the poetry of memory and eternity, disguised as laudatory poems (C 4.6, 4.8, and 4.9). As a final appendix, a table presents more than five hundred references in the Odes to Homer¿s Iliad and Odyssey, gathered throughout the research
Doutorado
Linguistica
Doutor em Linguística
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Anzinger, Silke. "Schweigen im römischen Epos : zur Dramaturgie der Kommunikation bei Vergil, Lucan, Valerius Flaccus und Statius /." Berlin [u.a.] : de Gruyter, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945407&prov=M&dokv̲ar=1&doke̲xt=htm.
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Platt, Mary Hartley. "Epic reduction : receptions of Homer and Virgil in modern American poetry." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9d1045f5-3134-432b-8654-868c3ef9b7de.
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The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.
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Arnould, Daniel. "Les figures du destin dans l'épopée antique gréco-latine." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3101/document.
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Dans cette thèse, on s'efforce de montrer que le destin - au sens d'un avenir annoncé ou d'une vie qui s'achève - constitue, dans les 32 épopées antiques grecques et latines étudiées (ou dans les épyllions), une figure littéraire plutôt qu'historique, philosophique ou religieuse. D'un point de vue chronologique, nous ne notons ni une modification de la nature ni un affaiblissement significatifs de l'importance du destin, entre les épopées archaïques et celles de l'Antiquité tardive. Sur le plan philosophique, la conception stoïcienne du destin n'affecte fortement que deux épopées, l'une, grecque et l'autre, latine. Pour ce qui concerne la mythologie religieuse, Jupiter et les Parques n'ont pas, dans la détermination du destin, un rôle bien différent de celui joué par Zeus et par les Moires. En revanche, le destin est une figure littéraire. Sur le plan linguistique, les deux couples majeurs, μοῖρα - κήρ (moïra - kèr) et fatum - fortuna, ne sont pas assimilables. Et le destin joue un rôle littéraire primordial. D'abord, une suppression simulée du destin appauvrit la personnalité des héros ; elle détériore la structure de la plupart des épopées ; elle peut même détruire leur objet. Ensuite le destin exerce trois fonctions littéraires : il favorise la clarté du récit, il préserve ou il accroît son intérêt, il exerce un effet d'amplificationBased on the study of 32 Greek and Latin ancient epics (or epyllions), we intend to prove in this work that fate - with the meaning of predicted future or finished life - constitutes a literary figure rather than an historical, philosophical or religious figure. From a chronological point of view, fate neither alters its nature nor loosens power in the Antiquity, from the first till the late epics. Philosophically, fate's stoic conception has important consequences for only two epics, one Greek, the other Latin. Finally, regarding religious mythology, Jupiter and the Parcae have a role in the determination of fate approximately similar to the one of Zeus and the Moirai. Meanwhile, fate is a literary figure. In the linguistic field of fate, the two main pairs, μοῖρα - κήρ (moïra - kèr) and fatum - fortuna, have very different features. And fate has an essential literary function. First, a simulated suppression of fate impoverishes heroes' personality ; it damages most epics structure ; it sometimes destroys their subject. Then, fate has three literary functions : it promotes story's clarity, it preserves or improves its interest and allows to magnify the story
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Finkmann, Simone. "The female voice in Valerius Flaccus' Argonautica." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:793d6898-da1a-4ccc-a012-2b00e12816e0.
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This thesis adopts a mixed-method approach of quantitative and qualitative analysis to discuss the role of women, especially female speakers and addressees, in Valerius Flaccus’ Argonautica. In addition to the traditional individual mortal and divine speech roles, discourse categories such as the influence of the Muses, the presentation of female personifications, female collectives, frame and inserted speakers, and goddesses in disguise are also taken into consideration. The study shows that, despite the shared subject matter and greatly overlapping ensemble of speakers, Valerius makes significant changes in nearly all categories of female speech representation. Valerius entirely omits some of Apollonius’ female speech acts, reduces speeches from oratio recta to mere speech summaries, replaces Greek goddesses with similar, but not equivalent Roman speakers, assigns new speech roles to previously silent female characters, adds important new episodes with female speakers that do not occur in Apollonius’ epic, changes the speech contexts, the conversational behaviour and the overall characterization of speakers – in isolated individual instances as well as in more complex character portrayals. Valerius even modifies or transfers entire discourse patterns such as conversational deceit in speech and silence, or divine disguise, from one speaker group to another, usually of the opposite sex. Valerius transforms the Apollonian arrangement of a male-dominated, 'epic' first half following the invocation of Apollo and a second female, 'elegiac' half with many female speech acts and epiphanies, after a revision of the narrator’s relationship with the Muses, into a more traditional portrayal of the Muses and a much more balanced occurrence and continued influence of female speakers. The different female voices of the Argonautica, especially Juno, can continuously be heard in the Flavian epic and provide the reader with an alternative perspective on the events. Even the less prominent female speakers are part of a well-balanced and refined structural arrangement and show influences of several pre-texts, which they sometimes self-consciously address and use to their advantage. There can be no doubt that, like Apollonius, Valerius does not merely use female speech acts to characterise the male protagonists, but follows a clear structuring principle. Whereas Apollonius in accordance with his revised invocation of the Muses concentrates the female speech acts in the second half of his epic, especially the final book, Valerius links episodes and individual characterizations through same-sex and opposite-sex speaker doublets and triplets that can be ascribed to and explained by Jupiter’s declaration of the Fata. From Juno’s unofficial opening monologue to Medea’s emotional closing argument, the female voice accompanies and guides the reader through the epic. The female perspective is not the dominant view, but rather one of many perspectives (divine, mortal, female, male, old, young, servant, ruler, et al.) that complement the primary viewpoint of the poet and the male, mortal protagonists and offer an alternative interpretation.
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Flint, Angela. "The influence of contemporary events and circumstances on Virgil's characterization of Aeneas." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019/1540.
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Kendal, Gordon McGregor. "Translation as creative retelling : constituents, patterning and shift in Gavin Douglas' 'Eneados' /." St Andrews, 2008. http://hdl.handle.net/10023/554.
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Caramico, Giulia. "Le récit de bataille. Coripp. Ioh. 5*,49-396 [5,1-348 Petsch.]. Commentaire, traduction et texte latin." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040021.
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Cette thèse se propose d'offrir un commentaire linguistique, philologique, rhétorique des vers 49-396 [ = 1-348 Petsch.] du livre V, qui est le livre de la bataille d’Antonia Castra, et une analyse de l'œuvre, qui montre in primis son importance littéraire. Le cœur de ma thèse est l'édition du texte latin présenté selon une nouvelle numérotation et avec quelques différences par rapport au texte de Diggle-Goodyear (Cambridge 1970). Une importante découverte philologique nous a permis d'établir le véritable incipit du livre V de la Iohannis, jusqu’à présent reconnu traditionnellement dans en un endroit déterminé par une conjecture de G. Loewe, accueillie par l'édition Petschenig et après Diggle-Goodyear. Dans une riche introduction divisée en deux sections et qui précède le commentaire, on parle de la tradition du texte et on encadre historiquement l'activité du poète. Après, nous décrivons les formes d'écriture épique du livre V de la Iohannis, livre par excellence de la Bataille, entre histoire et clichés littéraires (furor bellicus comme Erinys, cohortationes des généraux aristiai, similitudes conduisent à la même idée de guerre sainte, dans une lignée héroïque et mythologique)Subject of this thesis is the commentary to Coripp. Ioh 5*,49-396 [=5,1-348 Petsch.], that is the description of Antonia Castra’s battle. My intention is to offer a study on Corippus’ work, where first is clear its literary importance. The heart of my thesis is the edition of the Latin text that is based on a new numbering of the verses and with some differences compared with the Diggle-Goodyear’s edition (Cambridge 1970). A very important philological discovery has allowed us to establish the real beginning of Iohannis’ book V, traditionally recognized until Diggle-Goodyear in a point determined by a G. Loewe's conjecture. In a rich introduction, divided into two sections and which precedes the commentary, we talk about the tradition of the Iohannis, through the Trivultianus 686, the only surviving manuscript, and we introduce the poet's historical background. After that, we describe the epic shapes of the book V, the very book of the Battle, between concrete history and literary stereotypes (furor bellicus like Erinys, generals’ cohortationes, aristiai, similies lead us to the same idea of “crusade” ante litteram, following an heroic and mythologic line)
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Muniz, Liebert de Abreu. "Estudo de gÃnero em As GeÃrgicas, de VirgÃlio." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=8206.
