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Upton, Christopher A. "Studies in Scottish Latin." Thesis, University of St Andrews, 1986. http://hdl.handle.net/10023/2734.
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This thesis examines certain aspects of Scottish Latin, particularly in the period 1580-1637. The first chapter chronicles the endeavours of John Scot of Scotstarvet to compile an anthology of Scottish Latin poetry, based on the unpublished letters to Scot in the NLS. Both the letters and contemporary verse indicate that the project was under way twenty years before the Delitiae was printed and that John Leech was an important influence. Leech's letters to Scot highlight Scot's editorial reticence, confirmed by the alterations in Scotstarvet's own verse. The final product was more a reflection of the taste and ethos of the early 1620s, after which Scot apparently ceased to collect material. The second chapter documents the attempts to impose a national grammar upon the schools, akin to the Lily-Colet grammar in England. Attempts to provide a radical alternative to Despauter, firstly by a committee and later by Alexander Hume, were inhibited by the inherent conservatism of teaching establishments. The most successful of the new grammars, those by Wedderburn and the Dunbar Rudiments, remained as general introductions to Despauter. Evidence for the composition of Latin verse in schools and universities, both statutory and manuscript, is assessed in the third chapter. Active involvement in the practice by local authorities influenced the range and extent of verse being written after 1600. The poetry of David Wedderburn of Aberdeen, promoted by the town council, reflects that influence. The importance of teaching methods upon a poet's future development is most clearly seen in the verse of David Hume, discussed in the fourth chapter. Hume continually re-works and re-evaluates the themes of his adolescent verse, measuring them against the achievements of James VI, whose birth he had earlier celebrated. The thesis concludes with a check-list of Scots whose Latin verse was printed before 1640.
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Rae, Lyn MacCrostie. "A study of the versification of the African carmina latina epigraphica." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31157.
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This thesis presents a study of the metrics and prosody of the carmina latina epigraphica from the Roman provinces of North Africa, the purpose of which is to test the prevailing but unsubstantiated view that these carmina exhibit especially poor versification, and that in them can be observed a chronological decline in quality of versification.
A representative corpus of dated carmina latina epigraphica africana is established, the inscriptions are subjected to an analysis of their metrics and prosody, and conclusions are drawn concerning the nature, extent and chronology of their deviation from classical standards of versification.
The corpus of inscriptions has four introductory chapters, which form Part II of the study. The first describes the criteria according to which the texts have been chosen. The second, third and fourth present three premises on which analysis and interpretation of their versification are based; these concern the authorship of the carmina, the educational background of the authors, and the linguistic milieu in which they were composed.
The core of the thesis is Part III, which comprises the texts of eighty-six dated carmina, analyses of their versification and commentaries on several features of their composition. Observations are offered regarding: the nature and possible causes of unclassical metric and prosodic phenomena; the extent to which an author deviates from literary norms, and the effect of his errors on a quantitative reading of the poem; a brief assessment of each author's understanding of and competence in the composition of classical quantitative verse; the graphic disposition of the text and its effect on the reader's recognition and recitation of the poetic content.
Conclusions drawn from the data compiled in Part III include the following. Unclassical metric features characteristic of the corpus include the combination of different meters in one poem, the composition of hypermetric and hypometric lines and the intermixture of prose with lines of verse. Such phenomena are found in about one-half the texts. Prosodical irregularities fall into two main types: those that can be considered classical (ascribable to an author's application of classical licences); and those that are errors, most of which are attributable to the intrusion of certain unclassical phonological features of an author's everyday speech. Prosodical errors occur in about three-quarters of the texts.
Four main observations are offered regarding the distribution of errors in the corpus. The extent to which individual authors adhere to literary norms varies widely; the majority of versifiers, however, have adhered sufficiently well that their works can be read quantitatively without serious hindrance. The presence of metric deviations in a poem carries no chronological significance, for these are fairly evenly
distributed throughout the corpus; a general chronological decline in adherence to classical prosody is discernible from the first century to the fifth, with a reverse in the decline seen in poems dated to the last three centuries of the period. The presence in the corpus of several poems of unsound versification of very early date and of poems of sound versification of very late date proves that the practice of some scholars of dating otherwise undatable carmina according to their quality of versification is unsafe. Pagan authors tend to adhere slightly more closely than their Christian counterparts to classical metrics and prosody. Poems of reasonably sound metrics and prosody tend to be inscribed in such a way as to facilitate the reader's recognition and recitation of their poetic content, while poems of poor quality of versification tend to be inscribed haphazardly.
Appendix I provides full scansion of each carmen. Appendix II lists initia carminum.<br>Arts, Faculty of<br>Classical, Near Eastern and Religious Studies, Department of<br>Graduate
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Laird, Andrew. "Modes of reporting speech in Latin fictional narrative." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cf04560a-fda0-4f0b-a53f-2e11c64b7a96.
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The thesis reviews the techniques employed by Latin authors up to the second century A.D. to report the spoken words and articulated thoughts of their characters. The study is principally devoted to continuous narratives of a fictitious kind: epic, 'epyllia' and prose fiction, although some consideration has been given to narratives in other genres for comparative purposes. Several means are at the disposal of a narrator for presenting the discourse of his or her characters. What is supposed to have been said or thought may be conveyed by quotation in direct speech, some form of indirect or free indirect discourse, or by the simple mention that a speech act has occurred. The Introduction sets out the terminology used in this enquiry and surveys the modes of reporting speech in Latin. Some attention is given to the views of ancient literary critics and theorists on speech presentation. The first chapter on martial epic examines the reporting of speech in Virgil and Lucan in particular. The second chapter on poetry reviews epyllion and Ovidian narrative, and compares the practices of authors working in different genres. Divergences in style between authors working in the same genre are also considered: the techniques of four poets who report speech in scenes involving the dictation and delivery of messages are compared. The final chapter treats the prose fiction of Petronius and Apuleius. For all the texts taken into account, it will be shown that concentration on speech presentation can broaden our insight into some fundamental features of Latin narrative.
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Rave, Maria Eugenia B. "Magical Realism and Latin America." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/RaveMEB2003.pdf.
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Hazelton, Hugh. "Latinocanadá, a critical anthology of ten Latin American writers of Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26380.pdf.
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Lutes, Todd Oakley. "Shipwreck and deliverance: Modernity and political culture in Latin American literature." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187249.
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This study examines the political theory of modernity as it appears in the work of contemporary Latin American writers and thinkers (pensadores). It is designed to help bridge the gap that separates the North American and European dialogue on modernity from the parallel dialogue on modernity currently flourishing in Latin America. The dialogues are brought together in two ways. First, the theory of modernity, which is still often thought to apply only or primarily to the developed world, is subjected to the challenge of the Latin American political and cultural context. Many features of the theory are found to apply equally well to both cultures, and these features provide the basis for the second "bridging" of the two dialogues, in which some of the most interesting Latin American responses to the problems of modernity are brought to the attention of North American and European political scholars. After reviewing the problem of modernity in some depth, the work of Jose Ortega y Gasset is presented both as a link to German philosophical thought and as a pattern for subsequent discussion of modernity in the Spanish-speaking world. Ortega's uniquely Latin way of understanding modernity is then compared to other philosophical approaches, and placed within the context of political literature in Latin America. Literature is shown to be a uniquely suitable forum for conveying Ortega's approach to modernity because it expresses in itself the central role of arts and culture in his political thought. The balance of the study focuses on the works of three contemporary Latin American authors: Octavio Paz of Mexico, Gabriel Garcia Marquez of Colombia, and Mario Vargas Llosa of Peru. Each author's major works are placed within the context of the model Latin American response to modernity inspired by Ortega and analyzed for significant contributions to the discussion of modernity. Their most important insights center around the need to assimilate the value of tradition in a new approach to modernity by means of some form of democratic dialogue combined with critical appreciation for the cultural uniqueness of nations.
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Travis, Christopher Michael. "The dialectical voice of Enrique Lihn and the metapoetics of twentieth-century Latin American literature." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035990.
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Cesila, Robson Tadeu. "O palimpsesto epigramatico de Marcial : intertextualidade e geração de sentidos na obra do poeta de Bilbilis." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271117.
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Orientador: Paulo Sergio de Vasconcellos<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-10T17:42:32Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: Como todo e qualquer texto, os epigramas do poeta latino Marco Valério Marcial (c. 38 d.C.- c. 104) são formados pela absorção e assimilação de outros textos, com os quais dialogam e aos quais aludem das mais diversas formas e por meio dos mais diferentes mecanismos. Tais alusões ou intertextos, ao incorporarem, aos textos de Marcial, elementos temáticos ou formais trazidos dos textos aludidos, geram novos significados nos epigramas do autor, tornando a sua leitura mais rica e instigante. Paralelamente, a leitura dos textos aludidos ¿ os modelos ¿ também é enriquecida e influenciada. Nosso recorte, no presente trabalho, contempla o estudo dos intertextos que relacionam os epigramas de Marcial com as obras dos poetas latinos Catulo, Virgílio e Ovídio, buscando mostrar como se dá a incorporação, pelo poeta de Bílbilis, dos elementos emprestados dos textos desses autores e como tais elementos enriquecem com novos sentidos a leitura de todos os textos envolvidos<br>Abstract: Like any text, the epigrams of the Latin poet Martial (c. A.D. 38 ¿ c. 104) are composed by the absorption and assimilation of other texts, with which they dialogue and to which they allude in very different ways and in very different mechanisms. When these allusions or intertexts incorporate into the Martial¿s texts elements of form or content brought from the texts alluded, they create new meanings in the poet¿s epigrams, so that reading grows richer and gripping. At the same time, the reading of the texts alluded ¿ the models ¿ is also enriched and influenced by the epigrams. In this thesis, we study the intertextual relationships between the Martial¿s epigrams and the works of the Latin poets Catullus, Virgil and Ovid; then, we try to show how the poet from Bilbilis incorporated into his texts borrowed material from those authors and how that material enriches the reading of all texts involved with new meaning<br>Doutorado<br>Linguistica<br>Doutor em Linguística
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Duplat, Alfredo. "Hacia una genealogía de la transculturación narrativa de Ángel Rama." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2484.
