Dissertations / Theses on the topic 'Ovidio. Amores'

Orientador: Paulo Sergio de Vasconcellos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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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
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
Mestrado
Mestre em Linguística

Orientador: Paulo Sérgio de Vasconcellos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O objetivo desta tese é demonstrar como, nos Amores, Ovídio retomou e reelaborou matéria de diversas fontes para compor sua obra. Sêneca Velho, nas suas Controuersiae (em especial, II 2, 8), revela-nos os possíveis influxos da retórica escolar na obra do poeta. Em nossa análise, demonstramos que a retórica está presente como uma forma de estruturar certas elegias (como as suasoriae) e que também é uma ferramenta útil para nos ajudar a compreender a obra (sobretudo, a relação construída entre auctor/opus/lector). Indicamos a presença de elementos típicos de diversos gêneros como a épica, a comédia, a tragédia e mesmo a poesia jâmbica: Ovídio parece deixar claro que essa "presença" é um fator constitutivo de sua obra. A confluência genérica resultante dessas relações discursivas está mais evidente em poemas programáticos, de cunho metapoético (através do topos da recusatio, por exemplo), mas também não se ausenta por completo das demais elegias. No constructum elegíaco elaborado por Ovídio nos Amores, a persona de seu poetaamante discute poesia enquanto narra as aventuras amorosas com a persona da puella, que se identifica com a própria Elegia (cf. Am. III 1). Nesse sentido, Ovídio nos mostra que, em sua obra de estreia, seu protagonista vive em um universo discursivo construído na pluralidade, no qual experimentar amores (as relações amorosas) proporciona a composição dos Amores (as elegias de temática erótica)
Abstract: The aim of this thesis is to show how, in Loves, Ovid retook and reworked material from several sources to constitute his work. Older Seneca, in his Controuersiae (specially in II 2, 8) reveals the possibility of some influxes from school rethoric on the Ovid's poetry. In our analysis, we indicated that rhetoric is present like a mean of structure some elegies (like suasoriae) and also like a useful tool that helps us to understand the whole work (mainly, the constructed relation among auctor/opus/lector). We also demonstrate the presence of tipicals elements from other genres like epic, commedy, tragedy and even iambic poetry: Ovid seems to reveal that this "presence" is a factor that openly constitute his poetic labour. The generic confluence that results from these discursives relationships is more manifest in programmatic poems, with metapoetical character (through the topos of recusatio, for exemple), but is not missing at all from the others elegies. In this discursive elegiac constructum elaborated by Ovid in the Amores, the poet-lover persona considers about poetry while tell us about his amorous adventures with the puella persona who identify herserf with Elegy (cf. Am. III 1). In this sense, Ovid show us that, in his first work, his protagonist lives in a discursive world based on plurality, in wich experiences in loves (relationships) provides the composition of The Loves (Latin erotic elegy)
Doutorado
Linguistica
Doutor em Linguística