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FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgicoPara a cultura clÃssica antiga, o gÃnero Ãpico parecia apresentar diferentes formas e possibilidades. à provÃvel que, para os antigos, o metro tenha sido o principal recurso para classificar os gÃneros literÃrios. Assim, um poema vertido em versos hexamÃtricos poderia ser de imediato identificado como um Ãpico. HÃ, contudo, diferenÃas entre os Ãpicos homÃricos e os hesiÃdicos, o que parece reforÃar a hipÃtese de o gÃnero Ãpico poder apresentar manifestaÃÃes distintas. Enquanto os Ãpicos homÃricos sÃo longos quanto à extensÃo e cantam feitos bÃlicos, os hesÃodicos sÃo breves e tÃm a preocupaÃÃo de transmitir um conhecimento. As GeÃrgicas, de VirgÃlio, filiam-se à composiÃÃo de tipo hesÃodico. Ainda que uma influÃncia helenÃstica seja percebida, o poema virgiliano segue caracterÃsticas de estrutura, forma e conteÃdo do Ãpico hesÃodico (que tambÃm pode ser chamado de Ãpos didÃtico); no entanto, em diversos passos parece exceder essas caracterÃsticas, deixando a impressÃo de que tambÃm manteria vÃnculos com a Ãpica homÃrica (ou com o chamado Ãpos heroico). Essa discussÃo sugere que a leitura do poema como didÃtico nÃo parece ser suficiente para sua classificaÃÃo de gÃnero, sugere tambÃm que o poema se insere numa espÃcie de progressÃo poÃtica que perfaz duas formas de Ãpos, o didÃtico e o heroico.
For the ancient classical culture, the epic genre seemed to have different shapes and possibilities. It is likely that, for the ancients, the meter has been the main resource for classifying literary genres. Thus, a poem composed into hexameter lines could be readily identified as an epic. However, there are differences between the Homeric and the Hesiodic epics which seem to reinforce the assumption that the epic genre could have different manifestations. While the Homeric epics are long as for the extent and sing the martial feats,the Hesiodic epics are brief and have the intent of transferring knowledge. The Virgilâs Georgics affiliated to the composition of Hesiodic type. Although a Hellenistic influence is perceived, the Virgilian poem follows characteristics of structure, shape and contents of the Hesiodic epic (which can also be called didactic epos). However, in several passages, the poem seems to exceed these characteristics, leaving the impression that also could maintain bonds to the Homeric epic (or the so-called heroic epos). This discussion suggests that the reading of the poem as didactic does not seem to be sufficient for the classification of genre, it also suggests that the poem is part of a kind of poetic progression that to goes through two forms of epos, heroic and didactic.
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Feile, Tomes Maya Caterina. "Neo-Latin America : the poetics of the "New World" in early modern epic : studies in José Manuel Peramás's 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza 1777)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273742.
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This is an investigation of the epic poetry produced in and about the Ibero-American world during the early modern period (sixteenth to eighteenth centuries) in trilingual perspective: in addition to the more familiar Spanish- and Portuguese-language texts, consideration is also––and, for the purposes of the thesis, above all––given to material in Latin. Latin was the third of the international literary languages of the Iberian imperial world; it is also by far the most neglected, having fallen between the cracks of modern disciplinary boundaries in their current configurations. The thesis seeks to rehabilitate the Latin-language component as a fully-fledged member of the Ibero-American epic tradition, arguing that it demands to be analysed with reference not only to the classical and classicising traditions but to those same themes and concerns––in this case, the centre|periphery binary––as are investigated for counterparts when in Spanish or Portuguese. The crucial difference is that––while the ends may be the same––the means of thematising these issues derive in form and signifying power from interactions with the conceptual vocabularies and frameworks of the Greco-Roman epic tradition. How is America represented and New World space figured––even produced––in a poetic idiom first developed by ancient Mediterranean cultures with no conception whatsoever of the continent of the western hemisphere? At the core is one such long neglected Ibero-American Latin-language epic by a figure who lived across the Iberian imperial world: the 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza, 1777) by Catalan-born Jesuit José Manuel Peramás. Peramás’s epic––which has never been the subject of a literary-critical study before––is offered as a test case: an exercise in analysing a Latin-language Hispanic epic qua Hispanic epic and setting it into Ibero-American literary-cultural context. This is to be understood in relation to the field of so-called ‘New World poetics’: an at present emergent zone of inquiry within Iberian colonial studies which until now has been developing almost completely without reference to the Latin-language portion of the corpus.
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Costa, Lilian Nunes da 1985. "Gêneros poéticos na comédia de Plauto = traços de uma poética plautina imanente." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270793.
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Orientador: Isabella Tardin CardosoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A obra do comediógrafo romano Tito Mácio Plauto (c. 254 ¿ 184 a.C.) é marcada pela presença dos gêneros trágico, épico e mesmo lírico em determinadas passagens, que têm sido identificadas por diversos critérios, como menção, alusão e associação por paralelos formais. Estudos teóricos sobre "mescla" ou "cruzamento de gêneros" vêm se desenvolvendo ao menos desde a proposição do conceito de "Kreuzung der Gattungen" por W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). No entanto, estudiosos como A. Barchiesi ("The crossing", 2001) passam a questionar premissas do trabalho do filólogo alemão, que tomava a "miscigenação" como "decadência" da cultura literária helenística e romana. Em nossa pesquisa sobre as mesclas genéricas na comédia plautina, também nos afastamos da perspectiva de W. Kroll e não propomos, como ponto de partida, que as peças que abrigam outros gêneros resultem necessariamente em híbridos. Na verdade, preferimos uma abordagem como a de S. J. Harrison, que lida com a noção de "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). A sistematização da presença de outros gêneros poéticos no corpus de Plauto selecionado (a peça Cativos, bem como passagens de Báquides, O cabo, O soldado fanfarrão, dentre outras) nos interessa no sentido de explorar o quanto a comédia é enriquecida precisamente por meio de elementos perceptíveis pelo público plautino como "alheios" a esse gênero. Assim, nosso método envolve a identificação de aspectos (temáticos e formais) sob os quais esses gêneros aparecem ou transparecem, bem como uma reflexão sobre a possibilidade de, a partir da observação das convenções poéticas com que ele brinca em seus textos, pensar em uma poética imanente em Plauto
Abstract: The presence of the tragic, the epic, and even the lyric genre in the work of the Roman comic poet Titus Maccius Plautus (c. 254 ¿ 184 BC) has been already noted in the field of classical studies. Among the various criteria used in the identification of those poetic genres there is not only direct mention of elements of the works pertaining to them, but also (thematic or formal) allusion to such elements. Theoretical studies about "genres miscellany" or "genres crossing" have been developed at least since the proposition of the concept of "Kreuzung der Gattungen" by W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). However, scholars such as A. Barchiesi ("The crossing", 2001) now question premises from Kroll¿s work, which considered the "miscegenation" as a "decadence" on the Hellenistic and Roman literary cultures. The present research does not assume Kroll¿s perspective, i.e. it does not presuppose that the plays in which the presence of other genres is evinced are necessarily hybrids. Rather, it favors an approach like that of S. J. Harrison, which deals with the notion of "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). While systematizing such a presence of different poetic genres in the selected Plautine corpus (the play Captiui, as well as passages from Bacchides, Miles gloriosus, Rudens, among others) this study intends to appreciate to what extent comedy is enriched precisely by the elements perceived by the plautine public as extraneous to this genre. The method is based on the identification of (thematic and formal) aspects under which such genres emerge as the play goes on. The observation of the poetic conventions with which the Roman dramatist plays in his texts may also provide a reflexion on an imanent poetics in Plautus
Doutorado
Linguistica
Doutora em Linguística
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Bronzini, Sara. "Flavii Cresconii Corippi Iohannidos liber sextus : introduzione, traduzione e saggio di commento." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040204.
