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Kirstein, Robert Theocrit. "Junge Hirten und alte Fischer : die Gedichte 27, 20 und 21 des Corpus Theocriteum /." Berlin [u.a.] : de Gruyter, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2866228&prov=M&dok_var=1&dok_ext=htm.
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Likosky, Marilyn Schron. "Representations of women in Theocritus /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11453.
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Hicks, Peter Geoffrey Barry. "The manuscript tradition of Theocritus." Thesis, University of Cambridge, 1993. https://www.repository.cam.ac.uk/handle/1810/251547.
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Samson, Lindsay Grant. "The philosophy of desire in Theocritus' Idylls." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5051.
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Over the course of Theocritean scholarship there has been a tendency to try to fill the narrative gaps that he leaves in his poems, and this tendency has led to various interpretations of each of the Idylls. While some see this as a puzzle to be solved, a sort of literary exercise for Theocritus' fellow poetae docti and the erudite court of Ptolemaic Alexandria, this study will examine these narrative gaps as opportunities for each audience member to explore his or her own beliefs, especially regarding love. Theocritus does not lead his audience to a specific conclusion, but he only raises questions.
This study shows how the Idylls pose questions that correlate with those that Plato and Hellenistic philosophers address in their discussion of love. Is love a divine blessing, madness, or both? What are the symptoms of lovesickness? Can lovesickness be cured? Is passion part of human nature? What are the benefits of love? Once the reader has in mind the questions that are raised in philosophy and the earlier poetic tradition, it becomes clear that Theocritus is posing the same questions. He uses the images of love in the poetic tradition to explore these topics in a way that conjures allusions to philosophical texts.
Once I have examined the poetic and philosophical background, I turn to the Idylls themselves. I organize my discussion of the poems according to the three types of lovers in Plato's Symposium: procreators, poets, and immortals. Procreators are those who seek to give birth in the body, for example Simaetha in Idyll 2. These lovers are portrayed as afflicted with lovesickness without a viable cure, and as treading the line between animal and human. Poets give birth in the mind with their poetry, for example the speaker of Idyll 12. Although suffering from lovesickness, poets have a remedy, poetry. Finally, immortals give birth to true virtue, such as the Ptolemies in Idyll 17. These monarchs are so loved by the gods for their virtue that they are made immortal and are allowed to live on Olympus with the gods.
The layers of meaning revealed in the allusions to the poetic and philosophical traditions do not show Theocritus as promoting a favorite doctrine, rather, he promotes questions about desire, lovesickness, remedies, humanity, persuasion, the power of poetry and immortality. When we look at Theocritus as a heuristic poet, we can better understand the value of his poetry and his mastery in using narrative gaps to raise questions for his audience.
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Cater, Amanda Jane. "Theocritus and the reversal of literary tradition." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25362.
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My purpose is to demonstrate Theocritus' treatment of traditional literary genres. I show the specialized character of the bucolic genre by concentrating on the combination of epic, tragic and bucolic elements in selected poems of Theocritus. My concern is the portrayal of characters and character-types from myth and literary tradition and how the traditional literary portrayal has been changed. My discussion of Theocritus' poetic technique is divided into two parts. The first section deals with Theocritus' method of "reducing" or down-grading figures who have previously been presented and accepted as heroes. This section is introduced by a brief survey of the changing attitudes towards heroes in Greek literature from Homer to Theocritus. This is followed by a discussion of four poems which illustrate Theocritus' inversion of the standard portrait. This treatment ranges from a humorous recasting of the status of Polyphemos (Idyll 11) and Herakles (Idylls 13 and 24) to a critical portrayal of the Dioscuri (Idyll 22). The second part deals with the technique operating in reverse. In this section, I show how Theocritus juxtaposes epic themes with 'low-life' scenes and how the characters involved are consequently upgraded or 'elevated1. The four poems I select endow their insignificant protagonists with heroic amplitude. In Idyl 1 1, epic and tragic elements are infused into the portrayal of Daphnis the cowherd. Simaetha in Idyll 2 envisages herself as a Medea in a context of bourgeois reality. The mythological material in Idyll 3 achieves humour from the disparity of the goatherd's rustic simplicicy and his awareness of mythological precedents. Idyll 7 expands the anti-heroic material of the Odyssey and describes a goatherd with a difference. In my conclusion I demonstrate the coherence of Theocritus' treatment of epic and dramatic narrative with his programmatic statements. The passages referred to are the epilogue of Idyll 22 (212-23), the characters cited in Idyll 16 (36-57), Simichidas' speech in Idyll 7 (45-48) and the description of the herdman's cup in Idyll 1. (29-61). In the light of this, I link Theocritus' poetic method to his attitude to the function of literature and its relation to society.Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
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Kirstein, Robert. "Junge Hirten und alte Fischer die Gedichte 27, 20 und 21 des Corpus Theocriteum." Berlin New York de Gruyter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2866228&prov=M&dok_var=1&dok_ext=htm.
