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Journal articles on the topic 'Psychomachia (Prudentius)'

Author: Grafiati

Published: 2 March 2023

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1

Summers, Kirk. "“Prudentius Psychomachia 317”." Vigiliae Christianae 66, no. 4 (2012): 426–29. http://dx.doi.org/10.1163/157007212x635830.

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Abstract The Latin text at Prudentius, Psychomachia 317 presents some syntactical difficulties, mostly stemming from the unexpected word quia. The manuscripts and glossa vetus offer little help on the matter. Gilbert Wakefield offered a convincing solution to the problem in a note that was buried in an edition of Lucretius that he edited in 1797. No subsequent editor of Prudentius has noticed his emendation, which should be revived and included in future editions.

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2

Danza, Juan Manuel. "The Psychomachia of Prudentius: an inspired artefact." Circe, de clásicos y moderno 25, no. 1 (2021): 141–59. http://dx.doi.org/10.19137/circe-2021-250107.

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3

Jackson, M. J. "PSYCHOMACHIA IN ART FROM PRUDENTIUS TO PROUST." British Journal of Aesthetics 30, no. 2 (1990): 159–65. http://dx.doi.org/10.1093/bjaesthetics/30.2.159.

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4

Haye, Thomas. "NOTATA ET NOTANDA." Daphnis 32, no. 3-4 (2003): 683–97. http://dx.doi.org/10.1163/18796583-90000783.

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Der als Adressat der sog. Dunkelmännerbriefe verleumdete Ortwin Gratius (1480-1542) steHt seiner 1509 besorgten Edition der Psychomachia des Prudentius ein einleitendes Gedicht und einen an Johann Murmellius (1480-1517) adressierten Widmungsbrief voran, in denen er gegen die Bevorzugung paganer Poesie polemisiert und für eine stlirkere Berücksichtigung der christlichen Dichtung der Spätantike plädiert.

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5

WIELAND. "ALDHELM'S "DE OCTO VITIIS PRINCIP ALIBUS" AND PRUDENTIUS' "PSYCHOMACHIA"." Medium Ævum 55, no. 1 (1986): 85. http://dx.doi.org/10.2307/43628952.

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6

Moreno Soldevila, Rosario. "Love Motifs in Prudentius." Philologus 165, no. 2 (2021): 295–312. http://dx.doi.org/10.1515/phil-2021-0109.

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Abstract By analysing three paradigmatic passages, this paper explores how Prudentius uses classical love motifs and imagery not only to lambast paganism, but also as a powerful rhetorical tool to convey his Christian message. The ‘fire of love’ imagery is conspicuous in Psychomachia 53–57, which wittily blends Christian and erotic language. In an entirely different context (C. Symm. 2.1071–1085), the flamma amoris is also fully exploited to depict lustful young Vestal Virgins, in combination with other classical metaphors of passion, such as the ‘wound of love’ and the signa amoris. Additionally, the contrast between heat and cold is a central element in the description of the Vestals’ tardy nuptials, redolent of classical satirical portraits of vetulae libidinosae. Finally, in Hamartigenia 628–636 the relationship between the soul and God draws from a Christian tradition of bridal (and coital) representation, but the lapse into sin is portrayed as the love triangle, typical of the Latin love elegy. These examples illustrate how Prudentius creatively and consciously frames love and sex imagery in new contexts, exploring their potential and infusing clichés with new meanings and forms.

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7

Charlet, Jean-Louis. "AARON PELTTARI. The Psychomachia of Prudentius. Text, Commentary, and Glossary." Journal of Medieval Latin 31 (January 2021): 319–20. http://dx.doi.org/10.1484/j.jml.5.125156.

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8

Wieland, Gernot R. "The Anglo-Saxon manuscripts of Prudentius's Psychomachia." Anglo-Saxon England 16 (December 1987): 213–31. http://dx.doi.org/10.1017/s0263675100003914.

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According to his own testimony, the fourth-century Spanish poet Prudentius devoted himself to writing only late in life. The Praefatio to his works provides all the biographical details which we have of him: he was born in 348, the year in which Salia was consul (lines 25–6: ‘Sub quo [=Salia] prima dies mihi/ quam multas hiemes uoluerit’), he appears to have studied rhetoric (lines 8–9: ‘mox docuit toga infectum uitiis falsa loqui’), possibly practised law (lines 13–4: ‘Exim iurgia turbidos/ armarunt animos’), became governor of two cities (lines 16–7: ‘Bis legum moderamine/ frenos nobilium reximus urbium’) and finally was taken into the emperor's service (lines 20–1: ‘pietas principis extulit/ adsumptum propius stare iubens ordine proximo’). The exact date of his death is unknown, but it appears to have been before 410 because his writings, especially the Contra Symmachum, still praise a victorious Rome that had not yet been sacked by Alaric.