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Esta disertación conecta la teoría de la transculturación narrativa de Ángel Rama con la tradición intelectual latinoamericana que aportó sus características más distintivas. Las teorías de Rama fueron influidas por dos tradiciones latinoamericanas. Una es de carácter político y tiene su origen en la Reforma de Córdoba de 1918. La otra, de carácter epistemológico y se remonta a la década de 1930, cuando comienza el culturalismo en Latinoamérica. Mi investigación se ocupa de un grupo de intelectuales uruguayos que trabajaron en torno al semanario Marcha [1939-1974]: Carlos Quijano [1900-1984], Julio Castro [1908 -desaparecido en 1977] y Arturo Ardao [1912-2003]. También me ocupo de dos intelectuales brasileños, Antonio Cândido [1918] y Darcy Ribeiro [1922-1997], quienes continuaron con la tradición culturalista que inauguraron en Latinoamérica autores como Gilberto Freyre [1900-1987] y Fernando Ortiz [1881-1969]. Recuperar las redes intelectuales que acompañaron el proceso de articulación de la transculturación narrativa nos permite comprender mejor las tesis de Rama por dos razones. Primero, porque enmarca esta teoría dentro de algunos de los debates políticos y culturales más importantes de la Guerra Fría. Y segundo, porque se aproxima a la manera como Rama comprendió la historia latinoamericana y su coyuntura política y socio-cultural durante las décadas de 1960 y 1970.
El objetivo de la teoría de la transculturación narrativa es describir el proceso por el cual las manifestaciones literarias latinoamericanas pasan de la dependencia a la autonomía cultural. Como el proceso descrito se despliega dentro de la estructura social, para comprenderlo es necesario analizar la interacción entre las obras literarias y la sociedad que las rodea, de esta forma las ciencias sociales --antropología, sociología, economía-- son instrumentos de análisis indispensables para comprender una obra o tradición literaria. Este marco general de análisis es descrito por Rama como el culturalismo.
En el caso de Rama, una lectura desde los estudios literarios puede dar por sentado que el culturalismo fue tan sólo un método de análisis alternativo al estructuralismo francés. Aunque esta perspectiva sea en parte correcta, no es del todo precisa. El culturalismo al que se refiere Rama es el mismo que practicaron los cientistas sociales en Latinoamérica desde la década de 1930. Recuperar la historicidad de la transculturación narrativa no solo nos permite comprender la genealogía de esta teoría sino recuperar y hacer visibles algunas tradiciones intelectuales contra-hegemónicas que desarticuló la Guerra Fría en Latinoamérica.
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Vieira, Felipe de Paula Góis 1985. "De Macondo a McOndo : os limites do Real Maravilhoso como discurso de representação da América Latina (1947-1996)." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278674.
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Orientador: José Alves de Freitas Neto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-20T14:36:09Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: O presente texto de dissertação analisa os limites do Real Maravilhoso como conceito e discurso estético-político de representação da América Latina. A intenção é buscar nos debates entre os principais expoentes da chamada nova narrativa hispano-americana reflexões sobre a identidade do continente. Essa literatura iniciada nos anos de 1950 e continuada nas décadas seguintes é responsável por fomentar uma ideia de unidade latino-americana, criando um pastiche sobre aquilo que seria a América. Como salienta grande parte dos estudiosos do tema, a narrativa desse período, de maneira consciente, tentou realizar a busca de um centro do espaço americano e começou propensa a dar uma versão típica da nossa realidade: a América como espaço do maravilhoso. Divergindo dessa representação, na década de 1990 tem início o movimento McOndo, criado pelos escritores chilenos Alberto Fuguet e Sergio Gómez, para definir uma geração de novos escritores latino-americanos cuja principal característica era rechaçar o aspecto mágico que passou a ser o ?selo? dos autores do Real Maravilhoso. Analisar os limites e as implicações políticas desses discursos, assim como as formas através das quais os intelectuais da década de 1960 e 1990 representaram a América Latina, é o principal objetivo do trabalho<br>Abstract: This dissertation explores the limits of the Real Maravilhoso as a concept and an esthetic-political speech of Latin America representation. The purpose of it is looking for reflections about the continent identity through discussions among the main exponents of the new Spanish American narrative. This literature that was introduced in the 1950s and has been proceeded in the following decades is responsible for promoting a concept of Latin-America unity, creating a common sense of what would be America. As emphasized by many literary critics and historians, the narrative of this period, in a conscious way, tried to achieve the search of a center of an American space and began tending to give a typical version of our reality: America as a place of wonder. Diverging from this representation, in the 1990s the movement McOndo has begun, created by chilean writers Alberto Fuguet and Sergio Gómez, to define a generation of new Latin American writers whose main feature was to reject the magical aspect that became the "seal" of the Real Maravilhoso's authors. Analyze the limits and political implications of these speeches, as well as the intellectuals of the 1960s and 1990s represented Latin American, is the main objective of this study<br>Mestrado<br>Historia Cultural<br>Mestre em História
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Brooks, Britton. "The restoration of Creation in the early Anglo-Saxon vitae of Cuthbert and Guthlac." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:17b5d20e-446e-4891-90a6-f02a196a7409.
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This thesis explores the relationship between Creation and the saints Cuthbert and Guthlac in their Anglo-Latin and Old English vitae. It argues that this relationship is best understood through received theological exegesis concerning Creation's present state in the postlapsarian world. The exegesis has its foundation in Augustine's interpretations of the Genesis narrative, though it enters the textual tradition of the vitae via an adapted portion of De Genesi contra Manichaeos in Bede's metrical Vita Sancti Cuthberti (VCM). Both Augustine and Bede argue, with slight differences, that fallen Creation can be restored into prelapsarian harmony with humanity by way of sanctity. Each individual vita engages with this understanding of the Fall in distinct, though ultimately interrelated, ways, and the chapters of this thesis will therefore explore each text individually. Chapter 1 argues that the anonymous Vita Sancti Cuthberti (VCA) unites Cuthbert's ability to restore Creation with the theme of monastic obedience, linking the ordering of a monastery to the restoration of prelapsarian harmony. The VCA also seeks to create sites for potential lay pilgrimage in the landscapes of Farne and Lindisfarne by highlighting the present efficacy of Cuthbert's miracles. Chapter 2 argues that Bede's VCM not only reveals his early attempt to fashion Cuthbert into the primary saint for Britain, via a focus on Cuthbert's obedience to the Divine Office, but also that the restoration of Creation functions as a ruminative tool. Chapter 3 argues that Bede transforms the nature of Cuthbert's sanctity in his prose Vita Sancti Cuthberti (VCP) from static to developmental, influenced by the Evagrian Vita Antonii, and that Creation is adapted to function as the impetus for, and evidence of, Cuthbert's progression. Chapter 4 argues that Felix's Vita Sancti Guthlaci (VSG) unites the development of Guthlac with a physically delineated Creation, and that the restoration of Creation is elevated to an even greater degree here than in Bede's hagiography. Chapter 5 argues that the author of the Old English Prose Guthlac (OEPG) grounds his vita by utilizing a landscape lexis shared with contemporary boundary clauses, so that here the relationship between the saint and Creation has greater force; it further argues that Guthlac A uniquely connects Guthlac with the doctrine of replacement, consolidating links between his arrival to the eremitic space and the restoration of prelapsarian Eden.
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Lépori, Roberto. "Mil años de ciencia ficción hermética latinoamericana [1492-2500] : En tres episodios: Borges, la conspiración; Sor Juana y Antônio Vieira, íntimos herejes; Bizarros profetas ciberculturales /." São José do Rio Preto, 2014. http://hdl.handle.net/11449/122239.
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Orientador: Giséle Manganelli Fernandes<br>Coorientador: Manuel Fernando Medina<br>Banca: Nelson Luís Ramos<br>Resumo: A forma mais simples de apresentar os três episódios que compõem este trabalho é supor que o argentino Jorge Luis Borges ocupe provisoriamente o centro duma rede de obras e de escritores de ficção científica hermética latino-americana - uma rede que pode ser lida como uma conspiração. A figura de Borges - mistura heterodoxa de literatura e de "vida", de revelações, de epifanias, de "mentiras verdadeiras", de excessos intelectuais - permite ingressar na tradição da ficção científica herege desde o instante inicial quando os conquistadores invadiram o território que ainda não era América. O "kairós" histórico, político, cultural, ideológico, econômico do desencontro dessas duas cosmovisões provocou uma "guerra de imagens" e de discursos em cujo fragor mestiçaram-se desejos milenaristas europeus e concepções ameríndias também proféticas, também transcendentes e com idêntica impossibilidade - como o sonho dos seus invasores - de ser utopia em uma "terra sem mal". Nessas heterodoxias misturadas - caóticas, potentes para pensar e híbridas na sua origem europeia - cozinhou-se o húmus da ficção científica hermética que, com maior ou menor intensidade, fermentou até explodir no século XX. Em consequência, o gnóstico e cabalístico Borges é um mecanismo textual, com suas árduas especulações e com suas conspirações, para ler duas linhas genéricas surgidas desse húmus herege - linhas que, por nascer dos códigos do pensamento heterodoxo, são principais, porém não únicas. A primeira eclode no século XVII entre Brasil e Lisboa. Responde à ideia do complô, da conquista do espaço, da invasão, do domínio total (macrocosmo). O padre jesuíta Antônio Vieira baseado no milenarismo português constrói, no contexto de uma vida polêmica, um peculiar córpus composto de sermões apocalípticos e satíricos; uma carta-tratado ("papel") que justifica um silogismo ...<br>Resumen: El camino más directo para presentar estos tres episodios es suponer que el argentino Jorge Luis Borges ocupa -de forma provisoria- el centro de una red de obras y de escritores de ciencia ficción hermética latinoamericana -red que puede ser leída como una conspiración. La figura de Borges -mezcla heterodoxa de literatura y de 'vida', de revelaciones, de epifanías, de 'mentiras verdaderas', de excesos intelectuales- permite acceder a esa tradición de ciencia ficción hereje desde el instante inicial en el que los conquistadores invadieron el territorio que no era América todavía. El 'kairós' histórico, político, cultural, ideológico, económico del desencuentro de dos cosmovisiones provocó una 'guerra de imágenes', y de discursos, en cuyo fragor se mestizaron anhelos milenaristas europeos y concepciones amerindias también proféticas, también trascendentes y con idéntica imposibilidad -que el sueño de sus invasores- de resultar utopía en una 'tierra sin mal'. En esas heterodoxias mezcladas -caóticas, potentes para pensar y ya híbridas en su origen europeo- se cocinó el humus de la ciencia ficción hermética que, con mayor o menor intensidad, fermentó por centurias hasta explotar en el siglo XX. El gnóstico y cabalístico Borges es, entonces, un mecanismo textual, con sus arduas especulaciones y con sus conspiraciones, para leer dos líneas genéricas surgidas de ese humus hereje -líneas que al desprenderse de los códigos del pensamiento heterodoxo son principales, pero no únicas. La primera eclosiona en el siglo XVII entre Brasil y Lisboa. Responde a la idea de complot, de conquista del espacio, de invasión, de dominio total ('macrocosmos'). El padre jesuita Antônio Vieira en base al milenarismo portugués construye, en el entramado no menos polémico de su vida, un peculiar corpus compuesto por sermones apocalípticos y satíricos; una carta-tratado ('papel') que justifica un silogismo ...<br>Mestre
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Santos, Davi Siqueira [UNESP]. "A América Latina, de Manoel Bomfim, e Ariel, de José Enrique Rodó: ensaios de interpretação latino-americana." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/94041.