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Résumé: La critique la plus traditionnelle, sur la base du biographisme, avait la tendance à voir les poèmes du exil inférieurs aux poèmes de la phase amoureuse d'Ovide. La raison en était la crédulité aux vers déterministes du énonciateur ovidien, présentes dans le recueil des Tristes. Selon cet énonciateur, les conditions défavorables du banissement seraient responsables pour une rédaction moins élaborée en esthétique que celle des vers des oeuvres précédentes. Mais la comparaison entre les élégies de cette phase e les autres de la phase dite amoureuse montre un même style, qui semble imprégner toute sa production élégiaque . Ce style de composition, fondé sur l'utilisation libre de l'expressivité artistique, était également responsable du fait que le poète latin a été marqué, par divers chercheurs, comme rhétorique et exagéré . Cependant, les analyses des textes qu'ont été faites au cours du travail de recherche indiquent que l'utilisation de figures de style dans la composition des vers suggère des nouvelles possibilités de significations textuelles. Ainsi, il y a une espèce d'approbation entre les deux plans du langage, le plan de l'expression et le plan du contenu, qui permet voir que les relations phonologiques dans le texte sont aussi des relations sémantiques. On s'interroge, alors, sur la pertinence des études qu'ont le biographisme comme une méthode d'analyse, car il détermine trop et délimite généralement les études sur Ovide. Par contre, il faut proposer des analyses qui mettent en scène une attention spéciale aux relations interdiscursives - entre les poèmes d'Ovide -, c'est à dire, celles qui privilégient la vérification et l'interprétation des figures de style qui traversent les élégies des différentes phases d'écrite du poète e qui peuvent apporter, comme conséquence, des nouvelles lectures
A crítica mais tradicional ao poeta latino Ovídio, tendo como base o biografismo, tendeu a ver, nos poemas do exílio, obras inferiores àquelas das outras fases de sua produção poética. O motivo para isso foi a credulidade nas afirmações deterministas do próprio enunciador ovidiano, presentes nas elegias do desterro, de que as condições adversas de escrita seriam responsáveis por textos com menos qualidade estética que os anteriores. No entanto, comparando-se elegias dessa fase com as de sua fase erótico-amorosa, percebe-se um mesmo estilo, perene, que perpassa toda sua produção elegíaca. Esse estilo de composição, fundado na utilização mais livre de recursos expressivos, também foi responsável pelo fato de o poeta latino ter sido tachado, por parte de seus estudiosos, como retórico e exagerado. Contudo, as análises feitas aos textos indicam que a utilização de figuras de linguagem na composição dos versos sugere novas possibilidades de sentidos textuais. Assim, há homologação entre os planos da expressão e do conteúdo, em que relações fonológicas, no texto, também constituem relações semânticas. Deste modo, questiona-se o biografismo como método de análise, pelo que ele condiciona e delimita os estudos a respeito de Ovídio. Propõem-se, em contrapartida, análises que levem em conta, de forma predominante, relações interdiscursivas, ou seja, aquelas que, privilegiando a verificação e interpretação dos recursos expressivos, possam trazer novas leituras

Thèse de doctorat : Études latines : Paris 12 : 2004.
Thèse électronique uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Bibliogr. f. [461]-470. Index.

Cette étude aborde le corpus érotique d'Ovide dans la perspective unificatrice d'un genre : l'élégie d'amour. Amours, Héroi͏̈des et traités didactiques ont été considérés du point de vue de la thématique, des modalités énonciatives et de la forme qui lui sont spécifiques. En nous plaçant du point de vue de la réception, nous avons identifié les traits génériques par confrontation des œuvres entre elles et avec les recueils des prédécesseurs. Nous avons toutefois privilégié l'angle de la généricité auctoriale. Sensible à l'ironie du poète et au caractère hautement réflexif de ses œuvres, nous en avons exploré systématiquement le contenu narratif et la matière didactique pour y révéler un discours en filigrane sur les conditions d'existence de l'élégie, et décrypter sous le propos érotique un véritable art poétique élégiaque
This study approaches Ovid's erotic works within the unifying perspective of a genre: the love elegy. Amores, Heroides, and the didactic treatises have been considered from the viewpoint of the thematic, of the enunciative modalities and of the form specific to the love elegy. From the receptive point of view, the generic aspects have been identified by confrontation between the works and with their predecessors, placing particular emphasis, however, on authorial genericityʺ. Taking account of the poet's irony and of the highly reflexive quality of his works, the narrative content and the didactic material have been systematically explored in such a way as to reveal the veiled discourse about the conditions under which the elegy can exist and to decipher, under the erotic surface, a true elegiac poetical art