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9

Weele, Michael Vander. "Herbert’s The Temple as Early Modern Psychomachia." Renascence 74, no. 3 (2022): 211–51. http://dx.doi.org/10.5840/renascence2022743-413.

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One does not read very far in the second and by far the longest section of Herbert’s The Temple before the single-minded exhortations of the speaker in “The Church Porch” and the early Lenten “complaints” of Christ to his people in “The Sacrifice” turn to the unpredictable elements of the speaker’s human condition: puzzlement, striving, grief, joy. The quick movement between these elements is due not only to Herbert’s poetic sensibility, I argue, but also to his anthropological understanding and his interest in early Christian precedent. I focus on remnants of Prudentius’ 5th-century Psychomachia in Herbert’s poetry and prose and suggest that they open a new vista onto Herbert’s performance of the unsteady dual state of the temple builder, whether poet or reader.

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10

Herz, Alexandra. "Borromini, S. Ivo, and Prudentius." Journal of the Society of Architectural Historians 48, no. 2 (1989): 150–57. http://dx.doi.org/10.2307/990353.

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The purpose of this paper is to offer a satisfactory formal and iconographical explanation for S. Ivo and its problematical elements. Although the church has been recognized for some time as Borromini's approximation of the ancient Temple of Solomon, its winding, shell-like spire does not fit into this interpretation-or any other yet proposed. The paper concentrates on a description of the Temple of Wisdom that has never before been linked to S. Ivo and shows how its apparently disparate components could be combined in one and the same building. This description appears in the Psychomachia by Prudentius (c. 405 A. D.), a poem about the battle between the Vices and Virtues. Upon the battle's happy conclusion, the Virtues build a temple to Wisdom. Prudentius's eloquent description of this temple is examined in detail, and aspects that may have appealed to Borromini are brought out and compared to S. Ivo. A Baroque masterpiece, the church incorporates Early Christian features in layout, construction, and decoration. Some of these features almost seem to be clues pointing to the building's origin in the Early Christian past, an era held up throughout the Counter Reformation as Christianity's Golden Age.

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11

Tommasi Moreschini, Chiara O. "Sinead O'Sullivan, Early Medieval Glosses on Prudentius' Psychomachia. The Weitz Tradition." Journal of Medieval Latin 15 (January 2005): 323–26. http://dx.doi.org/10.1484/j.jml.2.304256.

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12

Wieland, Gernot. "Early Medieval Glosses on Prudentius' "Psychomachia": The Weitz Tradition. Sinéad O'Sullivan." Speculum 80, no. 3 (2005): 944–46. http://dx.doi.org/10.1017/s0038713400008666.

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13

Jeffs, Amy. "Anger’s Broken Sword: Prudentius’ Psychomachia and the Iconography of Becket’s Martyrdom." Journal of the British Archaeological Association 173, no. 1 (2020): 26–38. http://dx.doi.org/10.1080/00681288.2020.1787630.

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14

Solivan, Jennifer. "Prudentius’ Mnemonic Images in a Twelfth Century Psychomachia Manuscript." Pecia 24 (January 2021): 179–219. http://dx.doi.org/10.1484/j.pecia.5.132379.

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15

Hexter, Ralph. "Allegory and Poetics: The Structure and Imagery of Prudentius' "Psychomachia". S. Georgia Nugent." Speculum 63, no. 2 (1988): 448–49. http://dx.doi.org/10.2307/2853278.

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16

Karkov, Catherine E. "Broken bodies and singing tongues: gender and voice in the Cambridge, Corpus Christi College 23 Psychomachia." Anglo-Saxon England 30 (December 2001): 115–36. http://dx.doi.org/10.1017/s0263675101000059.