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Muñoz, Jesse. "Theocritus' Use of Daphnis as a Poetic Symbol." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/595834.
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This thesis examines Theocritus' use of the mythic herdsman Daphnis in Idylls 1 and 7 and compares the accounts there with accounts of similar figures such as Adonis, Attis, and Osiris in other ancient authors. I focus especially on Daphnis' associations with death and resurrection and with honey, which I argue functions for Theocritus as an emblem of the immortalizing powers of poetry.
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Rossi, Laura. "The epigrams ascribed to Theocritus : a method of approach /." Leuven ; Paris ; Sterling (Va.) : Peeters, 2001. http://catalogue.bnf.fr/ark:/12148/cb39233621x.
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Parmenter, Christopher. "Ethnography and the Colonial World in Theocritus and Lucian." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13314.
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Scholars of migration, colonization, and cultural interaction in antiquity have increasingly turned towards a variety of concepts (such as hybridity, negotiations, and middle grounds) developed by postcolonial theorists to describe the dynamics of ancient civilizations beyond the major centers of Athens and Rome. Whereas older models of identity saw the ancient world as a series of geographically distinct cultural units with attendant language, religion, and practices--that is to say, a model of identity rooted in the modern concept of the nation state-- recently classicists have come to see ancient identities as abstractions of a series of individual choices that take place over long periods of time and that are always mediated by contact with different groups. Focusing on two authors from what I shall define as the `colonial worlds' of antiquity (Theocritus from Sicily and Lucian from Syria) this study will explore how representations of physical difference and cultural practice negotiate the presence of non-Greek peoples into Greek literary culture.
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Haber, Judith Deborah. "Pastoral and the poetics of self-contradiction : Theocritus to Marvell /." Cambridge [GB] : Cambridge university press, 1994. http://catalogue.bnf.fr/ark:/12148/cb370361460.
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Boparai, Jaspreet Singh. "Politian's Hellenism : Homer, Hesiod, Theocritus, Aratus and Callimachus translated, adapted and commented." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708799.
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Petrovic, Ivana. "Von den Toren des Hades zu den Hallen des Olymp Artemiskult bei Theokrit und Kallimachos." Leiden Boston Brill, 2004. http://d-nb.info/986181021/04.
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Stanzel, Karl-Heinz. "Liebende Hirten : Theokrits Bukolik und die alexandrinische Poesie /." Stuttgart : B. G. Teubner, 1995. http://catalogue.bnf.fr/ark:/12148/cb370962455.
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Self, Stephen N. "“I am One”: The Fragile/Assertive Self and Thematic Unity in the Theocritean Oeuvre." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1311692392.
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Ntanou, Eleni. "Ovid and Virgil's pastoral poetry." Thesis, University of Manchester, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.748040.
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This thesis explores the generic interaction between Virgilian pastoral and Ovidian epic. My primary goal is to bring pastoral, substantially enriched by important critical work thereupon in recent decades, more energetically into the scholarly discussion of the Metamorphoses, whose multifaceted generic interplay is often limited to the study of its interaction with elegy. Secondarily, I hope to show how the Metamorphoses plays a pivotal role in the re-reading of the Eclogues. The fact that both epic and pastoral are written in hexameters facilitates the interaction between the two and enables the Metamorphosesâ repeated short-term transformations into pastoral poetry, which often end abruptly. I will try to show that although the engagement with pastoral occasionally appears to threaten the epic code of the poem, pastoral is ultimately integrated in the Metamorphosesâ generic self-definition as epic and partakes in Ovidâs dynamic recreation of the genre. My primary method is that of intertextuality, resting on the premise that all readings of textual relationships, as the one suggested here, are acts of interpretation. I also explore pastoral in the Metamorphoses intratextually by joining together various pastoral episodes of the Metamorphoses and arguing how similar thematics are replayed and rewritten throughout the poem. The main perspectives from which I examine pastoral in the Ovidian epic are those of fiction and the development of the thematics of the Golden Age. In the first part, I explore instances of song performances in the Metamorphoses, i) musical contests, ii) solo performances and iii) laments, in which I argue that pastoral is extensively at work. I suggest that the Metamorphoses employs pastoralâs overriding generic self-obsession and its tendency to create its own fiction internally, significantly through the means of singing performance and repetition. I argue that the mythopoetic means of pastoral are applied and reworked in the Metamorphoses for the creation of its epic world and heroes. In the second part, I explore the repeated occurrences of the Golden Age theme in the Metamorphoses and suggest that the remarkable engagement with pastoral is employed both to invite a political reading of the Golden Age, as set by Eclogue 4 and its post-Eclogues occurrences, and to recap the introversion of the pastoral enclosure and its seclusion from politics.