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santos_ds_me_assis.pdf: 605411 bytes, checksum: fb21af2dfba3823cc51651cc8c0d1b3e (MD5)<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>A presente dissertação centra-se no estudo de A América Latina e Ariel, dois ensaios importantes no contexto latino-americano da passagem do século XIX para o século XX. Seus autores, o brasileiro Manoel Bomfim (1868-1932) e o uruguaio José Enrique Rodó (1871- 1917), revelam pontos de convergência e pontos de divergência ao longo de suas análises. Enquanto o primeiro se detém com maior atenção nas características e consequências da colonização ibérica em solo americano, o segundo se volta contra um possível processo de recolonização via Estados Unidos da América. Contudo, apesar dessa focalização distinta, ambos os autores tecem, em seus ensaios, relações de base antitética. Assim, Ariel/Caliban, para José Enrique Rodó, e os parasitas/parasitados, para Manoel Bomfim, são representações antagônicas que simbolizam alternativas desejáveis e indesejáveis para os povos latinoamericanos. O intuito inicial do trabalho é traçar uma breve apreciação biográfica dos autores, seguida de um exame da recepção crítica das obras, de uma análise das questões mais centrais de cada ensaio e, por fim, de uma investigação dos personagens simbólicos criados ao longo das narrativas. Com base nesse cotejo entre as obras, pretendemos compreender melhor o quanto elas contribuem para a construção identitária do imaginário latino-americano<br>The presented dissertation revolves around the study of A América Latina and Ariel, two important essays in the Latin American context of the passing of the nineteenth to the twentieth century. The writers of these essays, the Brazilian Manoel Bomfim (1868-1932) and the Uruguayan José Enrique Rodó (1871-1917), reveal convergence and divergence points all over their analysis. While the former dwells on the characteristics and consequences of the Iberian colonization in American ground, the latter turns against a possible process of resettlement via the United States of America. However in despite of this distinct focalization both writers draw, in their essays, antithetical-based relationship. Hence, Ariel/Caliban of Rodó and parasite/parasitized of Bomfim are antagonistic representations that symbolize desirable and undesirable alternatives for the peoples of the Latin America. The first purpose of the text is to draw a brief biographical appreciation of the authors, followed by an examination of the critical reception of their works, an analysis of the most central questions of each essay and, at last, an investigation about the symbolic characters created along the narratives. Based in the confrontation of the two texts, we shall understand better how much they contribute for the identity construction of the Latin American imaginary
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Lacki, Glenn Christopher. "A conspiracy of love : exile and the double Heroides." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669896.
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Hirsch, Thierry. "Cicero, De Inuentione, Book 1 : introduction and commentary (1.19b-33; 1.97-109)." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:363f7f7a-45e0-4148-ad42-9afeca5bcb1c.
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The main body of this thesis is a commentary on sections 1.19b-33 and 1.97-109 of Cicero's De Inuentione. These sections treat partes orationis in general (1.19b), then exordium (1.20-26), narratio (1.27-30), partitio (1.31-33), digressio (1.97), and conclusio (1.98-109). Due to the imposed word limit, the sections on confirmatio (1.34-77) and reprehensio (1.78-96) could not be included in the thesis. The structure of the commentary on each of these sections will be: introduction to the section, references to parallel passages in other Latin and Greek rhetorical texts, the most important general literature on the subject of the section, comparison of the passage in Cic.Inu.1 with the corresponding one in Rhet.Her, individual lemmata. The lemmata will cover various kinds of information, such as textual, grammatical, and linguistic issues, background information on persons, objects etc. mentioned, the young Cicero's position within the rhetorical tradition for a particular point (i.e. influence on and by Cic.Inu.). To the commentary proper, a number of introduction chapters have been added. Due to the word limit, only a selection of these can be included in the thesis: the title 'De Inuentione' and Cicero's intention to write on all five partes artis; the structure of Cic.Inu.; subdividing the art; rhythm and clausulae; the young Cicero's knowledge of Aristotle's works; the relationship between Cic.Inu. and Rhet.Her. (abbreviated version); the proems of Cic.Inu. (abbreviated version); preliminary comments on Narratio; the Orestes case in the rhetorical tradition; examples in Cic.Inu. (abbreviated version). The structure of the commentary on each of these sections will be: introduction to the section, references to parallel passages in other Latin and Greek rhetorical texts, the most important general literature on the subject of the section, comparison of the passage in Cic.Inu.1 with the corresponding one in Rhet.Her, individual lemmata. The lemmata will cover various kinds of information, such as textual, grammatical, and linguistic issues, background information on persons, objects etc. mentioned, the young Cicero's position within the rhetorical tradition for a particular point (i.e. influence on and by Cic.Inu.). To the commentary proper, a number of introduction chapters have been added. Due to the word limit, only a selection of these can be included in the thesis: the title 'De Inuentione' and Cicero's intention to write on all five partes artis; the structure of Cic.Inu.; subdividing the art; rhythm and clausulae; the young Cicero's knowledge of Aristotle's works; the relationship between Cic.Inu. and Rhet.Her. (abbreviated version); the proems of Cic.Inu. (abbreviated version); preliminary comments on Narratio; the Orestes case in the rhetorical tradition; examples in Cic.Inu. (abbreviated version).
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Philo, John-Mark. "An ocean untouched and untried : translating Livy in the sixteenth century." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:72584fcd-42d6-42b6-9186-18b01b95af85.
Full textAbstract:
This is a study of the translation and reception of the Roman historian Livy in the sixteenth century in the British Isles. The thesis examines five major translations of Livy's history of Rome, the Ab Urbe Condita, into the English and Scottish vernaculars. The texts considered here span from the earliest extant translation of around 1533 to the first, full-scale translation published in 1600. By taking a broad view across the century, the thesis uncovers the multiple and versatile uses to which Livy was being put and maps out the major trends surrounding his reception. The first chapter examines Livy's initial reception into print in Europe, outlining the attempts of his earliest editors to impose a critical order onto his enormous work. The subsequent chapters consider the respective translations undertaken by John Bellenden, Anthony Cope, William Thomas, William Painter, and Philemon Holland. Each translation is treated as a case study and compared in detail with the Latin original, thereby revealing the changes Livy's history experienced through the process of translation. By locating these translations in the cultural and political contexts from which they emerged, this study reveals how Livy was exploited in some of the most pressing debates of the period, from arguments over women's apparel to questions of faith. The thesis also considers how these translations responded to the most recent developments in European scholarship on the Ab Urbe Condita and on classical history more generally. Livy's contribution to the development of Scottish historiography is also considered, both as a stylistic model and as a rich source of narrative material. Ultimately this thesis demonstrates that Livy played a fundamental though hitherto underexplored role in the development of vernacular literature and historiography in the British Isles.
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Murray, Kylie Marie. "Dream and vision in Scotland, c.1375-1500." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669934.
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Kotze, Annemare. "The protreptic-paraenetic purpose of Augustine's Confessions and its Manichean audience." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53665.
Full textAbstract:
Thesis (DLitt)--Stellenbosch University, 2003.<br>ENGLISH ABSTRACT: In this dissertation I attempt to open up new perspectives on the literary qualities and the
unity of Augustine's Confessions by reading the work in the light of the context within which it
first functioned. Part 1, Prolegomena, consists of a survey of secondary literature (in chapter
1) that focuses on research on the literary characteristics of the work, followed by a
theoretical exploration of the two aspects that constitute the focus of this study, the genre
and the audience of the Confessions. Chapter 2.1 examines how the literary practices and
generic conventions of late Antiquity should inform our reading of the work. This is achieved
through a discussion of the implications of genre analysis in general (2.1.1), followed by an
examination of the conventions of the ancient protreptic genre (2.1.2), a look at the parallels
between the Confessions and three of its literary antecedents and between the Confessions
and Augustine's Contra Academicos (2.1.3), and an evaluation of the perspectives offered on
the unity of the work by this procedure (2.1.4). Chapter 2.2 starts with a discussion of the
concept of intended audience (2.2.1) and proceeds to provide the background needed to
follow the arguments on the specific segment of Augustine's audience that I consider here,
the Manicheans (2.2.2).