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Le livre VI de la Iohannis de Flavius Cresconius Corippus fait l’objet de cette thèse. Cette section du poème est axée sur la préparation et le déroulement d’une grande bataille: les tribus Maures se rassemblent et forment une nouvelle coalition, ce qui implique une totale subversion des équilibres narratifs. Une traduction complète en italien est fournie, ainsi que le commentaire de Coripp. Ioh. 6, 1-126. Une riche introduction - divisée en deux parties principales et précédant soit la traduction soit le commentaire - concerne avant tout le contexte historique et culturel de Corippe (dans la mesure où cela est possible, compte tenu de la pénurie des informations disponibles) et la tradition à travers le seul manuscrit survivant de la Iohannis, le Trivultianus 686. Il sera fait un bref rappel à la tradition manuscrite du panégyrique corippéen In laudem Iustini. La question complexe du genre littéraire est également abordée, considérant que la Iohannis contient de nombreux éléments provenant du genre épique, parallèlement à une finalité clairement encomiastique envers Jean Troglita et l’empereur Justinien lui-même. Les principaux modèles littéraires sont traités autant que le cadre idéologique et religieux, la langue, le style et le métrique de la Iohannis. On passe ensuite à l’analyse du livre VI, en ce qui concerne: la composition littéraire (entre l’histoire et les stéréotypes traditionnels), le rôle du livre dans le cadre du poème, les formes épiques et l’intérêt historique (accordant une attention particulière aux ethnonymes locaux, à la politique byzantine à l’égard des tribus insurgées, au système de valeurs et à la spiritualité des Maures)Subject of this thesis is the sixth book of Flavius Cresconius Corippus’ Iohannis. This section is focused on the preparation and the progress of a big battle: the Moorish tribes reassemble and form a new coalition, a fact that comes with a total subversion of the narrative balance. An Italian full translation will be provided as well as the commentary of Coripp. Ioh. 6, 1-126. A rich introduction - divided into two main sections and preceding both the translation and commentary - primarily concerns Corippus’ historical and cultural background (to the extent that it is possible, considering the lack of information available) and the tradition of the Iohannis through the only surviving manuscript, the Trivultianus 686. A brief reference ismade to the manuscript tradition of Corippus’ panegyric In laudem Iustini. The complex issue of the literary genre is approached, since the Iohannis contains several elements arising from the epic genre, along with a clear encomiastic purpose torwards John Troglita and the Emperor Justinian himself. The main literary models are addressed as well as the ideological and religious framework, the language, the style and the metre of the Iohannis. After that the sixth book will be examined with regard to: literary composition (between history and literary stereotypes), role within the poem, epic shapes, historical interest (use of the indigenous ethnonyms; Byzantine policy towards the rebel tribes; Moorish value system and shared spirituality)
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Rohman, Judith. "Le statut du personnage dans l’Énéide de Virgile : stratégies narratives et effets de lecture." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040228.
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La notion de personnage est problématique dans le contexte de l’épopée antique, en particulier pour les dieux et pour le héros virgilien, Énée. Réhabiliter cette notion afin de mieux cerner le personnage épique et, avec lui, le Lecteur Modèle de l’épopée, nécessite donc une étude de la terminologie. La première partie s’attache ainsi à définir les critères et les limites à donner à l’effet-personnage dans l’Énéide en envisageant notamment la tradition d’interprétation allégorique des dieux. Les deux parties suivantes sont centrées chacune sur un personnage et l’on y examine les rapports qui s’établissent entre narrateur, personnage et lecteur en partant du postulat selon lequel le narrateur, en tant que relais d’une identification primaire, apparaît comme un guide dans la réception du personnage. Énée, parce qu’il est l’élu du destin, se voit parfois dénier le titre de personnage ; par sa nature de demi-dieu, il se situe en outre à la croisée des deux mondes, humain et divin. La déesse Junon offre l’occasion d’appliquer les principes définis dans la première partie pour l’attribution du statut de personnage aux dieux ; en outre, c’est son action qui constitue la matière de l’action racontée et confère son rythme au récitThe litterary concept of character considered in the context of Ancient Epic is a source of controversial, especially for the gods and Vergil’s hero, Aeneas. Reconsidering this notion, in order to figure out more clearly the epic character and the epic « Model Reader », requires a close study of the terminology. The first part of this thesis tries to determine the criteria defining the « character-effect » in the Aeneid and the limits of this notion, surveying, among others, the allegoric traditions about the gods in Ancient Epic. Each of the two following parts focuses on a single character and analyses of the relationship between the narrator, the character and the reader, starting from the premise that the reader identifies primarily with the narrator, who will guide him in his reception of the characters. To Aeneas, as the Elected of fate, the title of character is sometimes denied ; as a demi-god, he stands at the intersection of the divine and the human worlds. A study of Juno then brings the opportunity to assess the principles defined in the first part about the gods and their status as characters of the epic ; moreover, Juno’s actions supply the narrative material, and contribute to define its tempo
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Masters, Jamie. "Poetry and civil war in Lucan's "Bellum civile"." Cambridge (GB) : Cambridge university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35569689k.
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Baertschi, Annette Martine. "Nekyiai." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2013. http://dx.doi.org/10.18452/16740.
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Begegnungen mit der Unterwelt stellen ein konstitutives Element antiker, vor allem epischer Poesie dar. Besonderer Popularität erfreute sich das Thema in der neronisch-flavischen Epik, die an die von Homer begründete und von Vergil weitergeführte Tradition anknüpfte, diese jedoch in innovativer Weise umgestaltete. In der vorliegenden Arbeit wird gezeigt, dass die Nekyiai der kaiserzeitlichen Dichter, wiewohl in der Forschung oft negativ beurteilt, originelle Variationen des für das Genre zentralen Motivkomplexes darstellen und eine wichtige Etappe in der Geschichte des Topos bilden. Insbesondere wird mit Hilfe eines stärker die dynamische Wechselwirkung zwischen Prä- und Posttext berücksichtigenden sowie neben der diachronen auch die synchrone Ebene von Sinnkonstitution einbeziehenden Interpretationsansatzes die vielschichtige intertextuelle Dimension der neronisch-flavischen Unterweltsszenen erhellt, die sich durch den kontaminierenden Rekurs auf eine Reihe literarischer Vorlagen ergibt. Es wird dargelegt, dass die Jenseitsepisoden der nachaugusteischen Epiker eine wichtige poetologische Bedeutung haben, indem sie den bevorzugten Ort für die literarische Selbstpositionierung und -legitimierung des Verfassers bilden. Darüber hinaus wird der Einfluss der veränderten politischen, sozialen, ideologischen und ästhetischen Bedingungen im 1. Jahrhundert n. Chr. auf die Neukonzeption der Unterwelt im neronisch-flavischen Epos untersucht.Encounters with the underworld are a constitutive element of ancient, especially epic poetry. The topic was particularly popular among Neronian and Flavian poets who closely engage the literary tradition established by Homer and further developed by Vergil, yet refashion it in an innovative way. In this thesis, I shall argue that the necyia scenes of the imperial poets, although often criticized by scholars, are original variations of the motif, which is of essential significance for the genre, and mark an important stage in the history of the theme. Using an interpretive approach which focuses more strongly on the dynamic interaction between hypo- and hypertext and also considers the synchronic level of creating meaning in addition to the diachronic one, I shall demonstrate in particular the complex intertextual dimension of the Neronian-Flavian underworld scenes, which is based on their combined reference to multiple literary models. In addition, I will show that the necyia episodes of the post-Augustan epicists have an important poetological meaning, providing a privileged venue for the author to position himself within the literary tradition and to legitimize his own work. Finally, I will examine the impact of the political, social, ideological, and aesthetic changes in the first century CE on the shift in representation of the underworld in Neronian-Flavian epic.
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Brammall, Sheldon. "Translating the Prince of Poets : the politics of the English translations of the Aeneid, 1558-1632." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283905.
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Criado, Cecilia. "La teología de la Tebaida Estaciana el anti-virgilianismo de un clasicista /." Hildesheim : Georg Olms Verlag, 2000. http://catalog.hathitrust.org/api/volumes/oclc/43944306.html.