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Testut-Prouha, Arnaud. "Théocrite, lecteur de Platon." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30103/document.
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Il s'agit de montrer que l'art poétique de Théocrite s'appuie sur des éléments littéraires et spéculatifs propres à Platon : dialogue, mimèsis, genres, mythes, imagesThis is to show that Theocritus poetic art is based on literary and speculative elements specific to Plato : dialogue, mimesis, genres, myths, images
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Reinhardt, Thomas. "Die Darstellung der Bereiche Stadt und Land bei Theokrit." Bonn : R. Habelt, 1988. http://catalog.hathitrust.org/api/volumes/oclc/20489531.html.
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Nogueira, Érico. "Verdade, contenda e poesia nos Idílios de Teócrito." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-06112012-125428/.
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Partindo da Teogonia e dos Trabalhos e dias de Hesíodo, modelos de poética fundada na verdade, e do conceito de sabedoria humana, como aparece na Apologia de Sócrates de Platão, o presente trabalho estuda a relação entre verdade e poesia nos Idílios de Teócrito fundamento de seu programa poético , e a elocução contenciosa ou competitiva que a veicula. Ao que se segue tradução em verso de todos os idílios hexamétricos autênticos do autor.Starting from Hesiods Theogony and Works and days, models of a truth-based poetics, and from the concept of human wisdom as it stands in Platos Apology of Socrates, this work focuses on the so-called reciprocal conditioning of truth and poetry in Theocritus Idylls the very basis of his poetic program as well on the quarrelsome or competitive diction which conveys it. There follows a versetranslation of all the true Theocritean Idylls written in hexameters.
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Harden, Sarah Joanne. "Self-referential poetics : embedded song and the performance of poetry in Greek literature." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:69380265-1014-4965-bc6a-32dbc244721a.
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This thesis is a study of embedded song in ancient Greek narrative poetry. The introduction defines the terminology (embedded song is defined as the depiction of the performance of a poem within a larger poem, such as the songs of Demodocus in Homer’s Odyssey) and sets the study in the context of recent narratological work done by scholars of Classical literature. This section of the thesis also contains a brief discussion of embedded song in the Homeric epics, which will form the background of all later examples of the motif. Chapter 1 deals with embedded song in the Homeric Hymns and Hesiod’s Theogony. It is argued that the occurrence of embedded song across these poems indicates that the motif is a traditional feature of early Greek hexameter poetry, while the possibility of “inter-textual” allusion between these poems is considered, but finally dismissed. Chapter 2 focuses on Pindar, Bacchylides and Corinna, and explores how lyric poets use this motif in the various sub-genres of Greek lyric. In epinician poetry, it is argued that embedded song is used as a strategy of praise and also to boost the authority of the poet-narrator by association with the embedded performers, who can be seen to have in each case a particular source of authority distinct from that of the poet narrator. Chapter 3 considers the Hellenistic poets Apollonius Rhodius and Theocritus, and how their interest in depicting oral poetry meshes with their identity as literate and literary poets. Appendix I gives a list of all the examples of embedded song I have found in Greek poetry. Appendix II gives an account of Pindar’s Hymn to Zeus, a highly fragmentary poem which almost certainly contained an embedded song, analysing this as an example of the difficulties thrown up by lyric fragments for a study of embedded narratives.
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Kampakoglou, Alexandros. "Studies in the reception of Pindar in Hellenistic poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:f97a0403-6f42-41c5-bff2-f7b3991fc48b.