Part 2 of the dissertation consists of the analyses of selected passages but attempts at the
same time to give an accurate account of how genre and intended audience are embodied in
the text as a whole. In chapter 3 I show that Augustine's meditation on Ps 4 in the central
section of the Confessions (9.4.8-11) is a protreptic that targets a Manichean audience (3.1)
through Augustine's identification with this audience (3.2) and the prevalent use of
Manichean terminology and categories (3.3). In chapter 4 I analyse in a more systematic way
the expression of protreptic purpose through various devices throughout the Confessions:
foreshadowing in the opening paragraph (4.1), the use of a shifting persona (4.2), allusion to
Matt 7:7 (4.3), and the theme of the protreptic power of reading and listening (4.5). I evaluate
how pervasive the expression of protreptic intent is (4.4) and end with an examination of the
protreptic-paraenetic purpose of the first section of the allegorical exposition of the creation
story in book 13 (4.6). Chapter 5 examines the degree to which the Manicheans are targeted
by the text as a whole as an important segment of its intended audience. I examine the use
of the theme of friendship to evoke Augustine's erstwhile Manichean friendships and the
history of failed communication with this group (5.1), the role Augustine intends curiositas to
play in coaxing the Manicheans into reading yet another attempt to convert them (5.2), and
once again how pervasive the concerns with a Manichean audience is (5.3). I conclude this
chapter, like the previous one, with an analysis of the last section of the allegory in book 13, where I discern towards the end an intensification of indications that Augustine is
preoccupied with his Manichean audience (5.4).<br>AFRIKAANSE OPSOMMING: Hierdie proefskrif probeer om nuwe perspektief te bied op die literêre eienskappe en die
eenheid van Augustinus se Confessiones deur die werk te lees in die lig van die konteks
waarbinne dit aanvanklik gefunksioneer het. Deel 1, Prolegomena, is In oorsig oor die
sekondêre literatuur (in hoofstuk 1) wat fokus op studies van die literêre tegnieke in die werk,
gevolg deur In teoretiese verkenning van die twee aspekte wat die fokuspunt van die studie
vorm, naamlik die genre en die gehoor van die Confessiones. Hoofstuk 2 ondersoek hoe
literêre praktyke en genre-verwante konvensies van die laat Antieke die lees van die werk
behoort te beïnvloed. Dit word gedoen aan die hand van In bespreking van die implikasies
van genre-analise in die algemeen (2.1.1), gevolg deur In oorsig oor die konvensies van die
antieke protreptiese genre (2.1.2), In bespreking van die paraIIele tussen die Confessiones
en drie literêre voorlopers daarvan asook tussen die Confessiones en Augustinus se Contra
Academicos (2.1.3) en In evaluering van die perspektiewe wat hierdie werkwyse bied op die
eenheid van die werk (2.1.4). Hoofstuk 2.2 behels In bespreking van die konsep
teikengehoor (2.2.1), gevolg deur In opsomming van die agtergrondinligting wat nodig is om
die argumente oor die spesifieke segment van Augustinus se gehoor wat hier oorweeg word
(die Manicheërs), te volg (2.2.2). Deel 2 van die proefskrif bestaan uit die analises van
geselekteerde passasies maar probeer terselfdertyd om In getroue weergawe te bied van
hoe genre en gehoor in die teks as geheel beliggaam word. Hoofstuk 3 toon dat Augustinus
se oordenking van Ps 4 in die sentrale gedeelte van die Confessiones (9.4.8-11) In
protreptiese werk gerig op In Manichese gehoor is (3.1). Augustinus vereenslewig hom met
sy teikengehoor (3.2) en gebruik deurgaans Manichese terminologie en kategorieë (3.3).
Hoofstuk 4 ondersoek hoe die protreptiese doelwit in die Confessiones uitgedruk word deur
die gebruik van verskeie tegnieke: voorafskaduing in die aanvangsparagraaf (4.1), die
gebruik van In verskuiwende persona (4.2), verwysing na Matt 7:7 (4.3) en die tema van die
protreptiese uitwerking van lees en luister (4.5). Ek evalueer hoe verteenwoordigend ten
opsigte van die geheel die uitdrukking van die protreptiese doelwit is (4.4) en sluit met In
analise van die protrepties-paranetiese funksie van die eerste deel van die allegoriese
interpretasie van die skeppingsverhaal in boek 13 (4.6). Hoofstuk 5 ondersoek die mate
waarin die teks as geheel die Manicheërs as die teikengehoor van die werk aandui. Dit toon hoe Augustinus die tema van vriendskap gebruik om sy vroeëre Manichese vriendskappe op
te roep en verwys na die geskiedenis van onsuksesvolle kommunikasie met hierdie groep
(5.1); dit toon hoe curiositas 'n rol speel om die Manicheërs oor te haalom nog 'n poging om
hulle te bekeer te lees (5.2) asook hoe verteenwoordigend ten opsigte van die geheel die
bemoeienis met 'n Manichese gehoor is (5.3). Die hoofstuk sluit af, soos die vorige een, met
'n analise (nou van die tweede deel) van die allegorie in boek 13, met klem op die sterker
wordende aanduidings dat Augustinus hier 'n Manichese gehoor in die oog het (5.4).
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Perwak, Lindsay H. "Gritos en el Desierto: Denuncia y Resistencia en las Obras de las Escritoras Wayuu Estercilia Simanca Pushaina y Vicenta María Siosi Pino." PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3001.
Full textAbstract:
The way we read and interpret literature is frequently influenced by factors that operate beyond the scope of the average reader's awareness. In this thesis, selected works by two Wayuu writers, Estercilia Simanca Pushaina and Vicenta Maria Siosi Pino, are analyzed and interpreted in an attempt to unveil some of these behind-the-scenes agents and issues, as well as explore how the stories' classification in the children's literature genre reveals a deep-rooted colonial tendency to infantilize indigenous individuals in contemporary Colombia.
Despite the fact that the two authors, both mestizo women who self-identify with the Wayuu indigenous group of northern Colombia, prefer to write short stories that highlight the child and adolescent experience, the implicit themes and the complexity of their texts reject the "children's story" label that has been imposed on their literature. Furthermore, this thesis discusses how the two authors utilize the colonial trope of the Indian-as-child to their advantage by capsizing the imagery, thus rejecting the original power of the symbol and claiming it as their own.
The first section of this investigation provides certain contextual specifics related to the cultural and social environment of the Wayuu indigenous group, particularly regarding that experienced by women. The second chapter includes an explanation of the impact a book's genre and its "paratext" may have on the reception and interpretation of these texts, and additionally proposes that the colonial practice of infantilizing indigenous people appears in both the assignment of genre as well as in several extratextual elements surrounding the stories. Chapter three offers an in-depth analysis of five selected pieces of the Wayuu authors' writing and explores how the texts may be read on multiple levels. This close reading reveals several examples of overt criticism towards the hegemonic society as well as displays instances of a more subtle rebellion; both explicit and implicit messages effectively expose and protest the current conditions of abuse, oppression and injustice that continue to anguish the Wayuu people.
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Schneider, Maridien. "Cicero : 'haruspex' vicissitudinum mutationisque rei publicae : a study of Cicero's merit as political analyst." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51653.
Full textAbstract:
Thesis (PhD)--Stellenbosch University, 2000.<br>ENGLISH ABSTRACT: The purpose of this study is to explore Marcus Tullius Cicero's awareness and
interpretation of contemporary political events as reflected in his private correspondence
during the last years of both the Roman republic and his own life. Cicero's
correspondence gives a detailed view of current political events in Rome and constitutes,
with Caesar's own narrative, our major contemporary evidence for the circumstances of
the civil war of 49 BC.
The dissertation takes as Leitmotiv Cicero's own judgement of the state as 'sacrificial
victim' to the ambitions of individual politicians, with as metaphor his examination of a
'dying' body politic in the manner of a haruspex inspecting the entrails of a sacrificial
animal. It poses the question whether Cicero understood the message of political decline
signalled by the 'entrails' of the 'carcass' of the res publica, and whether this ability in its
turn enabled him to anticipate future political development in Rome.
In what follows, the theoretical input of Cicero's predecessors, their perceptions of
constitutional development, and of Roman politics in particular, as well as Cicero's own
perception of their political theories will be considered in order to determine the extent of
Cicero's awareness of a larger pattern of political events, and how consistent he was in
his analyses of such patterns, that is, to what extent Cicero may be considered seriously
as a political analyst.<br>AFRIKAANSE OPSOMMING: Die oogmerk van die verhandeling is om vas te stel of Marcus Tullius Cicero met reg
daaop kan aanspraak maak dat hy eietydse politieke gebeure sinvol kon interpreteer as die
manifestering van 'n nuwe politieke stroming wat die voorkoms van die toekomstige
Romeinse politieke toneel sou bepaal.
Cicero se waarneming en begrip van eietydse politieke gebeure in die laaste paar jaar van
die Romeinse Republiek en sy eie lewe word tekenend weerspieël in sy persoonlike
briefwisseling uit die tydperk 51 tot 43 v.C. As historiese dokument bied hierdie
korrespondensie, as primêre bronmateriaal, naas die behoue kontemporêre beriggewing
van Julius Caesar, die enigste ander kontemporêre getuienis vir die uitbreek en nadraai
van die burgeroorlog van 49 v.C.
Die sentrale tema van die verhandeling is Cicero se persepsie van die Romeinse staat as
die 'slagoffer' van magsugtige politieke rolspelers. Cicero se rol as waarnemer en
politieke analis word uitgebeeld deur die metafoor van 'n haruspex (profeet) wat die
'ingewande' van die 'karkas' van die gestorwe Romeinse Republiek ondersoek. Die
kernvraag wat gestel word is, of Cicero inderdaad daartoe in staat was om die boodskap
van politieke verandering raak te lees, die implikasies daarvan te begryp en daarvolgens
'n beredeneerde toekomsprojeksie van die Romeinse politieke toneel te maak.
Om te bepaal of Cicero meriete verdien as 'n politieke analis, word die volgende kriteria
as toetsstene gebruik: die teoretiese insette van Cicero se voorgangers en sy beheersing
van sodanige politieke teoretisering, die mate waarin hy konsekwent en objektief kon
oordeel, en die mate waarin hy teorie en die praktiese werklikheid van die Romeinse
politieke situasie kon integreer.
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Burrows, Sonja S. 1973. "Beyond the comfort zone: Monolingual ideologies, bilingual U.S. Latino texts." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10866.