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Backhouse, George. "References to swords in the death scenes of Dido and Turnus in the Aeneid." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71764.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This thesis investigates the references to swords in key scenes in the Aeneid – particularly the scenes of Dido’s and Turnus’ death – in order to add new perspectives on these scenes and on the way in which they impact on the presentation of Aeneas’ Roman mission in the epic. In Chapter Two I attempt to provide an outline of the mission of Aeneas. I also investigate the manner in which Dido and Turnus may be considered to be opponents of Aeneas’ mission. In Chapter Three I investigate references to swords in select scenes in book four of the Aeneid. I highlight an ambiguity in the interpretation of the sword that Dido uses to commit suicide and I also provide a description of the sword as a weapon and its place in the epic. In Chapter Four I provide an analysis of the references to swords in Dido’s and Turnus’ death scenes alongside a number of other important scenes involving mention of swords. I preface my analyses of the references to swords that play a role in interpreting Dido and Turnus’ deaths with an outline of the reasons for the deaths of each of these figures. The additional references to swords that I use in this chapter are the references to the sword in the scene of Deiphobus’ death in book six and to the sword and Priam’s act of arming himself on the night on which Troy is destroyed. At the end of Chapter Four I look at parallels between Dido and Turnus and their relationship to the mission of Aeneas. At the end of this thesis I am able to conclude that an investigation and analysis of the references to swords in select scenes in the Aeneid adds to existing scholarship in Dido’s and Turnus’ death in the following way: a more detailed investigation of the role of swords in the interpretation of Dido’s death from an erotic perspective strengthens the existing notion in scholarship that Dido is an obstacle to the mission of Aeneas.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die verwysings na swaarde in kerntonele in die Aeneïs – hoofsaaklik die sterftonele van Dido en Turnus – met die oog daarop om addisionele perspektiewe te verskaf op hierdie tonele en die impak wat hulle het op die voorstelling van Aeneas se Romeinse missie in die epos. In hoofstuk twee poog ek om ’n oorsig te bied van Aeneas se Romeinse missie. Ek stel ook ondersoek in na die mate waartoe Dido en Turnus as teenstanders van Aeneas se Romeinse missie beskou kan word. In Hoofstuk Drie ondersoek ek die verwysings na swaarde in spesifieke tonele van boek vier van die Aeneïs. Ek verwys na ’n dubbelsinnigheid in die interpretasie van die swaard wat Dido gebruik om selfmoord te pleeg en verskaf ook ’n beskrywing van die swaard as ’n wapen en die gebruik daarvan in die epos. In Hoofstuk Vier verskaf ek ‘n ontleding van die verwysings na swaarde in Dido en Turnus se sterftonele saam met ’n aantal ander belangrike tonele met verwysings na swaarde. Ek lei my ontleding van die beskrywings van die swaarde wat ’n rol speel in die interpretasie van Dido en Turnus se sterftes in met ’n uiteensetting van die redes vir die dood van elk van hierdie figure. Die addisionele verwysings na swaarde wat ek in hierdie hoofstuk ontleed, is die verwysing na die swaard in die toneel van Deiphobus se dood in boek ses en die verwysing na die swaard in die toneel waar Priamus sy wapenrusting aantrek op Troje se laaste aand. Aan die einde van Hoofstuk Vier ondersoek ek die parallele tussen Dido en Turnus en hulle verhouding tot Aeneas se Romeinse missie. Hierdie tesis ondersoek die verwysings na swaarde in kerntonele in die Aeneïs – hoofsaaklik die sterftonele van Dido en Turnus – met die oog daarop om addisionele perspektiewe te verskaf op hierdie tonele en die impak wat hulle het op die voorstelling van Aeneas se Romeinse missie in die epos. In hoofstuk twee poog ek om ’n oorsig te bied van Aeneas se Romeinse missie. Ek stel ook ondersoek in na die mate waartoe Dido en Turnus as teenstanders van Aeneas se Romeinse missie beskou kan word. In Hoofstuk Drie ondersoek ek die verwysings na swaarde in spesifieke tonele van boek vier van die Aeneïs. Ek verwys na ’n dubbelsinnigheid in die interpretasie van die swaard wat Dido gebruik om selfmoord te pleeg en verskaf ook ’n beskrywing van die swaard as ’n wapen en die gebruik daarvan in die epos. In Hoofstuk Vier verskaf ek ‘n ontleding van die verwysings na swaarde in Dido en Turnus se sterftonele saam met ’n aantal ander belangrike tonele met verwysings na swaarde. Ek lei my ontleding van die beskrywings van die swaarde wat ’n rol speel in die interpretasie van Dido en Turnus se sterftes in met ’n uiteensetting van die redes vir die dood van elk van hierdie figure. Die addisionele verwysings na swaarde wat ek in hierdie hoofstuk ontleed, is die verwysing na die swaard in die toneel van Deiphobus se dood in boek ses en die verwysing na die swaard in die toneel waar Priamus sy wapenrusting aantrek op Troje se laaste aand. Aan die einde van Hoofstuk Vier ondersoek ek die parallele tussen Dido en Turnus en hulle verhouding tot Aeneas se Romeinse missie.
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Loupiac, Annie. "La poétique des éléments dans "La Pharsale" de Lucain." Bruxelles : Latomus Revue d'études latines, 1998. http://catalogue.bnf.fr/ark:/12148/cb372098529.
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Rodrigues, Natália Vasconcelos. "Dido e a viagem náutica na Eneida e na espístola 7 das Heroides." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/16442.
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RODRIGUES, Natália Vasconcelos. Dido e a viagem náutica na Eneida e na espístola 7 das Heroides. 2015. 93f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-04-25T17:19:59Z No. of bitstreams: 1 2015_dis_nvrodrigues.pdf: 909277 bytes, checksum: 000b585f6dfae97c0bd6b35082718165 (MD5)
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O presente estudo tem como objetivo a análise da personagem Dido e do tema da viagem náutica a partir de duas obras da poesia latina: a Eneida de Virgílio e as Heroides de Ovídio. O mito da rainha de Cartago e seu fim trágico como consequência de uma paixão desmedida por Eneias é um ponto convergente das duas obras. A personagem Dido, após a morte de seu marido, Siqueu, mantém-se fiel a ele, não se entregando a nenhum outro homem. Essa condição de viúva casta muda com a chegada de Eneias a Cartago. O romance de Eneias e Dido, na Eneida, acontece no canto 4 e chega às extremas consequências: a morte de Dido. Dialogando com essa versão épica de Virgílio, a história de Dido reaparece no seio da elegia: o desespero da rainha “abandonada” por Eneias ganha uma nova versão na carta 7 da obra Heroides de Ovídio. O poeta elegíaco se utiliza dos monólogos da fenícia, retirados do canto 4 da Eneida (v. 305-330; v. 365-387; v. 534-552 e v. 590-629) para compor a missiva de lamentos. Tanto na Eneida como nas Heroides percebemos que a viagem náutica incide diretamente no episódio de Dido: a chegada de Eneias a Cartago provoca o encontro amoroso, e a partida do herói que segue sua missão resulta na separação dos amantes. A personagem e a viagem náutica são abordadas de formas diferentes nos dois autores, os assuntos são adequados ao gênero e ao estilo de cada poema (grauis para a épica; humilis para a elegia amorosa). Investigaremos a apropriação feita por Virgílio e Ovídio do tema da viagem náutica: o primeiro em favor da épica, sendo essa uma temática essencial do gênero elevado; e o segundo em favor da elegia, utilizando a viagem em alto mar também como uma metáfora elegíaca. Examinaremos esse corpus com base na teoria dos gêneros e na análise da elocução dos dois textos, levando em consideração o processo alusivo como elemento de construção do texto ovidiano.
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Kendal, Gordon. "Translation as creative retelling : constituents, patterning and shift in Gavin Douglas' Eneados." Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/554.