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This thesis examines the reception of Pindar in Hellenistic poetry. More specifically it examines texts of three major Hellenistic poets: Theocritus of Syracuse, Callimachus of Cyrene and Posidippus of Pella. The texts discussed have been selected on the basis of two principles: (i) genre and (ii) subject matter. They include texts that inscribe themselves in the tradition of encomiastic, and more specifically, Pindaric poetry either through the generic discourse which they partake in or through the employment of myths that Pindar had used in his own odes. Throughout the thesis it is argued that the connections with Pindaric passages are carried out on the basis of ‘allusions’ which are picked up by the readers. This term is employed to describe one of the ways in which intertextuality functions. Following the model of Conte and Barchiesi, the discussion insists on the distinction between allusions to specific Pindaric passages and allusions to epinician generic motifs that can best be illustrated through Pindaric passages. The aim of the discussion for each case of textual correspondence suggested is to describe the means whereby this connection is suggested to the reader and to propose a ‘meaning’ for it. In this sense, equal emphasis is given to the detailed examination of all texts that partake in the intertextual connection suggested, i.e. to Pindaric and Hellenistic alike.
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Daniel-Muller, Bénédicte. "Passion et Esthétique : le pathétique amoureux dans la poésie hellénistique." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040177.
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Il est reconnu que la poésie hellénistique a donné à l’expression du sentiment amoureux une importance inédite, mais la rupture que constitue ce fait littéraire par rapport aux œuvres du passé n’a cependant pas toujours été suffisamment mise en avant. Cette étude propose donc d’examiner les spécificités de cette représentation de l’amour et de montrer qu’elle ressortit principalement au registre pathétique. Ainsi, dans une perspective diachronique, elle s’attache tout d’abord à rappeler les particularités de la représentation de l’amour dans la poésie des époques archaïque et classique, et à montrer notamment le rôle secondaire qu’y tient cette thématique. Puis, après avoir analysé les caractéristiques, complexes mais toujours éminemment négatives, que les poètes hellénistiques attribuent à l’amour, essentiellement réduit pour eux à l’ἔρως, elle examine les modalités précises de son expression pathétique, une innovation importante grâce à laquelle la thématique amoureuse a pu accéder en littérature au rang d’un véritable sentiment. Cette étude permet enfin de montrer que la représentation pathétique du sentiment amoureux est l’une des clefs pour comprendre plusieurs caractéristiques et enjeux fondamentaux de la poésie hellénistique, à propos de laquelle il convient de parler d’une véritable poétique de l’amour. En effet, le pathétique amoureux peut s’y lire comme un paradigme méta-poétique qui ne reflète pas seulement les nouvelles valeurs esthétiques de l’époque hellénistique mais également les conditions, inédites, de création et de réception des œuvres littéraires, en particulier dans leurs rapports, aussi étroits qu’ambigus, aux cours royales et à la traditionHellenistic poetry attributed an importance to love never encountered in poetry before. This literary break with the past has only ever received scant attention. This study sets out to examine the specifics of how love was represented and to show how it essentially emerges from the pathetic register. From a diachronic perspective, the study aims to focus on the particular characteristics of the representation of love in the poetry of the classical and archaic periods, and above all demonstrate the secondary role the theme was accorded. After an analysis of the complex, but always eminently negative, characteristics, attributed to love by Hellenistic poets, which, to them, is essentially reduced to ἔρως, the study examines the precise modalities of its expression through pathos, an important innovation through which the theme of love became recognised as a genuine feeling in literature. This study ultimately enables us to show that the pathetic representation of love is one of the keys to understanding several characteristics and fundamental issues of Hellenistic poetry, through a genuine poetics of love. Romantic pathos can indeed be interpreted here as a meta-poetic paradigm which does not only reflect the new aesthetic values of the Hellenistic age but also the new conditions of creation and reception of literary works, in particular in their close and ambiguous relationships with royal courts and tradition
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Kirstein, Robert. "Junge Hirten und alte Fischer : die Gedichte 20, 21 und 27 des Corpus Theocriteum /." Berlin : de Gruyter, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2866228&prov=M&dok%5Fvar=1&dok%5Fext=htm.
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Richer, Jean-Camille. "Théocrite et la création de la pastorale : entre mime et idylle." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1057.