Full textAbstract:
xii, 206 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>This project examines reader reception of U.S. Latino-authored narratives that engage in varying degrees of textual code switching and bicultural belonging. The analysis builds on the argument that these narratives, as part of a larger body of minor literatures, play a role in revolutionizing traditional Anglo-American discourses of knowledge by marginalizing the monolingual and monocultural reader historically positioned as the prototype of cultural literacy in the United States. This project further proposes that marginalization is achieved by a textual appropriation and structural weakening of the dominant language and culture via the creation of a narrative space that privileges code switching to articulate bicultural identities. U.S. Latino texts that alternate between English and Spanish mirror the misunderstandings and failures of intelligibility in the multicultural situations they depict, thereby requiring the monolingual and monocultural reader to experience this unintelligibility first-hand.
In order to tackle broader questions about how these literary texts and their reception reflect what is at stake politically, nationally, and culturally for Latinos in the United States today, this interdisciplinary project draws upon a diversity of perspectives originating from linguistics, literary analysis, sociology, and history to identify how literary texts mirror bicultural identity for Latinos. As a part of this analysis, the project examines the history of Spanish language use in the United States, Latino immigration history, the standard language ideology privileging English monolingualism, the persistence of bilingualism, oral and written code switching, the publishing industry, and analyses of reader responses to bilingual texts based on survey data. In situating these histories within discussions about the bilingual, bicultural nature and reception of the U.S. Latino narrative, this project shows how the linguistic makeup and the subsequent receptivity of these texts minor the bicultural identity and changing social positioning of the Latino population in the United States.<br>Committee in charge: Robert Davis, Chairperson, Romance Languages;
Analisa Taylor, Member, Romance Languages;
Monique Balbuena, Member, Honors College;
Holly Cashman, Member, Not from U of O;
David Vazquez, Outside Member, English
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Santos, Davi Siqueira. "A América Latina, de Manoel Bomfim, e Ariel, de José Enrique Rodó : ensaios de interpretação latino-americana /." Assis : [s.n.], 2011. http://hdl.handle.net/11449/94041.
Full textAbstract:
Orientador: Luiz Roberto Velloso Cairo<br>Banca: Marcos Antonio de Moraes<br>Banca: Sílvia Maria Azevedo<br>Resumo: A presente dissertação centra-se no estudo de A América Latina e Ariel, dois ensaios importantes no contexto latino-americano da passagem do século XIX para o século XX. Seus autores, o brasileiro Manoel Bomfim (1868-1932) e o uruguaio José Enrique Rodó (1871- 1917), revelam pontos de convergência e pontos de divergência ao longo de suas análises. Enquanto o primeiro se detém com maior atenção nas características e consequências da colonização ibérica em solo americano, o segundo se volta contra um possível processo de recolonização via Estados Unidos da América. Contudo, apesar dessa focalização distinta, ambos os autores tecem, em seus ensaios, relações de base antitética. Assim, Ariel/Caliban, para José Enrique Rodó, e os parasitas/parasitados, para Manoel Bomfim, são representações antagônicas que simbolizam alternativas desejáveis e indesejáveis para os povos latinoamericanos. O intuito inicial do trabalho é traçar uma breve apreciação biográfica dos autores, seguida de um exame da recepção crítica das obras, de uma análise das questões mais centrais de cada ensaio e, por fim, de uma investigação dos personagens simbólicos criados ao longo das narrativas. Com base nesse cotejo entre as obras, pretendemos compreender melhor o quanto elas contribuem para a construção identitária do imaginário latino-americano<br>Abstract: The presented dissertation revolves around the study of A América Latina and Ariel, two important essays in the Latin American context of the passing of the nineteenth to the twentieth century. The writers of these essays, the Brazilian Manoel Bomfim (1868-1932) and the Uruguayan José Enrique Rodó (1871-1917), reveal convergence and divergence points all over their analysis. While the former dwells on the characteristics and consequences of the Iberian colonization in American ground, the latter turns against a possible process of resettlement via the United States of America. However in despite of this distinct focalization both writers draw, in their essays, antithetical-based relationship. Hence, Ariel/Caliban of Rodó and parasite/parasitized of Bomfim are antagonistic representations that symbolize desirable and undesirable alternatives for the peoples of the Latin America. The first purpose of the text is to draw a brief biographical appreciation of the authors, followed by an examination of the critical reception of their works, an analysis of the most central questions of each essay and, at last, an investigation about the symbolic characters created along the narratives. Based in the confrontation of the two texts, we shall understand better how much they contribute for the identity construction of the Latin American imaginary<br>Mestre
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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.
Full textAbstract:
Orientador: Isabella Tardin Cardoso<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-26T06:53:49Z (GMT). No. of bitstreams: 1
Costa_LilianNunesda_D.pdf: 2914692 bytes, checksum: 7790a7f30cd6441d68b56c4fb18a7cf8 (MD5)
Previous issue date: 2014<br>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<br>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<br>Doutorado<br>Linguistica<br>Doutora em Linguística
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Whelan, Fiona Elizabeth. "Morals and manners in twelfth-century England : 'Urbanus Magnus' and courtesy literature." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:4ccb50b9-7e0e-49c8-b9c5-104dfefa3fea.
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This thesis investigates the twelfth-century Latin poem entitled Urbanus magnus or 'The Book of the Civilised Man', attributed to Daniel of Beccles. This is a poem dedicated to the cultivation of a civilised life, aimed primarily at clerics although its use extends to nobility, and specifically the noble householder. This thesis focuses on the text as a primary source for an understanding of social life in medieval England, and uses the content of the text to explore issues such as the medieval household, social hierarchy, the body, and food and diet. Urbanus magnus is commonly referred to as a 'courtesy text'. This thesis seeks to understand Urbanus magnus outside of that attribution, and to situate the text in the context of twelfth and thirteenth-century England. Thus far, scholarship of courtesy literature has focused on later texts such as thirteenth-century vernacular 'courtesy texts' or humanist works as exemplified by Erasmus's De civilitate morum puerilium. This scholarship looks back to the twelfth century and sees texts such as Urbanus magnus as 'early Latin courtesy texts'. This teleological view relegates such earlier texts to positions at the genesis of the genre and blindly assumes that they belong to the corpus of 'courtesy literature'. This neglects both their individual importance and their respective origins. This thesis examines Urbanus magnus as a didactic text which contains elements of 'courtesy literature', but also displays moral and ethical concerns. At the heart of the thesis is the question: should Urbanus magnus be considered as part of the genre of courtesy literature? This question does not have a simple answer, but this thesis shows that some elements and sections of Urbanus magnus do conform to the characteristics of courtesy literature. However, there are further sections that reflect other literary traditions. In addition to morals and ethics, Urbanus magus reflects other genres such as satire, and also reveals social issues in twelfth-century England such as the rise of anti-curiale sentiment and resentment of upward social mobility. This thesis provides an examination of Urbanus magnus through the most prevalent themes in the text. Firstly, it explores the dynamics of the medieval household, along with issues such as social mobility and hierarchy. Secondly, it focuses on the depiction of the body and bodily restraint, covering topics such as speech, bodily emissions, and sexual activity. Thirdly, it discusses food and diet, including table manners, food consumption, and dietary effects of foodstuffs. The penultimate chapter looks at the manuscript dissemination of the text to investigate the different uses which Urbanus magnus found in subsequent centuries. The delineation of Urbanus magnus as part of the genre of courtesy literature ignores the social, cultural, and literary impact on the creation of the text. In response, this thesis has two aims. The first is to minimise the notion of genre, and treat Urbanus magnus as a text in its own right, and as a product of the twelfth century. The second shows that Urbanus magnus reflects both continuity and change in society in England following the Norman Conquest.
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Cripa, Ival de Assis. "O circulo, a linha e a espiral : temporalidades da poesia e da historia na critica de Octavio Paz." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270128.
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Orientador: Miriam Viviana Garate<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-10T03:42:04Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007<br>Resumo: A pesquisa aborda os ensaios sobre a história e sobre a poética moderna escritos por Octavio Paz e pretende analisar as tensões entre a temporalidade da moderna concepção de história e as temporalidades da poesia na sua obra crítica. No primeiro capítulo, analisamos a tensão entre o tempo retilíneo e as temporalidades cíclicas, em seus ensaios de crítica literária. No segundo capítulo, verificamos como o poeta e ensaísta mexicano interpreta a história da poesia, a partir do conflito incessante entre os conceitos de analogia e ironia, que são constitutivos de sua perspectiva, tanto nas interpretações sobre a poética moderna, como nos ensaios de história. Iremos recuperar os conceitos de ironia e analogia na obra crítica de Octavio Paz e a partir dos mesmos, refletiremos sobre a dialética do tempo, tanto nos ensaios de crítica literária, como nos ensaios de história. No terceiro capítulo, analisamos a maneira como Octavio Paz reflete sobre a história, sob o ponto de vista da continuidade e da ruptura (inspirado no movimento poético moderno). Recuperamos, nos ensaios sobre a história cultural e política do México e da América Latina, a maneira como o poeta mexicano aborda a multiplicidade dos tempos, constitutivos da história Contemporânea no continente. Pudemos verificar o quanto, na sua obra, o passado indígena e a herança colonial espanhola permaneceram incrustados no tempo presente do México e da América Latina. No quarto capítulo, discutimos de que modo a consideração das múltiplas temporalidades constitutivas da história inspiraram a perspectiva do poeta sobre as literaturas Hispano-Americanas, considerando-as sempre do ponto de vista da tensão entre a história literária mundial e os traços específicos da literatura no continente. Para finalizar, recuperamos o último e mais importante ensaio escrito por Octavio Paz, La Otra Voz em que retoma os principais temas abordados na sua obra crítica, diante dos principais acontecimentos do final século XX<br>Abstract: The present study addresses the essays on the history and modern poetry written by Octavio Paz and intends to analyze the tensions between the temporality of the modern concept of history and the temporality of poetry in his criticism work. In the first chapter, we analyze the tension between rectilinear time and cyclic temporalities, in his literary criticism essays. In the second chapter, we verify how the Mexican poet and essay writer interprets the history of poetry, based on the endless conflict between analogy and irony, which are constitutive concepts of his perspective, both in his interpretations of modern poetry and in his history essays. We have recovered the irony and analogy concepts in Octavio Paz¿s criticism work and, using them, we reflect about the dialectics of time, both in his literary criticism essays and in his history essays. In the third chapter, we analyze the way Octavio Paz reflects about history, from the point-of-view of continuity and rupture (inspired by the modern poetic movement). We have recovered, in the essays on Mexican and Latin American cultural and political history, the way the Mexican poet addresses the multiplicity of times which constitute contemporary history in the continent. We have verified how much, in his work, the indigenous past and the Spanish cultural heritage remain incrustrated in the present time of Mexico and Latin America. In the fourth chapter, we discuss how the consideration of multiple temporalities constitutive of history inspired the poet¿s perspective of Spanish-American literature, always considering them from the point-of-view of the tension between the world literary history and specific characteristics of the continent¿s literature. To conclude, we have recovered La Otra Voz, the last and most important essay written by Octavio Paz, in which he re-discusses the main themes addressed in his criticism work, in the context of the main events of the end of the 20th century<br>Doutorado<br>Teoria e Critica Literaria<br>Doutor em Teoria e História Literária
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Kaplan, Sylvia Gray. "The judicial message in Seneca's Apocolocyntosis." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4183.