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The Thesis analyses and evaluates how Gavin Douglas (Eneados, 1513) has refocused Virgil's Aeneid, principally by giving more emphasis to the serial particularity inherent in the story, loosening the narrative structure and involving the reader in its retelling. Chapter I pieces together (from the evidence not merely of what Douglas explicitly says, but of what his words imply) what for him a "text" in general is, and what accordingly it means for a translator or a reader to be engaged with it. This sets the scene for what follows. The next four Chapters look in turn at how he re-expresses important (metaphysical) characteristics of the story. In Chapter II his handling of time is discussed, and compared with Virgil's: the Chapter sets out in detail how Douglas consistently refocuses temporal predicates, foregrounding their disjunctiveness and making them differently felt. In Chapter III spatial position and distance are analysed, and Douglas' way of dealing with space is found to display parallels with his treatment of time: networks are loosened and nodal points are accentuated. In Chapter IV the way in which he presents individuals is compared with Virgil's, and a similar repatterning and shift reveals itself: Douglas provides his persons with firmer boundaries. Chapter V deals with fate, where Douglas encounters special difficulties but maintains his characteristic way of handling the story. The aim of these four Chapters is to characterise formally how Douglas concretises and vivifies the tale of Aeneas, engaging his readers throughout in the retelling. Finally, Chapter VI looks at certain general principles of translation theory (notably connected with the ideas of faithfulness and accuracy) and argues for a way in which Douglas' translation can be fairly experienced by the reader and fairly evaluated as a lively retelling which (albeit distinctive) is fundamentally faithful to Virgil.
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Meunier, Delphine. "L’écriture épique chez Claudien : préserver l’épopée au IVe siècle ap. J.-C." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040141.
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L’influence du genre épique se manifeste à travers plusieurs biais dans l’œuvre, apparemment hétérogène, de Claudien. Le poète se présente clairement comme uates, héritier d’Homère, d’Ennius et de Virgile – mais revendique une matière historique et non plus mythologique. La langue témoigne également d’une forte influence du genre épique, que ce soit dans le lexique ou l’emploi de la comparaison homérique. La reprise de motifs, parfois déformés ou renouvelés, confirme cette influence : thème guerrier, songes, présages, prodiges, prophéties, jeux… Si la morale héroïque est plus malmenée, concurrencée par les valeurs chrétiennes, l’univers épique se trouve encore actualisé à travers les figures divines et mythologiques qu’on peut appréhender au moyen d’une lecture typologique. La somme de ces éléments formels est au service d’un propos épique, poétique et politique, célébrant Roma aeterna et Natura. Il apparaît ainsi que l’écriture épique est le dénominateur commun à l’ensemble du corpus, et que les carmina maiora méritent d’être considérés comme une épopée politiqueThere is a clear epic vein in Claudian's apparently heterogeneous work, and it appears in a variety of ways. The poet clearly considers himself to be a uates, an heir to Homer, Ennius and Virgil, even though his subject matter is historical, not mythological. The language he uses is also strongly influenced by that of the epic genre, as exemplified by the use of a specifically epic lexicon and the resort to homeric similes. The way he builds on and renews traditional epic motifs (battle scenes, dreams, omens, miracles, prophecies, games ...) reveals the influence of the epic genre on his writings as well. Even though the ethics of heroism are undercut by the rise of Christian values, the divine and mythological figures that can be broached trough a typological reading are proof enough that the world of the epic is still very much present. All these elements contribute to a work that celebrates Roma Aeterna and Natura and is all at once epic – poetic and political. It thus appears that the epic vein is what unifies the corpus, and that the carmina maiora should be read as a political epic
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Jahn, Stefanie. "Der Troia-Mythos : Rezeption und Transformation in epischen Geschichtsdarstellungen der Antike /." Köln [u.a.] : Böhlau, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2893361&prov=M&dok_var=1&dok_ext=htm.
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Luis, Raphaël. "La carte et la fable. Stevenson, modèle de la fiction latino-américaine (Bioy Casares, Borges, Cortázar)." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE3040/document.
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La reconnaissance internationale de la littérature latino-américaine au XXe siècle a souvent été interprétée par la critique comme le résultat de l’influence du Modernisme, notamment du fait de la lecture, par les auteurs latino-américains, de James Joyce et William Faulkner. Certains auteurs du continent, pourtant, suivent des stratégies différentes : Borges, Bioy Casares et Cortázar utilisent les fondements de la littérature de genre (fantastique, policier, horreur, roman d’aventures) pour opérer une reconfiguration des équilibres entre le champ littéraire et les injonctions politiques, nationales et culturelles. Dans cette optique, le travail de Robert Louis Stevenson sur les publics populaires et le croisement des genres peut être vu comme une référence idéale, du fait de sa complexité et de son souci constant d’expérimentation. Cette étude a donc pour objectif de proposer une comparaison de ces stratégies, en utilisant les outils conceptuels et théoriques de la littérature mondiale. Stevenson, de cette manière, pourra apparaître comme un modèle herméneutique pour penser et résoudre certains dilemmes géographiques et littérairesThe international recognition of Latin American literature during the twentieth century has been interpreted by critics as a result of a Modernist influence, mainly through the reading of James Joyce and William Faulkner. Some Latin American writers, though, pursued other strategies : Bioy Casares, Borges and Cortázar used the foundations of popular literature (fantastic, detective or horror literature, adventure novel) to reconfigure the relations between the literary field and the political, national and cultural injonctions. For that purpose, Robert Louis Stevenson’s work on popular audience and generic hybridity at the end of the Victorian era can be seen as an ideal point of reference, thanks to its complexity and constant experimentation. The aim of the present study is to analyse this process using world literature’s conceptual and theorical tools. Stevenson can thus be seen as a model to think and resolve some geographical and literary dilemmas
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Demanche, Diane. "Provocation et vérité. Forme et sens des paradoxes stoïciens dans la poésie latine, chez Lucilius, Horace, Lucain et Perse." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040079.
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La présence des paradoxes stoïciens dans l’œuvre de poètes dont les liens avec le Portique sont divers révèle le statut particulier occupé par ces formules déconcertantes dans la pensée romaine. Après l’étude des origines du paradoxe et de ses transformations au cours du développement des écoles philosophiques grecques, la thèse examine la spécificité du paradoxe stoïcien et son adaptation au monde romain. Contre toute attente, les Stoïciens ne renoncent pas à ces affirmations déconcertantes. Grâce à leur efficacité rhétorique, et malgré l’hostilité qu’ils suscitent par ailleurs, les paradoxes sont repris dans des textes étrangers au Portique. Leur adaptation dans des œuvres poétiques - satires de Lucilius, Horace et Perse, épodes, odes et épîtres d’Horace et épopée lucanienne - pourrait nous faire considérer qu’ils sont pervertis et détournés de leur fin première. En effet, le but de ces poètes n’est nullement de faire adhérer le lecteur à l’intransigeante perfection dessinée par les paradoxes stoïciens. Mais le lien entre les paradoxes que l’on trouve dans ce corpus poétique et leur origine stoïcienne est en réalité bien plus intime. Selon des modalités différentes, chaque poète reprend l’essentiel de la démarche paradoxale du Portique : il s’agit bien de réveiller les consciences, et de souligner la radicale nouveauté de la vérité que l’on veut faire entendre, tout en s’assurant que le lecteur peut s’y rallier. La virulence de Lucilius, le ton de confidence horatien, la stupeur lucanienne et l’obscurité de Perse constituent les voies distinctes mais convergentes par lesquelles est menée l’entreprise subtile consistant à choquer pour mieux convertirThe presence of Stoic paradoxes in the works of poets whose links with the Stoa are complex reveals the particular status of these incongruous formulas in Roman thought. After studying the origins of paradox and its transformations during the development of the Greek philosophical schools, the thesis considers the particularity of Stoic paradox and its adaptation to the Roman world. Unexpectedly, the Stoics do not sign away these disconcerting assertions. By their rhetorical effectiveness, and despite the hostility they also arouse, paradoxes appear in texts which do not belong to the Stoa. Their adaptation in poetic works – satires of Lucilius, Horace and Persius, epodes, odes and epistles of Horace, and Lucanian epic - could make us consider that they are perverted and diverted from their first aim. Indeed, the purpose of these poets is not at all to have the reader adhere to the uncompromising perfection outlined by the Stoic paradoxes. But the link between the paradoxes we find in this poetic corpus and their Stoic origin is actually much more intimate. By different ways, each poet takes up the main of the Stoic paradoxical approach : it consists in waking up the minds, and showing the radical novelty of the truth which one wants to reveal, making sure, at the same time, that the reader can join it. Lucilius’ virulence, Horace’s intimacy, Lucan’s daze and Persius’ abstruse language constitute the different but converging ways by which one subtly undertakes to shock in order to convert
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Lagière, Anne. "La Thébaïde de Stace et le sublime." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040140.