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The relationship between the book and the body in the Middle Ages is complex and has been the focus of much recent attention. At a most basic level the dead, dismembered, yet living body of the book was united with the bodies of author, scribe, artist and reader in the act of reading. Medieval readers from the age of Augustine on left their marks in books in the form of glosses, personal comments, sketches, signatures, and the traces of kisses, caresses, or of simple repeated readings that have worn away parts of numerous illustrations. Michael Camille, in particular, has explored the sensual nature of the relationship between book and reader in the act of reading. Perhaps nowhere is this union of bodies so vividly enacted as in the works of the fourth-century Spanish poet Prudentius, whose poems remained extremely popular for centuries. They were copied, translated, rearranged and illustrated to suit the needs of a variety of patrons and readers across medieval Europe.

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17

Moreno Soldevila, Rosario. "PRUDENTIUS’ PSYCHOMACHIA - (A.) Pelttari The Psychomachia of Prudentius. Text, Commentary, and Glossary. Pp. xvi + 327, ills, map. (Oklahoma Series in Classical Culture 58.) Norman: University of Oklahoma Press, 2019. Paper, US$29.95. ISBN: 978-0-8061-6402-1." Classical Review 70, no. 2 (2020): 404–5. http://dx.doi.org/10.1017/s0009840x20000323.

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18

Kirsch, Kathleen. "Reconsidering the Monsters of Prudentius's Psychomachia." Journal of Late Antiquity 13, no. 2 (2020): 220–33. http://dx.doi.org/10.1353/jla.2020.0024.

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19

Wieland, Gernot R. "The origin and development of the Anglo-Saxon Psychomachia illustrations." Anglo-Saxon England 26 (December 1997): 169–86. http://dx.doi.org/10.1017/s0263675100002155.

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The reception in Anglo-Saxon England of Prudentius's Psychomachia has been well studied. In an earlier article I concentrated on the textual tradition and touched only briefly on the important aspect of Psychomachia illustrations in Anglo-Saxon manuscripts; in the present article I treat the illustrations more fully. Psychomachia illustrations have been studied previously, most thoroughly by Stettiner and Woodruff, and they are also referred to by Katzenellenbogen and Norman. None of these examinations is completely satisfactory as far as the Anglo-Saxon illustrations are concerned. Both Stettiner and Woodruff examine all, that is both continental and Anglo-Saxon, illustrated Psychomachia manuscripts, and their primary aim is to establish stemmata and to determine generic relationships between the various manuscripts. Of necessity this procedure leads away from a scrupulous examination of individual manuscripts and their illustrations. In other words, by being concerned more with the generic similarities of the illustrations, Stettiner and Woodruff pay less attention to the differences (though they do not ignore them altogether). Moreover, they concentrate on the illustrated manuscripts and neglected the evidence which non-illustrated manuscripts can provide. Katzenellenbogen and Norman, in turn, are interested in the Psychomachia and its illustrations exerted on the sculpture and painting of later centuries, and only briefly refer to the Anglo-Saxon Psychomachia Illustrations thus still remains a necessity.

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20

Simpson, James. "The Information of Alan of Lille's ‘Anticlaudianus’: A Preposterous Interpretation." Traditio 47 (1992): 113–60. http://dx.doi.org/10.1017/s0362152900007212.

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For the Methode of a Poet historical is not such, as of an Historiographer. For an Historiographer discourseth of affayres orderly as they were donne … but a Poet thrusteth into the middest, euen where it most concerneth him, and there recoursing to the thinges forepaste, and diuining of thinges to come, maketh a pleasing Analysis of all.Spenser, The Faerie QueeneLetter of the Authors.In his account of twelfth-century ‘cosmologists,’ Winthrop Wetherbee has pointed to an essential problem in the interpretation of Alan of Lille's Anticlaudianus (1182–1183). He argues that the major theme of the poem is ‘the working out of the relation of the Arts to Theology that culminates in Prudentia's vision of God’; given this, Wetherbee argues that there is ‘something gratuitous and anticlimactic about the ensuing psychomachia and the new earthly order to which it leads,’ especially when the ‘virtues associated with the New Man are largely secular.’ The conclusion to which these observations lead is ineluctable: ‘Whatever its significance, the idealism of the “triumph of Nature,” as Alan calls it, is difficult to reconcile with the radical subordination of earthly knowledge in the central books of the poem.’

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21

FRISCH, MAGNUS. "AARON PELTTARI, (ed., comm.), The Psychomachia of Prudentius: text, commentary, and glossary. Oklahoma series in classical culture, Norman: University of Oaklahoma Press, 2019, 344 pp., $29.95 (pb), ISBN 978-0-8061-6402-1." Exemplaria Classica 25 (December 20, 2021). http://dx.doi.org/10.33776/ec.v25i0.5579.

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