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Seneca's Apocolocyntosis is a sat.ire on the deceased emperor Claudius. probably written in the early months after his death in AD54. Although the authorship and title of the work have been called into question. scholars have now reached a consensus that the sat.ire was written by Seneca and is titled "Apocolocyntosis." Its purpose, characteristic of the Menippean genre, was didactic.
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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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Oelze, Micah J. "The Symphony of State: São Paulo's Department of Culture, 1922-1938." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2549.
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In 1920s-30s São Paulo, Brazil, leaders of the vanguard artistic movement known as “modernism” began to argue that national identity came not from shared values or even cultural practices but rather by a shared way of thinking, which they variously designated as Brazil’s “racial psychology,” “folkloric unconscious,” and “national psychology.” Building on turn-of-the-century psychological and anthropological theories, the group diagnosed Brazil’s national mind as characterized by “primitivity” and in need of a program of psychological development. The group rose to political power in the 1930s, placing the artists in a position to undertake such a project. The Symphony of State charts this previously unexamined intellectual project and explains why elite leaders believed music to be the most-promising strategy for developing the national mind beyond primitivity. In 1935, they founded the São Paulo Department of Culture and Recreation in order to fund music education, train ethnomusicologists, commission symphonies, and host performances across the city. Until now, historians of twentieth-century Brazil have praised music as a critical site for marginalized groups to sound out political protest. But The Symphony of State shows the reverse has also been true: elite groups used music as a top-down civilizing project designed to naturalize racial hierarchies and justify class difference.
The intellectual history portion of the dissertation turns on archival sources, newspaper accounts, personal correspondence, modernist literature, and the period’s scholarly journals. The examination of literary form, discourse analysis, and marginalia lends depth to a carefully-documented study of ideas. Then, The Symphony of State brings to bear an innovative reading of ethnographic field books, vinyl records, and music scores to show that the department’s scholarship and symphonic compositions alike furthered the narrative of a nation jeopardized by primitivity. What is more, the department’s composers employed musical properties such as harmony and dissonance as metaphors to convince listeners that a harmonious society required the maintenance of racial and class hierarchies. In bringing further clarity to the department’s intellectual project, the sections featuring music analysis speak to the value of reading music as an historical text.
The dissertation accomplishes multiple goals. It uncovers the theory of national psychology driving the musical institution; examines ethnographic material to further understand racial and regional prejudice in the period; and analyzes concert music commissioned and performed by the municipal department. The examination of the musical institution reveals a moment in Brazilian history in which national identity was constructed atop the notion of a shared psychology and in which modernity was believed to come with the musical tuning of the body politic and the training of its mind.
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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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Bonfiglio, Emilio. "John Chrysostom's discourses on his first exile : Prolegomena to a Critical Edition of the Sermo antequam iret in exsilium and of the Sermo cum iret in exsilium." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:df828fcd-dc2a-47b9-8bb1-c957c9199fb1.
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The Sermo antequam iret in exilium and the Sermo cum iret in exsilium are two homilies allegedly pronounced by John Chrysostom in Constantinople at the end of summer 403, some time between the verdict of the Synod of the Oak and the day he left the city for his first exile. The aim of the thesis is to demonstrate that a new critical edition of these texts is needed before any study of their literary and historical value can be conducted. Chapter one sketches the historical background to which the text of the homilies refers and a concise survey about previous scholarship on the homilies on the first exile, from the time of Montfaucon’s edition until our days. The problem of the authenticity occupies the last part of the chapter. Chapter two investigates the history of the texts and takes into account both the direct and indirect traditions. It discusses the existence of double recensions hitherto unknown and provides the prefatory material for the new critical edition of recensio α of Sermo antequam iret in exilium and of the Sermo cum iret in exsilium. Chapter three comprises the Greek editions of the two homilies, as well as a provisional edition of the Latin version of the Sermo antequam iret in exilium. Chapter four is divided into two parts, each presenting a philological commentary on the text of the new editions. Systematic analysis of all the most important variant readings is offered. The final chapter summarizes the new findings and assesses the validity of previous criteria used for discerning the authenticity of the homilies on the exile.
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Lépori, Roberto [UNESP]. "Mil años de ciencia ficción hermética latinoamericana [1492-2500]: En tres episodios: Borges, la conspiración; Sor Juana y Antônio Vieira, íntimos herejes; Bizarros profetas ciberculturales." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/122239.
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000813391.pdf: 1986149 bytes, checksum: d81810d695d36601d15589bb10e0ea44 (MD5)<br>A forma mais simples de apresentar os três episódios que compõem este trabalho é supor que o argentino Jorge Luis Borges ocupe provisoriamente o centro duma rede de obras e de escritores de ficção científica hermética latino-americana – uma rede que pode ser lida como uma conspiração. A figura de Borges – mistura heterodoxa de literatura e de “vida”, de revelações, de epifanias, de “mentiras verdadeiras”, de excessos intelectuais – permite ingressar na tradição da ficção científica herege desde o instante inicial quando os conquistadores invadiram o território que ainda não era América. O “kairós” histórico, político, cultural, ideológico, econômico do desencontro dessas duas cosmovisões provocou uma “guerra de imagens” e de discursos em cujo fragor mestiçaram-se desejos milenaristas europeus e concepções ameríndias também proféticas, também transcendentes e com idêntica impossibilidade – como o sonho dos seus invasores – de ser utopia em uma “terra sem mal”. Nessas heterodoxias misturadas – caóticas, potentes para pensar e híbridas na sua origem europeia – cozinhou-se o húmus da ficção científica hermética que, com maior ou menor intensidade, fermentou até explodir no século XX. Em consequência, o gnóstico e cabalístico Borges é um mecanismo textual, com suas árduas especulações e com suas conspirações, para ler duas linhas genéricas surgidas desse húmus herege – linhas que, por nascer dos códigos do pensamento heterodoxo, são principais, porém não únicas. A primeira eclode no século XVII entre Brasil e Lisboa. Responde à ideia do complô, da conquista do espaço, da invasão, do domínio total (macrocosmo). O padre jesuíta Antônio Vieira baseado no milenarismo português constrói, no contexto de uma vida polêmica, um peculiar córpus composto de sermões apocalípticos e satíricos; uma carta-tratado (“papel”) que justifica um silogismo ...<br>El camino más directo para presentar estos tres episodios es suponer que el argentino Jorge Luis Borges ocupa –de forma provisoria- el centro de una red de obras y de escritores de ciencia ficción hermética latinoamericana –red que puede ser leída como una conspiración. La figura de Borges –mezcla heterodoxa de literatura y de ´vida´, de revelaciones, de epifanías, de ´mentiras verdaderas´, de excesos intelectuales- permite acceder a esa tradición de ciencia ficción hereje desde el instante inicial en el que los conquistadores invadieron el territorio que no era América todavía. El ´kairós´ histórico, político, cultural, ideológico, económico del desencuentro de dos cosmovisiones provocó una ´guerra de imágenes´, y de discursos, en cuyo fragor se mestizaron anhelos milenaristas europeos y concepciones amerindias también proféticas, también trascendentes y con idéntica imposibilidad -que el sueño de sus invasores- de resultar utopía en una ´tierra sin mal´. En esas heterodoxias mezcladas -caóticas, potentes para pensar y ya híbridas en su origen europeo- se cocinó el humus de la ciencia ficción hermética que, con mayor o menor intensidad, fermentó por centurias hasta explotar en el siglo XX. El gnóstico y cabalístico Borges es, entonces, un mecanismo textual, con sus arduas especulaciones y con sus conspiraciones, para leer dos líneas genéricas surgidas de ese humus hereje -líneas que al desprenderse de los códigos del pensamiento heterodoxo son principales, pero no únicas. La primera eclosiona en el siglo XVII entre Brasil y Lisboa. Responde a la idea de complot, de conquista del espacio, de invasión, de dominio total (´macrocosmos´). El padre jesuita Antônio Vieira en base al milenarismo portugués construye, en el entramado no menos polémico de su vida, un peculiar corpus compuesto por sermones apocalípticos y satíricos; una carta-tratado (´papel´) que justifica un silogismo ...
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Bem, Lucy Ana de 1979. "O amor e a guerra no livro I d'Os amores de Ovidio." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269179.