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Ce travail vise à porter un nouvel éclairage sur la Thébaïde de Stace en recourant au Traité du Sublime. Celui-Ci constitue un instrument herméneutique contemporain des littératures néronienne et flavienne, libéré des projections de la pensée esthétique moderne, à même de préciser l’univers de l’épopée. Notre étude s’attache d’abord à définir la notion de sublime, telle que la présente le Pseudo-Longin. Elle analyse ensuite l’importance de la passion dans le Traité du Sublime comme dans la Thébaïde et découvre les liens qui unissent les deux oeuvres : une même conception de la création poétique, audacieuse et transgressive, un même attrait pour les élans passionnels, la même recherche d’une réception sur le mode du choc, mettant en jeu des sentiments de terreur et d’admiration. Le sublime se manifeste dans le ravissement du poète, des personnages, dans les représentations spectaculaires de l’horreur ou d’une nature bouleversée. Le Traité du Sublime se révèle alors un outil intéressant pour appréhender les interférences génériques à l’oeuvre dans la Thébaïde. Il met en lumière un tragique de la passion, qui se déploie à travers le thème de la tyrannie, qui entre en tension avec l’épique et, par là, complexifie les personnages, remet en question l’héroïsme traditionnelThis work aims at shedding new light on Statius’ Thebaid by having recourse to On the Sublime, which constitutes a contemporary hermeneutic instrument for Neronian and Flavian literature, freed from the projections of modern aesthetic thought. First of all, I try to define the notion of the sublime as it is presented by Longinus. Then I try to analyse the importance of passion in On the Sublime as in the Thebaid and to reveal the links between the two works : the same conception of an audacious poetic creation, the same attraction to outbursts of passion, the same desire to create a shockwave on reception by bringing into play feelings of terror and admiration. The sublime is to be found in the ecstasy of the poet and the characters and in the spectacular portrayal of horror or of disordered nature. On the Sublime is therefore an interesting tool to understand the generic interferences at work in the Thebaid. It highlights the tragic in passion, which is to be found in the theme of tyranny and which gives rise to tension within the epic thus rendering the characters more complex and bringing into question traditional heroism
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Hubert, Gwenaelle. "L’acte de commencer : étude comparée de débuts d’œuvre dans plusieurs genres poétiques de la période augustéenne." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040211.
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Cette thèse s'inscrit dans une démarche de comparaison – encore peu entreprise malgré l'intérêt que suscitent les débuts d’œuvre – entre des œuvres des genres épique, didactique et élégiaque de la période augustéenne. Nous cherchons à saisir les principes guidant la composition des débuts d’œuvre en poésie et à expliquer les variations apparaissant dans la pratique. En resituant les œuvres augustéennes dans une tradition, nous établissons qu’il existe à cette époque des rituels de début différenciés entre les proèmes épiques et didactiques, à tel point qu’ils contribuent à l’inscription des œuvres dans deux genres distincts. Puis en mobilisant les éléments que les comparaisons font apparaître comme marqueurs de début en raison de leur récurrence, mais aussi les outils de la pragmatique et le concept de paratexte, nous mettons en évidence les caractères qui, au-delà d’une représentativité programmatique, qualifient les pièces liminaires des recueils élégiaques pour ouvrir l’œuvre. Il apparaît alors que seul Ovide se positionne par rapport à l’épopée en jouant avec les codes de début de celle-ci, parce qu’il écrit à un moment où le genre élégiaque a gagné en maturité et où le proème de l’Énéide a établi un modèle de début épique de référence en latin. Mais au stade du premier livre de Properce et de Tibulle, aucun rituel de début d’œuvre spécifiquement élégiaque n’est institué, le positionnement de l’élégie par rapport à l’épopée ne se traduit pas dans la forme du début d’œuvre, et il ne sera formulé plus explicitement en termes méta-littéraires que dans les livres suivants. D’une manière générale, le premier début est moins réflexif que les débuts de livres intermédiairesThis thesis aims at comparing different epic, didactic and elegiac writings from the Augustan period. Although the beginnings of literary works have been extensively studied, comparisons are still needed. We try to understand the principles at work in the beginning of poetry writings. We also explain the variations observed between them.By placing Augustan texts in a tradition, we notice that there are characteristic differences between the rites of epic and didactic proems. These differences are so important that they contribute to the identification of a work's genre.Then mobilizing elements that comparisons reveal as markers for their recurrence, but also the tools of pragmatics and the concept of paratext, we highlight the characters which, beyond programmatic representativity, qualify the poems opening elegiac collections as beginnings.It appears that only Ovid describes his position in relation to epic, by playing with beginning codes of that genre, because he wrote at a time when the elegiac genre had matured and when the proem of the Aeneid had established a Latin model for epic proems. But at the time of the first book of Propertius and Tibullus, no specific ritual of beginning is established for elegiacs. Elegy's relationships to epic do not appear in the form of the beginning and they will be described more explicitly in metaliterary terms in the following books. Generally speaking, the first beginning is less metapoetic than the beginnings of intermediate books
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Roux, Magalie. "Poétique au féminin dans les épopées flaviennes : évolution esthétique et idéologique d’un genre." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040220.
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La figure de l’épouse fait partie intégrante du genre épique, dont les œuvres homériques ont élaboré le modèle pour la littérature gréco-romaine. L’importance accordée à l’eros féminin, et particulièrement conjugal, est l’un des aspects sur lesquels repose l’évolution de la généricité épique, d’œuvre en œuvre. À l’époque flavienne, Valérius Flaccus et Stace confèrent un rôle déterminant à deux figures féminines, celle de Médée dans les Argonautiques et celle d’Argie dans la Thébaïde, et présentent, tous deux, d’autres facettes de l’eros conjugal dans leur épisode lemnien, dont Hypsipyle est l’héroïne centrale. Cette présence accentuée du féminin peut être rapprochée de la réflexion contemporaine sur l’éthique conjugale menée dans le domaine philosophique, notamment par Musonius Rufus. Sur le plan littéraire, dans le contexte de la latinité d’argent, elle manifeste un questionnement des normes du genre, qui se traduit par une représentation de l’épouse selon des modèles autres qu’épiques : celui du genre tragique et de l’élégie romaine, particulièrement des Héroïdes d’Ovide. À la confluence de trois traditions littéraires, épique, tragique et élégiaque, le rôle des figures féminines témoigne d’un renouvellement de l’épopée, dont l’élaboration de critères d’analyse portant sur les notions de genre, de généricité et d’intergénéricité permet de donner l’entière mesureThe character of the wife is a central feature of the epic genre, for which Homer's poems stand as a model in Greek and Latin literature. The major role the feminine eros, especially towards a husband, plays in those works is one of the aspects on which the evolution of epic genericity relies, evolving from one poem to another. During the Flavian Age, Valerius Flaccus and Statius gave two feminine characters a major part in their poems : one is Medea in The Argonautics, the other Argia in Statius' Thebaid. Besides, both poets also illustrate other aspects of husband and wife eros in the Lemnian episode, which stages Hypsipyle as its heroine. From a philosophical point of view, we can see how this emphasized presence of feminine characters matches contemporary philosophers' theories on ethics within marriage, such as Musonius Rufus' thoughts. From the point de view of literature however, considering its setting in the Age of Silver latinity, we can consider this presence as a questioning of epic generic codes, which shows in the way wives are represented, according to the patterns of tragedy and of the Roman elegy, particularly of Ovid's Heroids. Therefore in the wake of three literary traditions - epic, tragedy, elegy -, the role of feminine characters shows the renewal of the epic, which we can fully study by creating criteria of analysis bearing on the notions of genre, genericity and intergenericity
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Taous, Tatiana. "Les verbes latins signifiant « combattre » dans la poésie épique, d’Ennius aux poètes flaviens (IIIe s. av. J.-C. – Ier s. ap. J.-C.). Approche sémantique, morphologique et syntaxique." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040153.