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Dans cette thèse est proposée une définition du genre poétique bien connu qu’est la poésie bucolique. Son point de départ réside dans le double statut qui la caractérise : c’est à la fois un titre (les Bucoliques) et un genre (la poésie bucolique). Le fait de privilégier l’un ou l’autre de ces statuts oriente la définition qui est retenue. Nous avons donc examiné les sources antiques et tenté d’inverser la perspective habituellement retenue : alors que l’on considère souvent que c’est le genre qui a engendré le titre, nous pensons que c’est le titre (Bucoliques) qui a engendré le genre. En d’autres termes, à l’origine, un poème bucolique n’est pas un « poème de bouviers », mais un poème contenu dans un recueil intitulé Βουκολικά. Ce n’est que dans un second temps que le sens du titre originel (Βουκολικά) se serait restreint au genre tel que nous le connaissons aujourd’hui (une « poésie de bouviers », souvent réduite à une « poésie de pâtres ») et qui aurait entraîné, à la fin de l’Antiquité, le remplacement de ce titre par les mots « idylles » et « églogues », qui à l’origine n’avaient aucun rapport avec la poésie bucolique. La définition du poème bucolique que nous proposons est fondée sur la rencontre entre deux personnes et l’interprétation d’un chant, car ce schéma s’observe dans la plupart des poèmes bucoliques, y compris post-théocritéens. Dès lors opère une loi de variation censée varier le genre des chants insérés. Cela créée une hiérarchie entre les genres : le poème bucolique n’est pas un poème de bouviers, mais un poème comportant l’interprétation d’un chant dont le genre est appelé à varier. La notion de « mime » n’est ici étudiée qu’à titre de variante de la bucolicité. En effet, trois poèmes de Théocrite sont ainsi décrits parce qu’ils n’appartiennent ni au monde de la campagne (poèmes bucoliques), ni au monde des héros (epyllia). Nous analysons la manière dont cette catégorie s’est constituée, puis sa pertinence : si elle permet à n’en pas douter de constater des codes communs entre les poèmes de Théocrite et ceux d’Hérondas, elle ne doit pas faire oublier que la différence métrique entre les deux auteurs implique une différence d’esthétiqueThe aim of this study is a definition of Bucolic poetry. Nowadays it can be analized as a title (Bucolics) or as a poetry genre (bucolic poetry). The choice which is made between these two categories has consequences on the way bucolic poetry is theorised. I try to demonstrate that the genre was invented out of the title : at first, a bucolic poem was no more than a poem included in collection entitled Βουκολικά. At the end of Antiquity this title had been changed into Idylls in the Greek-speaking World and into Eglogues in the Latin-speaking world because the definition has changed. « Bucolicity » is based not on the cowherd, but on a scenario which is repeated from a poem to another : two people meet, a song is sung, and the people leave each other. Any poetic genre could be included in the song which is sung, so I distinguish the bucolic poem from the inserted song which lies inside. I then compare Theocritus to Herodas and Sophron because some bucolic poems are nowadays called « urban mimes ». The name of this categorie is modern, so it shows how new definitions (and new termes) are constantly proposed for poetic genres
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Nardone, Claire-Emmanuelle. "L'humilité dans la poésie hellénistique." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN007.