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Orientador: Paulo Sergio de Vasconcellos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-08T03:30:06Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007<br>Resumo: Este trabalho de pós-graduação propõe a tradução latina-portuguesa e a análise lingüística e literária do livro I d¿Os Amores de Ovídio. Essa análise visa principalmente o(s) discurso(s) que compõem o volumen: acreditamos que o discurso elegíaco, típico da poesia amorosa da época de Augusto, seja em si mesmo um lugar de encontro e confronto de diversos discursos, entre eles o épico (o bélico), o cômico, o amoroso e o trágico. Através de nossa análise, demonstramos que Ovídio deixou manifesta essa mistura discursiva, tão própria da elegia em seus Amores ¿ a todo o momento vemos que, para o poeta, o amor e a guerra constituem milícias importantes, ora distintas, ora semelhantes. Dessa forma, podemos entender que o poeta, através de sua postura n¿Os Amores, tenta valorizar aquele que se dedicava ao amor (entenda-se a poesia amorosa) em vez dos assuntos militares e da vida pública. Podemos dizer, também, que o(s) discurso(s) que ele utiliza para compor Os Amores revelam o quanto a vida militar (e sua violência peculiar) e seu discurso se encontravam presentes nas mais distintas esferas da vida romana. Finalmente, também podemos dizer que essa obra demonstra, claramente, que nenhum discurso é isolado em si mesmo, mas que é permeado por muitos gêneros e tipos de discursos<br>Abstract: This post-graduating work proposes the translation from Latin to Portuguese and the linguistic and literary analysis of the book one from Ovid¿s Loves. This analysis aims, especially at discourses that integrate the volumen: we believe that the elegiac discourse, typical of the love poetry of Augustan age, is in itself a point of meeting and confrontation of many other discourses, and among them, the epic (warlike), the comic, the love and the tragic discourses. Through our analysis, we demonstrate that Ovid let evident this blend of speeches, so usual in the elegy of his Amores ¿ all the time we can see that, for the poet himself, love and war are significant armies, sometimes distinct, sometimes similar. Thus, we can see that the poet, in the posture his persona adopts in the Loves, tries to valorize that one who dedicates himself to love (and to the poetry of love) instead of military matters and public life. We also can say that the discourses in the Loves show how the military life (and the violence inherent to it) and his peculiar speech were present in the most distinct areas of private life from the Roman Empire. At last, we can also say that this work shows, clearly, that no speech is isolated in itself, but that it is permeated by a lot of genres and types of discourses<br>Mestrado<br>Mestre em Linguística
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McNabb, Stephen Delaney. "Shouts of the Khori-Challwa: Andean Mythological and Cosmological Reconsiderations of the American Identity in Gamaliel Churata’s El pez de oro." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/4010.
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This thesis explores the possible creation of a new categorization of American Literature as presented in the Andean novel El pez de oro: Retablos del Laykhakuy (1957) by Gamaliel Churata. In El pez de oro, Gamaliel Churata presents a strategy for the recuperation of native Andean cultural agency that enables the Andean subject to reclaim traces of their ancestral past under more verisimilar and verifiable terms. Churata argues that through a recuperation of native language and its infusion into the body of the major colonial language, Spanish, the Andean subject is equipped with a new culture producing tool that enables the recuperation of language, agency, history, and, ultimately, representation and inclusion within cultural and political institutional frameworks. By introducing his own function of bilingualism, vernacular language, and mythological infusions into the body of colonial letters, Gamaliel Churata is able to destabilize and disrupt colonial historical and textual authority to the point where the invented concept of America and the colonial product of American identity can be re-examined. Through this examination emerges a new option for the categorization of American identity as an aesthetic construct. Within this new categorization of aesthetic American identity, the Andean subject can begin his own process of self-identification through his native language toward the production of a future Andean American subject.
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Crousier, Elsa. "Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2125.
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Marta Traba (1923-1983), écrivaine et critique d’art argentino-colombienne, est principalement connue en Amérique latine pour ses écrits critiques, son engagement pour le développement de l’art moderne en Colombie, et plus largement pour sa « théorie de la résistance » qui prône dans les arts plastiques une défense des identités culturelles latino-américaines. Son œuvre littéraire, en revanche, est beaucoup moins connue. Or, elle est non seulement très riche, mais elle forme le pendant narratif à son œuvre critique, un ensemble de récits innervés, de manière plus ou moins profonde, des conceptions et de la culture trabiennes sur l’art. Il s’agit dès lors de reconsidérer ces deux pans de sa production écrite comme un tout cohérent, et de montrer les influences et les interactions entre sa critique d’art et sa littérature, mais également entre les arts plastiques qui forment sa culture artistique et ses écrits fictionnels. Il apparaît alors que Marta Traba conçoit et pratique son écriture critique comme une écriture « littérarisée » et, réciproquement et surtout, sa littérature comme une littérature « artialisée » : la valorisation constante du regard esthétique sur le monde et d’une sensorialité exacerbée dessine un idéal de contemplation tout au long de son œuvre littéraire ; les insertions continues d’une terminologie critique et de références aux œuvres d’art, sur un mode tantôt clairement didactique, tantôt subtilement ludique, invitent le lecteur à lire ses fictions et poèmes au prisme du sous-texte artistique qui enrichit leur sens ; enfin, le récit devient le lieu d’expérimentation des théories trabiennes de la « résistance », entre réaffirmation de la place de l’Amérique latine sur la carte de l’art mondial, mise à distance défensive des influences nord-américaines et réappropriation locale, par « transculturation », des modèles artistiques étrangers. L’étude de l’artialisation de la littérature trabienne est donc loin d’être l’analyse d’un simple procédé formel : elle dégage, nous semble-t-il, un véritable style trabien, miroir de l’écrivaine et de ses convictions<br>Marta Traba (1923-1983), an Argentinian-Colombian writer and art critic, is most famous in Latin America for her critiques, her commitment to develop modern art in Colombia, and, more generally, for her “theory of resistance” which advocates the defence of the many cultural Latin-American identities in fine arts. Her literary work, however, is far less well-known. And yet, not only is it very rich, but it also constitutes the narrative counterpart to her critiques – a collection of tales innervated, to different degrees, with Traba’s notions on and knowledge of art. It is consequently about reconsidering these two sides of her written production as a consistent whole, and identifying the influences and interactions between her art critiques and her literary work, as well as between the fine arts which make up her artistic culture and her fictional writings.It then appears that Marta Traba devises and practices her critical writing “literarily” as she does, above all, her literary work “artistically”: the constant enhancement of the aesthetic eye on the world and of an intensified sensory experience shape an ideal of contemplation throughout her literary work; the continuous inserts of a critical terminology and of references to art works, sometimes in a clearly didactic mode, sometimes in a subtly playful manner, invite the reader to read her fiction stories and poems in the light of the artistic subtext which enriches their meaning; finally, the tale becomes the place where Traba’s theories of “resistance” are tested, at the crossroads of the re-affirmation of the place of Latin America on the map of international art, of the defensive distancing from North American influences, and of the local re-appropriation, by “transculturation”, of the foreign artistic models. The study of the artistic mutation of Traba’s literary work is therefore far from boiling down to the analysis of a mere formal process: from our point of view, it reveals an authentic style, Traba’s style, which is the mirror of the writer and her convictions
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Sedeño-Guillén, Kevin R. "MODERNIDADES CONTRA-NATURA: CRÍTICA ILUSTRADA, PRENSA PERIÓDICA Y CULTURA MANUSCRITA EN EL SIGLO XVIII AMERICANO." UKnowledge, 2017. https://uknowledge.uky.edu/hisp_etds/34.
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This dissertation studies the emergence of literary history and criticism in the Americas during the eighteenth century. It focuses upon the study of 1.) Natural history as a matrix of literary history and criticism; 2.) The geopolitical functions of literary history and criticism in the periodical press; and 3.) The recovery of manuscripts as a residual product of modernity. Texts associated with a hegemonic Enlightenment, such as “Disertación sobre el derecho público universal” by Francisco Javier de Uriortúa, are analyzed. Next, we study modern historical-critical thought as emphasized in the periodical press of Bogotá and Quito. Finally, the circulation of manuscripts is studied as an indicator of the participation of Spanish American authors in discussions about the Enlightenment. For the latter, the dissertation analyzes the development of theories of good taste in El Nuevo Luciano de Quito by Eugenio Espejo and in the Plan elementál del buen gusto en todo genéro de materias by Manuel del Socorro Rodríguez de la Victoria. The study challenges the epistemological conflict provoked by the handwritten condition of a considerable portion of scholarship from the eighteenth century, in which the projects of an American modernity become subjugated by the power of European print.
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Deschamps, Maryse. "Octovien de Saint-Gelais : le livre des Epistres de Ovide." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61686.
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Bunni, Adam. "Springtime for Caesar : Vergil's Georgics and the defence of Octavian." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/998.
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Vergil’s Georgics was published in 29 BCE, at a critical point in the political life of Octavian-Augustus. Although his position at the head of state had been confirmed by victory at Actium in 31, his longevity was threatened by his reputation for causing bloodshed during the civil wars. This thesis argues that Vergil, in the Georgics, presents a defence of Octavian against criticism of his past, in order to safeguard his future, and the future of Rome. Through a complex of metaphor and allusion, Vergil engages with the weaknesses in Octavian’s public image in order to diminish their damaging impact. Chapter One examines the way in which the poet invokes and complements the literary tradition of portraying young men as destructive, amorous creatures, through his depiction of iuvenes in the Georgics, in order to emphasise the inevitability of youthful misbehaviour. Since Octavian is still explicitly a iuvenis, he cannot be held accountable for his actions up to this point, including his role in the civil wars. The focus of Chapters Two and Three of this thesis is Vergil’s presentation of the spring season in the Georgics. Vergil’s preoccupation with spring is unorthodox in the context of agricultural didactic; under the influence of the Lucretian figure of Venus, Vergil moulds spring into a symbol of universal creation in nature, a metaphor for a projected revival of Roman affairs under Octavian’s leadership which would subsequently dominate the visual art of the Augustan period. Vergil’s spring is as concerned with the past as it is the future. Vergil stresses the fact that destructive activity can take place in spring, in the form of storms and animal violence; the farmer’s spring labor is characterised as a war against nature, which culminates in the horrific slaughter of oxen demanded by bugonia. In each case destruction is revealed as a necessary prerequisite for some form of creation: animal reproduction, increased crop yield, a renewed population of bees. Thus, the spring creation of a new Rome under Octavian will come as a direct result of the bloodshed of the civil wars, a cataclysm whose horrors are not denied, but whose outcome will ultimately be positive. Octavian is assimilated to Jupiter in his Stoic guise: a providential figure who sends fire and flood to Earth in order to improve mankind.
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Regoczy, Lucia Graciela, and n/a. "Espiritu de subversion : la construccion del discurso de la mujer en la narrativa posmoderna hispanoamericana." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070927.141659.
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This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse.
Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment.
Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque.
Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing.
Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse.
Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society.
Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women.
Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.
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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
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Stevenson, Harald Edward. "The French and neo-Latin epigram (1530-1560)." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648873.
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Garcia, Alesia 1962. "Aztec Nation: History, inscription, and indigenista feminism in Chicana literature and political discourse." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282854.
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In the United States in the mid-1960's, Chicano cultural nationalists mobilized a generation by recuperating the history and mythology of the pre-conquest Aztecs as strategies of political resistance. Claiming themselves la Raza de Bronce the Bronze race) in their art, literature, and political discourse, Chicano activists and intellectuals distinguished themselves racially from white America and worked toward reunifying an indigenous culture that had been fragmented by colonization and diaspora. This discursive practice of reinscribing Mexican Indian ancestry is a political act that I refer to as narrating the Aztec Nation. Indigenous movement activists across the Americas have often reclaimed their pre-colonial histories. "Aztec Nation" examines the impact of Chicano cultural nationalist revisions of Mexican indigenismo (politics and aesthetics of the post-1910 indigenous movement) upon race, class, gender, and sexuality in contemporary Chicano and Chicana literature and political discourse. In my analysis of Chicano and Chicana political manifestos, graphic art, poetry, essays, and novels, I trace various Chicano cultural nationalist expressions of indigenista ideology throughout el movimiento (the Chicano movement). In particular, I develop critical approaches for rereading Chicana literature and activist journalism published in Chicano/a movement newspapers and journals between 1969 and 1979 that emphasize Chicana faminist reinventions of indigenismo as a transnational alternative to ideological limitations within the Chicano cultural nationalist and second wave white American feminist movements. I offer a new critical term: "Chicana indigenista feminism," which recognizes a distinct Chicana feminist discourse that is characterized by an ongoing negotiation of mestiza (mixed blood) identity. My investigation begins with analyses of Chicano cultural nationalist literature and political documents from 1964 and ends with a reevaluation of chicana indigenista feminist theories posited as recently as 1994.
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Yolles, Julian Jay Theodore. "Latin Literature and Frankish Culture in the Crusader States (1098–1187)." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467480.
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The so-called Crusader States established by European settlers in the Levant at the end of the eleventh century gave rise to a variety of Latin literary works, including historiography, sermons, pilgrim guides, monastic literature, and poetry. The first part of this study (Chapter 1) critically reevaluates the Latin literary texts and combines the evidence, including unpublished materials, to chart the development of genres over the course of the twelfth century. The second half of the study (Chapters 2–4) subjects this evidence to a cultural-rhetorical analysis, and asks how Latin literary works, as products by and for a cultural elite, appropriated preexisting materials and developed strategies of their own to construct a Frankish cultural identity of the Levant. Proceeding on three thematically different, but closely interrelated, lines of inquiry, it is argued that authors in the Latin East made cultural claims by drawing on the classical tradition, on the Bible, and on ideas of a Carolingian golden age. Chapter 2 demonstrates that Latin historians drew upon classical traditions to fit the Latin East within established frameworks of history and geography, in which the figures Vespasian and Titus are particularly prevalent. Chapter 3 traces the development of the conception of the Franks in the East as a “People of God” and the use of biblical texts to support this claim, especially the Books of the Maccabees. Chapter 4 explores the extent to which authors drew on the legend of Charlemagne as a bridge between East and West. Although the appearance of similar motifs signals a degree of cultural unity among the authors writing in the Latin East, there is an abundant variety in the way they are utilized, inasmuch as they are dynamic rhetorical strategies open to adaptation to differing exigencies. New monastic and ecclesiastical institutions produced Latin writings that demonstrate an urge to establish political and religious authority. While these struggles for power resemble to some extent those between secular and ecclesiastical authorities and institutions in Western Europe, the literary topoi the authors draw upon are specific to their new locale, and represent the creation of a new cultural-literary tradition.<br>Classics
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Shea, Maureen Elizabeth. "Latin American women writers and the growing potential of political consciousness." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184310.
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This dissertation provides a feminist reading of the works of Latin American women writers since the decade of the sixties to the present who focus on the particular historical moment of their times from a political perspective. A systematic study of the narrative figure in novels by Dora Alonso, Elena Poniatowska, Claribel Alegria and Darwin Flakoll, and Isabel Allende, reveals an awareness of the undercurrents of oppression existent in their societies based on racial and class stereotypes with a growing understanding of oppression based on sex. From the perspective of the female narrator in Tierra Inerme by the Cuban writer Dora Alonso, the Cuban social structure before 1959 is condemned for its inequality on the basis of class, race, and sex. However, the perspective of the narrator reveals that she has not entirely escaped the prejudices that permeate her society concerning women. Hasta no verte Jesus mio, by the Mexican writer Elena Poniatowska concentrates on the testimony of Jesusa Palancares who condemns the structural inequality existent in Mexican society. Although Palancares' perspective reveals an awareness of the unequal treatment of women, because of her underprivileged status she concentrates on oppression based on class. In Cenizas de Izalco by Darwin Flakoll from the United States and the Salvadoran Claribel Alegria, the 1931 massacre of the peasants in El Salvador is condemned. However, through the contrasting perspectives of the male and female narrators, oppression on the basis of sex is most emphasized. La casa de los espiritus by the Chilean Isabel Allende depicts brutal class, racial and sexual oppression in Chile from the 1920's to 1973. It is in this novel that sexual oppression is portrayed most vividly, again through the contrasting perspectives of the male and female narrators. Although a growing awareness of sexual oppression emerges in the novels studied becoming most emphatic in this decade through an awakening feminist consciousness, the perspective of the narrators emphasize to varying degrees the importance of solidarity among women to combat injustice of every form to achieve a more equitable existence for all oppressed people.
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McKenzie, Hope Bussey. "The Craft of the Old English Glossator: Latin Hymns in the Anglo-Saxon Hymnarium." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332508/.
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The ten hymns of this study cover such overlapping categories as doctrine, solemn occasions in the rites of the Anglo-Saxon Church, and hymns prescribed in the Regularis concordia for the "little hours" of the daily office, as well as a historical overview from the fourth to the early tenth centuries.
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Fairley, Ian. "Criticism in history : the work of György Lukacs, 1902-1914". Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333708.
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Garcia, Pablo. "Estrategias para (des)aparecer la historiografia de Fernando de Alva Ixtlilxochitl y la colonizacion criolla del pasado prehispanico /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3207047.
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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2006.<br>Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0199. Adviser: Kathleen A. Myers. "Title from dissertation home page (viewed Feb. 8, 2007)."
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Na, Yunhao. "Les voies de l'écrit à la fin du Moyen Âge ˸ la Vie de saint Fiacre dans ses différentes versions françaises et latines, manuscrites et imprimées." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030015.
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Vénéré depuis le haut Moyen Âge, saint Fiacre fut l’un des saints les mieux connus en France durant la période médiévale et même au-delà. De multiples textes médiévaux sur sa vie nous sont parvenus, du IXe siècle jusqu’à la fin du Moyen Âge, en latin comme en français. De nombreux manuscrits et imprimés des XIVe, XVe et XVIe siècles témoignent de la circulation considérable des Vies du saint à cette époque. Ces Vies prennent des formes littéraires variées : la légende romanesque en vers et en prose et le drame. La plupart des Vies françaises et certains récits en latin sont inédits. Notre thèse a pour but principal de contribuer à l’avancement des travaux éditoriaux sur ces œuvres en proposant six éditions des Vies du saint de différentes longueurs composées principalement en moyen français et une édition de la Vita rhythmica de 118 vers. Cet ensemble de textes homogène permettra à la critique littéraire et historique de réexaminer la réception et la transformation des actes d’un saint du VIIe siècle dans la littérature française du Moyen Âge tardif. Notre introduction générale porte sur cette question mais s’inscrit dans une histoire plus large du culte du saint tout au long des siècles pour tracer la continuation et les bifurcations possibles d’une tradition hagiographique. Dans les études linguistico-littéraires qui accompagnent la Vita rhythmica et la pièce de théâtre La Vie de monsieur sainct Fiacre filz du roy d’Escosse par personnaiges, nous nous sommes proposé d’observer respectivement les modalités de la versification rythmique du latin médiéval — domaine moins exploré par la recherche — et la relation entre complexité syntaxique, contrainte formelle et simplicité discursive d’un langage artistique sur la scène du théâtre médiéval. La diversité générique, formelle et généalogique des textes que nous avons choisis d’éditer garantit un riche exercice de philologie<br>Venerated since the Early Middle Ages, Saint Fiacre was one of the most well-known saints in France during the Middle Ages and even afterwards. Many medieval texts about his life, from the 9th century to the end of Middle Ages, in Latin as well as in French, have survived to this day. The numerous manuscripts and printed works prove the widespread circulation of this saint’s Lives during the 14th, 15th and 16th centuries, in such different forms as narrative prose, poem and drama. Most of the Lives in French and some texts in Latin are still unedited. This dissertation aims to participate in the editing work of these texts. It offers six editions of French Lives which have different lengths and one edition of the Vita rhythmica (188 verses). This homogenous set of texts could make it possible for literature scholars and historians to reconsider the reception and the transformation of a sacred figure of the 7th century in the late medieval French literature. The general introduction of this thesis deals with this concrete question but is also put in a much larger history of the Saint Fiacre cult throughout the centuries, in order to describe the possible continuity and bifurcations of a hagiographic tradition. In the linguistic and literary studies of the Vita rhythmica and of the theatre play La Vie de monsieur sainct Fiacre filz du roy d’Escosse par personnaiges, this work focuses on the medieval Latin rhythmic versification — a less-explored area — and the relationship between the complicated syntax, the formal restriction and the discursive simplicity of a medieval theatre language. The different texts with various generic, formal and genealogical characteristics edited in this dissertation present a plurality of different philological exercises
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Bell, Lucy Amelia Jane. "Configurations of the fragment : the Latin American short story at its limits." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607767.
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Schillinger, Stephen. "Common representations : Jack Straw and literary history as cultural history on the early modern stage /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9363.
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葉淑蘭 and Sook-lan Yap. "A study of Zhang Tianyi's children's literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211057.
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