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La thèse étudie les dénominations du procès de combattre en latin et montre que l’évolution des signes linguistiques est corrélative des realia historiques et politiques. Cette étude sémantique articule différentes approches et propose un éclairage linguistique et anthropologique sur les verbes signifiant « combattre » dans la poésie épique latine. Au vu des problématiques liées à tout sujet onomasiologique, une partie préliminaire se concentre sur l’établissement du corpus de verbes. Les première et seconde parties confrontent l’approche sémantique aux approches morphologique et syntaxique. Les lexèmes retenus sont décrits plus précisément afin de déterminer s’ils adoptent des tendances morphologiques et rectionnelles particulières, rattachables à leur signifié. La première partie permet, à travers l’étude des radicaux, des morphèmes (temps – personne) et des préverbes, de dégager des spécificités morphosémantiques en relation avec les trois types morphologiques isolés (verbes simples, locutions et préverbés). La seconde partie étudie, dans une perspective sémantico-syntaxique, les rôles sémantiques et les types rectionnels et crée des zones d’intersection entre lexèmes, qui ne rejoignent pas toujours les trois types morphologiques. Ces nouveaux recoupements permettent d’opposer les lexèmes et de déterminer les motivations (littéraires ou anthropologiques) de leurs emplois. La thèse en arrive à l’idée que la perpétuation ou le renouvellement des signes linguistiques pour dénoter le procès « combattre » a partie liée avec des données culturelles et anthropologiques et que le genre épique est un genre littéraire vivant, qui suit la mouvance et les idéologies de son tempsThis study of Latin verbs meaning “to fight” in epic poetry shows that the evolution of linguistic signs and lexical units reflects extralinguistic phenomena. It is a semantic study which, by combining several approaches, sheds new light, both linguistic and anthropological, on the verbs meaning “to fight” in Latin epic poetry. The preliminary chapter (after the introduction) presents the selected verbs belonging to the corpus. In the first and second sections of the work, the contrast is drawn between a fundamentally semantic approach to the verbs and a more morphological and syntactical approach. The first section analyses the verbs’ synchronic radicals, their tenses, their personal morphemes, and their preverbs, in order to show their semantic specificities in the context of the three morphological types in which they may be found: simple verbs, verbal phrases and preverbed verbs. In a semantic-syntactic approach, the second section deals with the participant roles and syntactic environments and creates new intersections between lexemes. These links shed light on the oppositions that exist between the individual lexemes and determine the – literary or anthropological – motivations in the use of the selected verbs. The conclusion makes two important points. Firstly, we see that the continuation or the renewal of linguistic signs and lexical units denoting the process of fighting also depend on cultural and anthropological factors. Secondly, it is made clear that the epic literary genre in Latin is not frozen throughout the historical periods studied here, since it is continually evolving and adapting to the changes and ideologies of the times
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Belle, Marie-Alice. "Traduction et imitation dans les Iles Britanniques aux XVIe et XVIIe siècles : les métamorphoses du livre IV de l'Énéide de Virgile [1513-1697]." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030087/document.
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Cette thèse présente une étude historique des traductions et imitations britanniques du livre IV de l’Énéide de Virgile aux XVIe et XVIIe siècles, depuis l’Eneados de Gavin Douglas [1513] jusqu’au Dryden’s Virgil de 1697. À travers une étude comparative des traductions successives de l’épisode, on y dégage les transformations de la notion d’ imitation comme modèle de la traduction littéraire au cours de la période. À une conception de la traduction dominée au XVIe siècle par le modèle rhétorique antique de l’imitatio, et par le souci de développer l’épopée vernaculaire sur le modèle virgilien, succède dans la première moitié du XVIIe siècle une définition spécifique de l’imitation comme modalité de la traduction libre. Dans un contexte de crise politique et de compétition entre les différentes versions de l’épisode, les “imitations” deviennent le lieu de prises de position idéologiques et esthétiques, dans des interprétations contrastées du modèle épique virgilien. Les réécritures du livre IV de l’Énéide qui marquent le second XVIIe siècle témoignent d’un certain éclatement de la notion d’ imitation, qui désigne à la fois les réécritures satiriques et parodiques de l’épisode, et l’entreprise de fondation culturelle et esthétique de l’âge “augustéen”. Au modèle herméneutique hérité des traducteurs humanistes se substitue alors avec Dryden une conception esthétique de la traduction littéraire comme mimesis artistique. L’étude associe l’analyse des stratégies formelles et interprétatives propres à chaque traduction à une réflexion sur la réception britannique de l’Énéide et offre des éléments de méthode pour l’analyse historique des traductions sur la longue duréeThis thesis consists in a historical study of the translations and imitations of Virgil’s Aeneid IV in XVIth- and XVIIth century Britain. Through a comparative analysis of the many translations of the episode between Douglas’s Eneados [1513] and Dryden’s 1697 Virgil, this study highlights the main transformations of the notion of imitation as a central concept in Early Modern translation theory and practice. First dominated by the Classical model of rhetorical imitatio and by the Humanist fashioning of the vernacular epic after Virgil’s Aeneid, the concept of imitation is reinterpreted in the first half of the XVIIth century as an form of free translation. In a context of political crisis, of competing translations of the episode, and of clashing interpretations of the virgilian epic model, the practice of imitation reads as an assertion of the translators’ aesthetic and political agendas. In the second half of the XVIIth century, the rewritings of Aeneid IV reveal a paradoxical reappropriation of the notion of imitation, which is used at once to define the satirical parodies of Virgil’s epic, and to establish the political and cultural foundations of the “Augustan age”. With Dryden’s Virgil, the hermeneutic model of translation inherited from the Humanists is replaced by a specifically aesthetic theory of literary translation modelled on the neoclassical discourse on mimesis. The aim of this study is to combine a detailed analysis of the literary and interpretive strategies at work in each translation with a broader discussion of the reception of Virgil’s Aeneid, and to develop a method for the historical analysis of the translations of a given text over a long period of time
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Fagundes, Eduardo de Souza. "A epopeia o oriente, de José Agostinho de Macedo, enquanto releitura de Os Lusíadas, de Luís De Camões." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170362.
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A epopeia Os Lusíadas (1572), de Luís de Camões, estrutura-se, historicamente, sobre o achamento da Índia e, miticamente, sobre as mitologias greco-latina e judaico-cristã. A presença dessas mitologias divergentes em Os Lusíadas estimula a elaboração de uma epopeia portuguesa chamada O Oriente (1814), cujo autor é o padre português José Agostinho de Macedo. O Oriente é uma releitura de Os Lusíadas, e seu processo composicional caracteriza-se por negar e remover a sacralidade da representação dos deuses greco-latinos, substituindo-os pelas divindades judaico-cristãs, que Macedo exaltará, e por representar a Vasco da Gama como um herói genuinamente cristão, pois, segundo Macedo, Camões não o fizera. O narrador de O Oriente substitui as divindades representadas por Camões, tais como Júpiter, Baco, Vênus, Marte, Morfeu e Tétis, por figuras tais como Deus, Satanás, o Serafim e São Tomé. O narrador aceita e mantém, no entanto, determinados personagens da mitologia greco-latina em sua epopeia, tais como Luso, Lisa e Ulisses, por exemplo. Nesse sentido, José Agostinho de Macedo alinha-se à representação de Os Lusíadas. O narrador de O Oriente filia seu herói, Vasco da Gama, ao cristianismo, e representa-o como o eleito de Deus para a difusão da fé cristã no Oriente. O narrador, portanto, pretende emendar esses aspectos da representação de Os Lusíadas.The epic poem Os Lusíadas (1572), by Luís de Camões, is based on the historical discovery of India and on the Greco-Roman and Judeo-Christian mythologies. The presence of these divergent mythologies in Os Lusíadas stimulates the elaboration of a Portuguese epic poem entitled O Oriente (1814), by the Portuguese priest José Agostinho de Macedo. O Oriente is a rereading of Os Lusíadas, and its compositional process is characterized by denying and removing the sacredness of the representation of the Greco-Roman gods, who are replaced by the Judeo-Christian deities the autor intends to exalt, and for representing Vasco da Gama as a genuine Christian hero, because, according to Macedo, Camões had not done that. The narrator of O Oriente replaces the deities represented by Camões, such as Jupiter, Bacchus, Venus, Mars, Morpheus and Thetis, with figures such as God, Satan, Seraphim, and St. Thomas. The narrator accepts and maintains, however, certain characters from Greco-Roman mythology in his epic poem, such as Luso, Lisa and Ulysses. In this regard, José Agostinho de Macedo aligns himself with the representation of Camões. The narrator of O Oriente associates his hero, Vasco da Gama, with Christianity and represents him as the chosen of God in order to spread the Christian faith in the East. The narrator, therefore, intends to fix aspects of the representation of Os Lusíadas.