Orientador: Isabella Tardin Cardoso
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O interesse deste estudo é observar a presença da deusa romana Vênus, cujo principal atributo é o amor, em obras do poeta romano Públio Ovídio Nasão (43 a. C - 17 / 18 d. C.), mais especificamente nos poemas Os Remédios do amor (Remedia Amoris) e em passagens selecionadas das Metamorfoses (Metamorphoseon Libri). Ao cotejar esses excertos, verifica-se que a deusa, seja metonimicamente (por exemplo, como sinônimo do substantivo "amor"), seja como personagem de aventuras e desventuras amorosas, abrange muito da poesia ovidiana e configura-se de diversas maneiras: no poema didático Remedia Amoris, por exemplo, Vênus é relacionada, com frequência, a narrativas de infelicidade amorosa. Nessa obra, o eu poético, propondo a cura do amor, cita a deusa como referência a histórias amorosas malfadadas. Observar a participação da deusa do amor em Metamorfoses, em que ela não é apenas referida como metonímia de seu atributo, como também é personagem de narrativas míticas, permite perceber com mais clareza em que medida os respectivos episódios mitológicos são mencionados ou aludidos também em Os Remédios do amor. Os excertos de Metamorfoses respectivos aos mitos referidos em Remedia compõem o corpus traduzido, a saber, Met. IV 169-189, X 298-739 e XIV 441-608 (bem como a comparação com sua menção em Remedia Amoris) é ponto de partida para uma análise da figura de Vênus. O estudo visa, ainda, contribuir modestamente para a discussão sobre a concepção do sentimento amoroso em Ovídio, em particular a ideia de amor como doença
Abstract: This study has as a central interest observing the presence of the Roman goddess Venus, whose main attribute is love, in Publius Ovidius Naso?s work (43 B. C - 17 / 18 A. D.), more specifically in the poems Remedia Amoris (Remedies for Love) and in selected passages of Metamorphoseon Libri (Metamorphoses). Throught the comparison among the latin passages pertaincing to both ovidian works, it is noticed that the goddess presence - either metonymically (for instance, as a synonymous for the noun "love") or as a character of amorous adventures or misadventures - comprises much of the ovidian poetry. In the didactic poem Remedia Amoris, for example, Venus is frequently related to unhappy love narratives. In Remedia the lyric self, purposing the cure for love, mentions the goddess as a reference to unlucky love stories. Observing in the Metamorphoses how the goddess of love participates as a mythical character, helps to perceive the allusion to mythological episodes that also takes part in Remedia Amoris. The respective excerpts of Metamorphoses (namely Met. IV 169-189, X 298-739 e XIV 441-608) that are mentioned in Remedia Amoris compose the corpus of our study. The translation of the selected passages of Metamorphoses, as well as a comparison with their mention in Remedia amoris, is the starting point for the analysis. The study aims also to modestly contribute for the reflection on the conception of the love feeling constituted in Ovid, mainly the idea of love as a disease
Mestrado
Linguistica
Mestre em Linguística

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Oct. 5, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Comparative Literature." Discipline: English and Comparative Literature; Department/School: English and Comparative Literature.

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This research has as goal to study the eroticism present in Ovid’s Amores, one of the great names of Latin Elegy of century I B.C. The main focus is to analyze the several erotic passages throughout the work, especially in our corpus, constituted by three elegies (Am. I.5, Am. II.15 and Am. III.7), which will be thoroughly analyzed in a specific chapter. Our study is supported by theorists that discuss literary and cultural aspects - History, Religion and Sociology - of the Roman thought of the time, in order to elaborate a work without anachronisms. We present operating translates os the originals texts analyzes during the research, including our complete translations of the three elegies that compose the corpus, aiming a better understanding of the text and its posterior analysis.
Esta pesquisa tem como objetivo estudar o erotismo presente nos Amores de Ovídio, um dos principais nomes da Elegia Latina do séc. I a.C. O foco principal é analisar as diversas passagens eróticas ao longo da obra, especialmente em nosso corpus, constituído por três elegias (Am. I.5, Am. II.15 e Am. III.7), que serão detalhadamente analisadas em um capítulo específico. Este estudo está apoiado em teóricos que abordam aspectos literários e culturais - história, religião, sociologia - do pensamento romano da época, com o intuito de elaborar um trabalho sem anacronismos. Apresentamos traduções operacionais dos textos originais analisados ao longo da pesquisa, incluindo nossas traduções completas das três elegias que compõem o corpus, objetivando a melhor compreensão do texto e de sua posterior análise.