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Selon Callimaque, l’artiste a pour tâche d’emprunter des sentiers non encore battus parses prédécesseurs. Explorer de nouveaux chemins de création va de pair avec le fait de chanter une nouvelle catégorie de figures : celle des humbles. L’humilité, c’est-à-dire le caractère de ce qui présente un manque considéré comme un défaut, est à distinguer de la pauvreté, qui n’est liée qu’à la possession des biens. Elle est un élément de caractérisation des figures poétiques et revêt des formes multiples, particulièrement liées aux âges de la vie, à l’apparence et au statut social des personnages, et devient un champ d’expérimentations poétiques pour les poètes hellénistiques. Bien qu’aucun terme ne désigne en grec ancien, à l’époque hellénistique, l’humilité et qu’on ne peut de ce fait affirmer l’existence d’un concept d’humilité en tant que tel à cette période, les figures caractérisées par l’humilité apparaissent structurées en réseau, par des biais sémantiques, lexicaux et stylistiques. Ce phénomène est particulièrement observable dans les Idylles et les épigrammes de Théocrite, ainsi que dans l’Hécalé et les épigrammes de Callimaque, les Mimiambes d’Hérondas et les épigrammes de Léonidas de Tarente. Ces oeuvres, où des figures caractérisées par leur humilité occupent des rôles de premier plan contrairement à ce qui était le cas dans la poésie antérieure, constituent le corpus choisi pour notre étude de manière à permettre l’analyse du traitement de la thématique au sein de genres poétiques divers. Ce sont les modalités et les enjeux du traitement dont fait l’objet l’humilité dans la poésie hellénistique qui sont ici analysées. Il s’agit de déterminer les critères qui permettent de distinguer des sèmes d’humilité afin de reconstruire ce « concept » omniprésent bien que non nommé, puis, à partir des réseaux sémantiques liées à l’humilité qui parcourent la poésie hellénistique, de montrer les enjeux métapoétiques que le traitement de ce thème soulèveThe aim of this work is to study hellenistic poetry through a new concept of « humility ». Poetic and metapoetic aspects of Callimachus’ Hecale andepigrams, Theocritus’ Idylls and epigrams, Herodas’ Mimiambi and Leonidas’ of Tarentum epigrams are explored in this light
Secondo Callimaco, l’artista deve scegliere delle strade diverse da quelle che hanno percorso i suoipredecessori. Il fatto di cantare una nuova categoria di personaggi, gli umili, fa parte dell’esplorazione diun nuovo modo di comporre poesia.L’umiltà, cioè la caratteristica di tutto ciò che presenta una qualche mancanza ed è perciò consideratoin difetto, è diversa dalla povertà, che corrisponde alla sola mancanza dei beni. L’umiltà è un modo percaratterizzare i personaggi. Le forme della sua realizzazione, legate in particolare all’età, all’apparenza, allivello sociale e alla ricchezza, sono varie e offrono un campo di sperimentazione ai poeti ellenistici.Siccome il senso di nessuna parola greca corrisponde a quello della parola «umiltà» in epoca ellenistica,non è possibile essere sicuri dell’esistenza, in quel periodo, di un simile concetto. Gli elementicaratterizzati dall’umiltà, tuttavia, sembrano organizzati secondo la struttura di una rete, grazie a deiprocessi semantici, lessicali e stilistici. Questo fenomeno appare in modo particolarmente chiaro negliIdilli e negli epigrammi di Teocrito, nell’Ecale e negli epigrammi di Callimaco, nei Mimiambi di Eroda, enegli epigrammi di Leonida di Taranto. Il corpus analizzato è composto da questi quattro gruppi di testipoetici, in cui alcuni personaggi umili svolgono ruoli da protagonisti, affinché la tematica dell’umiltà possaessere studiata in generi poetici differenti.In questo lavoro analizziamo le modalità di sviluppo di questa tematica nella poesia ellenistica e lesfide estetiche che essa implica. Si tratta, in primo luogo, di individuare i criteri che permettono diriconoscere la presenza della nozione di umiltà, per ricostruire questo «concetto» ben percepibile anche semai nominato, e poi di studiare le reti semantiche che lo strutturano; infine, di mettere in luce gli aspettimetapoetici tanto della nozione di umiltà quanto degli stessi personaggi umili
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Foster, J. Andrew. "Structured polyphony : narrative framing and reception in Theocritus, Idylls 6, 15, and 24 /." 2001. 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:3039027.
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Lewis, Virginia M. "The healing effect of song in the poetry of Pindar and Theocritus." 2007. http://purl.galileo.usg.edu/uga%5Fetd/lewis%5Fvirginia%5Fm%5F200708%5Fma.
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Lukášová, Denisa. "Mytologická inspirace v básních Lorenza de' Medici." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-333531.
Full textAbstract:
The first part of this master thesis is focused on the personality of Lorenzo deʼ Medici and his inclusion in the period and cultural contexts. The literary background of Italy in the 15th century is introduced, as well as the Lorenzo's life, the summary of his literary output and his contribution as a patron of the Florentine culture and arts. The second part analyzes four of the Lorenzoʼs works related to mythological themes going back until the ancient writers. Lorenzoʼs evident influence by these authors is illustrated with the specific quotations but at the same time his own innovations in texts and stories are referred to. The conclusion compares an extend of this influence on him and the contribution of his own invention to the particular works. It points out the uniqueness of the personality of Lorenzo deʼ Medici both in the cultural and literary spheres as well.