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Caltot, Pierre-Alain. "Voix du poète, voix du prophète. Poétique de la prophétie dans la Pharsale de Lucain." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040174.
Full textAbstract:
Fondée sur la polysémie du terme latin uates, notre thèse se propose d’étudier les rapports entre poésie et prophétie dans la Pharsale de Lucain. Depuis l’Antiquité, le prophète est à la fois celui qui annonce l’avenir et celui qui parle au nom d’un tiers, souvent d’un dieu. D’abord, nous proposons une typologie des figures de prophètes dans la Pharsale en les comparant avec les prophètes de la tradition littéraire, en particulier issue de l’épopée et de la tragédie. Trois types de prophètes apparaissent chez Lucain : les prophètes omniscients, les prophètes utilisant une discipline divinatoire (astrologie, haruspicine, enthousiasme…) et les prophètes doués d’une inspiration infernale. Ensuite, la parole prophétique des personnages est comparée à celle, oraculaire, du narrateur épique. Nous proposons une étude des prolepses narratives de l’épopée en lien avec l’histoire de Rome, et en particulier avec l’histoire des guerres civiles. Ainsi, Lucain construit une vision cyclique de l’histoire. Après avoir défini la matière prophétique dans la parole du narrateur, nous analysons son style prophétique du point du vue narratologique et stylistique. Enfin, nous passons d’une poétique à une métapoétique de la prophétie chez Lucain. En effet, les personnages de prophètes constituent des mandataires du poète dont ils sont les porte-voix, au sens étymologique de prophète. Les prophètes lucaniens sont donc chargés de délivrer un Art poétique, conformément à la vision du monde de l’auteur. Cette dernière se traduit par une esthétique de la rupture qui s’applique au macrocosme céleste, au microcosme organique et à l’hexamètre épiqueStarting from the double meaning of the latin word uates, this study aims to define the links between poetry and prophecy in Lucan’s Pharsalia. Since Antiquity indeed, the prophet has been both a soothsayer and a person speaking for somebody else, especially for a god. First, we build a typology of the prophetic figures in the Pharsalia and we compare them with literary characters from epic and tragedy. Lucan conjures three kinds of prophets : omniscient ones, prophets who use divinatory technics (e.g. astrology, haruspicy, enthusiasm) and those whose inspiration comes from the Underworld. We then look at the prophetic speeches delivered by the characters against the oracular voice of the epic narrator. We study narrative prolepses of the epic that anticipate Roman history (especially the history of the Civil Wars), and through which Lucan offers a cyclical vision of history. After defining the prophetic matter of the narrative voice, we analyse Lucan’s prophetic manner from a narratological and a stylistic perspective. Lastly, we switch from a poetic definition of prophetic voices in the Pharsalia to a metapoetic study. The prophet characters indeed serve as surrogates of the poet and literally utter his voice, thus referring to the etymology of the word. The role of Lucan’s prophets is therefore to formulate an Ars poetica, in accordance with the poet’s Weltanschauung – a vision articulated by an aesthetics of disruption which encapsulates the celestial macrocosm, the organic microcosm and the epic hexameter
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Demerliac, Oriane. "Le locus de la mer chez les poètes augustéens : miroir et creuset des mutations poétiques, politiques et morales du début du Principat." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN066.
Full textAbstract:
Pour montrer la richesse des représentations poétiques de la mer, l’époque augustéenne constitue un moment clef. Avec la bataille d’Actium, la mer occupe une place nouvelle à Rome et devient un enjeu majeur, lieu de victoires et de pouvoir dans le discours d’Auguste et dans l’imaginaire romain, à un moment de refondation aussi bien politique que morale de la cité après les guerres civiles. C’est la manière dont cet objet s’est constitué en tant que catalyseur de toutes les grandes mutations de l’époque augustéenne qui retient notre attention. Nous étudions la mer comme locus, c’est-à-dire comme un objet poétique susceptible de refléter ou de modifier le lieu réel où l’activité humaine se déploie durant l’histoire grecque et romaine, mais aussi les représentations socioculturelles. Dans notre première partie, nous entreprenons une comparaison des rapports à la mer chez les Grecs et les Romains, dans leur histoire, leurs mentalités et leur littérature. Il apparaît que d’un point de vue axiologique, si la mer des poètes augustéens reçoit un traitement négatif en grande partie influencé par la poésie grecque, ce motif est enrichi d’un élément inédit : la condamnation de la navigation. Reliée aux guerres et à la luxuria, elle s’inspire chez les poètes augustéens d’une synthèse entre les influences de la philosophie grecque et de la morale traditionnelle : elle devient le lieu d’expression des passions humaines, depuis la cupidité jusqu’à la colère du Prince. Mais les poètes augustéens ont aussi été sensibles à l’héritage grec du motif épique de la mer : Virgile, dans l’Énéide, élabore à partir des modèles grecs un héroïsme nouveau, adapté à l’arrière-plan culturel romain, où prime la pietas, dans des errances où les épreuves maritimes sont systématiquement désamorcées. Ovide, dans ses Métamorphoses, relit Virgile pour déconstruire cette mer de la fabrique des héros et proposer une nouvelle représentation de la mer, miroir de la Pax Augusta. Pourtant, c’est l’élégie qui, en transférant toute ses ambiguïtés au locus marin, en fait le mieux le miroir troublant des changements politiques et des mutations morales que connaît Rome au début du Principat : la réélaboration élégiaque du motif épique de la mer est l’occasion du questionnement et de la réaffirmation des valeurs du mos maiorum, d’expérimentations génériques et surtout de la construction d’un nouvel héroïsme en mer, celui d’Auguste à ActiumTo show the richness of the poetic representations of the sea, the Augustan epoch is considered a key period. With the battle of Actium, the sea holds a new place in Rome and becomes a major stake, place of victories and power in the speech of Augustus and in the Roman imagination, during a political and moral city rebuilding after the civil wars. It is the way this object was established as a catalyst of all the great changes of the Augustan period that holds our attention. We study the sea as locus, that is to say as a poetic object likely to reflect or modify the real place where the human activity spreads out during the Greek and Roman history, but also the socio-cultural representations. In our first part, we undertake a comparison of the relationships with the sea for Greeks and Romans, in their history, their mentalities and their literature. It appears that from an axiological point of view, if the sea of Augustan poets receives a negative treatment as in Greek poetry, this pattern is enriched by a previously unseen element: the navigation condemnation. Linked with war and luxuria, it is inspired for the Augustan poets by a synthesis between the influences of Greek philosophy and traditional morality: it becomes the place of expression of the human passions, from greed to anger of the Prince. But the Augustan poets have also carried the Greek heritage of the epic motif of the sea Virgil, in the Aeneid, develops from the Greek models a new heroism, adapted to the Roman cultural background, where the pietas takes the central part through wanderings where sea trials are systematically undone. Ovid, in his Metamorphoses, rereads Virgil to deconstruct this sea of heroes and to build a new representation of the sea, mirror of the Pax Augusta. However, the elegy, as the most ambiguous genre, introduces the most original and complex vision of the marine locus. Elegiac poets makes it the most disturbing mirror of the political changes and moral mutations that Rome experienced at the beginning of the Principate: the elegiacre-elaboration of the epic motif of the sea is an opportunity to question and reaffirm the values of the mos maiorum, generic experiments and especially the construction of a new heroism at sea, that of Augustus to Actium