This study focuses on the praeceptor amoris, or teacher of love, as that persona appears in English poetry between 1500 and 1660. Some attention is given to the background, especially Ovid and his Art of Love. A study of the medieval praeceptor indicates that ideas of love took three main courses: a bawdy strain most evident in Goliardic verse and later in the libertine poetry of Donne and the Cavaliers; a short-lived strain of mutual affection important in England principally with Spenser; and the love known as courtly love, which is traced to England through Dante and Petrarch and which is the subject of most English love poetry. In England, the praeceptor is examined according to three functions he performs: defining love, propounding a philosophy about it, and giving advice. Through examining the praeceptor, poets are seen to define love according to the division between body and soul, with the tendency to return to older definitions in force since the troubadours. The poets as a group never agree what love is. Philosophies given by the praeceptor follow the same division and are physically or spiritually oriented. The rise and fall of Platonism in English poetry is examined through the praeceptor amoris who teaches it, as is the rise of libertinism. Shakespeare and Donne are seen to have attempted a reconciliation of the physical and spiritual. Advice, the major function of the praeceptor, is widely variegated. It includes moral suasion, advice on how to court, how to start an affair, how to maintain one, how to end one, and how to cure oneself of love. Advice also includes warnings. The study concludes that English poets stayed with older ideas of love but added new dimensions to the praeceptor amoris, such as adding definition and philosophical discussion to what Ovid had done. They also added to the use of persona as speaker, particularly with Donne's dramatic monologues.

This thesis examines the hair imagery that runs through the works of Propertius, Tibullus, and Ovid. Comparative analysis of the elegists’ approaches to the motif, with particular emphasis on determining where and how each deviates from the cultural assumptions and literary tradition attached to each image, sheds light on the character and purposes of elegy as a genre, as well as on the individual aims and innovations of each poet. The Introduction provides some background on sociological approaches to the study of hair, and considers the reasons why hair imagery should have such a prominent presence in elegy. Chapter 1 focuses on the elegists’ engagement with the idea of cultus (‘cultivation’), and their manipulation of the connotations traditionally attached to elaborate hairstyles, of sophistication on the one hand, and immorality on the other, to suit an elegiac context. Chapter 2 looks at how the complexities of the power relationship between the lover and his mistress play out in references to violent hair-pulling. Chapter 3 focuses on the sometimes positively and sometimes negatively spun image of grey-haired lovers, as a reflection of the lover-poet’s own contradictory wishes for his relationship with his mistress; it also considers grey hair as a symbol of physical mortality, as contrasted with poetic immortality. Chapter 4 examines the use of images of loose hair (especially images of dishevelled mourning) to suggest connotations ranging from the erotic to the pathetic, and focuses on the effects the elegists achieve by using a single image to communicate multiple implications. The Conclusion considers the ‘afterlife’ of elegiac hair imagery: the influence that their approaches had on later authors’ handling of similar images.

Prenant comme point de départ le vocabulaire de la mémoire, qui désigne la production du texte élégiaque, et les allégories qui la traduisent métaphoriquement, cette recherche aboutit à dégager la valeur autoréflexive de l'image du " je " et de celle de la bien-aimée, autour desquelles est structurée l'élégie. De la même manière, le temps subjectif, organisateur du discours, apparaît comme un lieu d'autoréflexivité. L'approfondissement théorique de cette lecture - dans la perspective de la Poétique d'Aristote, de l'Art Poétique d'Horace et du traité Du Sublime - ainsi qu'un parallèle avec la lyrique horatienne, permettent de mieux cerner l'art des poètes élégiaques et les traits du genre qu'ils pratiquent. Une évolution du discours élégiaque peut ainsi être esquissée à partir de l'œuvre de Catulle et jusqu'aux Amours d'Ovide, dernière œuvre qui obéisse strictement au code de l'élégie érotique latine
Beginning with the vocabulary of memory that characterizes elegiac text production, and with the allegories that translate it metaphorically, this study then uncovers the self-reflexive value of the " I "'s and of the mistress's images, around which the elegy is structured. Similarly, the subjective time that organizes the text appears to be a frame within which reflexivity occurs. In-depth theoretical reading - from the perspective of Aristotle's Poetics, Horace's Art of Poetry and On the Sublime - affords us a better understanding of the art of the elegiac poets, and of the distinctive aspects of the genre they practiced. We can thus sketch out an evolution of the elegiac discourse from Catullus' work through to Ovid's Amores, the last work to adhere strictly to the Latin erotic elegiac code