Spelling suggestions: "subject:"aeneas,"" "subject:"geneas,""
21 |
Aeneid VIII and the Aitia of CallimachusGeorge, E. January 1966 (has links)
Thesis (Ph. D.)--University of Wisconsin, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
|
22 |
Aeneid vii : notes on selected passagesHorsfall, Nicholas January 1971 (has links)
No description available.
|
23 |
Moral ambiguity in Vergil's AeneidPreston, Eileen M. January 1969 (has links)
No description available.
|
24 |
Naevian studiesDe Graff, Thelma Beryl, January 1931 (has links)
Thesis--Columbia University, 1931. / Includes bibliographical references (p. 92-95).
|
25 |
Naevian studiesDe Graff, Thelma Beryl, January 1931 (has links)
Thesis--Columbia University, 1931. / Includes bibliographical references (p. 92-95).
|
26 |
Le statut du personnage dans l’Énéide de Virgile : stratégies narratives et effets de lecture / The character in Vergil’s Aeneid : narrative strategy and effect on the readerRohman, Judith 29 November 2013 (has links)
La notion de personnage est problématique dans le contexte de l’épopée antique, en particulier pour les dieux et pour le héros virgilien, Énée. Réhabiliter cette notion afin de mieux cerner le personnage épique et, avec lui, le Lecteur Modèle de l’épopée, nécessite donc une étude de la terminologie. La première partie s’attache ainsi à définir les critères et les limites à donner à l’effet-personnage dans l’Énéide en envisageant notamment la tradition d’interprétation allégorique des dieux. Les deux parties suivantes sont centrées chacune sur un personnage et l’on y examine les rapports qui s’établissent entre narrateur, personnage et lecteur en partant du postulat selon lequel le narrateur, en tant que relais d’une identification primaire, apparaît comme un guide dans la réception du personnage. Énée, parce qu’il est l’élu du destin, se voit parfois dénier le titre de personnage ; par sa nature de demi-dieu, il se situe en outre à la croisée des deux mondes, humain et divin. La déesse Junon offre l’occasion d’appliquer les principes définis dans la première partie pour l’attribution du statut de personnage aux dieux ; en outre, c’est son action qui constitue la matière de l’action racontée et confère son rythme au récit. / The litterary concept of character considered in the context of Ancient Epic is a source of controversial, especially for the gods and Vergil’s hero, Aeneas. Reconsidering this notion, in order to figure out more clearly the epic character and the epic « Model Reader », requires a close study of the terminology. The first part of this thesis tries to determine the criteria defining the « character-effect » in the Aeneid and the limits of this notion, surveying, among others, the allegoric traditions about the gods in Ancient Epic. Each of the two following parts focuses on a single character and analyses of the relationship between the narrator, the character and the reader, starting from the premise that the reader identifies primarily with the narrator, who will guide him in his reception of the characters. To Aeneas, as the Elected of fate, the title of character is sometimes denied ; as a demi-god, he stands at the intersection of the divine and the human worlds. A study of Juno then brings the opportunity to assess the principles defined in the first part about the gods and their status as characters of the epic ; moreover, Juno’s actions supply the narrative material, and contribute to define its tempo.
|
27 |
Forsan et Haec olim meminisse iuuabit : recherches sur les formes et aspects de la mémoire dans l'Enéide de Virgile / Forsan et haec olim meminisse iuuabit : studies on the Representation of Narrative Memory in Vergil’s AeneidRaymond, Emmanuelle 16 September 2011 (has links)
Ce travail s’inscrit dans le sillage des études récentes sur la mémoire culturelle et démontre comment la notion de mémoire joue un rôle clef dans le déroulement de l’Énéide. L’épopée virgilienne attire fréquemment l’attention du lecteur sur la fabrique poétique d’une atmosphère mémorielle identifiable à travers les lieux de mémoire, des objets signifiants (monimenta) et certains personnages divins et humains. Parmi ces personnages, Anchise représente la mémoire du passé et Ascagne-Iule symbolise le futur en tant qu’ancêtre de la gens Iulia, tandis qu’Énée s’affirme comme le parangon de la memoria romana. Ses choix, ses errances, son séjour carthaginois, sa catabase, sa visite de Pallantée et même le meurtre de Turnus sont imprégnés de la dialectique de la mémoire et de l’oubli. Ces observations permettent de poser un nouveau regard sur le sens général du poème et d’interroger la réception de l’Énéide comme racontant l’accomplissement des fata de Jupiter. Le poème épique renvoie aussi à la narrativisation de la conquête progressive de la mémoire par Énée, qui offre d’intéressants échos aux préoccupations augustéennes sur l’alternative embarrassante entre la vengeance (ultio) et la clémence (clementia). Le poète suscite ainsi une réflexion sur la mémoire comme un puissant moteur de l’action épique, également présentée comme un lien entre les hommes et les époques grâce à la construction d’une mémoire culturelle romaine, héritière des identités culturelles troyenne et latine. Virgile n’utilise pas seulement la mémoire comme la pierre de touche de son poème mais témoigne souvent d’une forme de « mémoire rétroverse », un concept forgé pour les besoins de ce travail. Dans plusieurs passages, Virgile regarde en effet les événements qui ont lieu à l’époque d’Énée avec la subjectivité embarquée d’un poète vivant à l’époque augustéenne. Ce point de vue rétrospectif et prospectif offre un aperçu intéressant de la construction de la mémoire dans l’épopée et de son télos augustéen. / This work draws on recent studies of cultural memory and aims to demonstrate that the notion of memory has a key role to play in the unfolding plot of the Aeneid. The virgilian epic calls the reader’s attention, more often than not, to the poetic fabric of a memorial atmosphere which is identified through ‘places of memory’; meaningful and powerful objects (monimenta); and divine and human characters. From theses characters Aeneas’s family emerges: Anchises represents the past and Ascanius-Iulus embodies the future as the ancestor of the gens Iulia. Aeneas, meanwhile, is the parangon of Memoria Romana. His every choice, the wanderings, the Carthaginian temptation, the catabasis, the visit of Pallanteum and even the death of Turnus at the end of the Aeneid, are permeated throughout with the dialectic of Memory and Oblivion. These observations encourage us to reconsider the general meaning of the poem and to question the reception of the Aeneid as an accomplishment of Jupiter’s fata and the realization of divine will. For the epic poem also seems to be the narrativization of Aeneas’s progressive conquest of memory. This, in turn, suggests intriguing echoes of Augustan preoccupations with the embarrassing alternative visions of ultio and clementia.The poet also raises the suggestion of memory as a driving force behind epic action, which is equally presented as a link between individual and time, owing to the construction of a Roman cultural memory inherited from Trojan and Latin cultural identities. Not only does Vergil use memory as a cornerstone for his narrative, but he often exploits the position of « reversive memory », a concept introduced by this thesis. In many passages, Vergil looks at the events of Aeneas’s time from the embedded perspective of a poet living in Augustan times. This both retrospective and prospective point of view provides a fascinating insight into the continuous construction of epic memory and its historical télos under Augustus.
|
28 |
Deberi ad sidera tolli: as promessas de divinização na Eneida e a ancestralidade heróica dos Iulii / Deberi ad sidera tolli: the promises of divinization in the Aeneid and the heroic ancestry of the IuliiMota, Thiago Eustáquio Araújo 16 December 2015 (has links)
Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-01-29T16:46:25Z
No. of bitstreams: 2
Dissertação - Thiago Eustáquio Araújo Mota - 2015.pdf: 7453680 bytes, checksum: eadb2ef82a3b06b688d17eafc92ac84e (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-02-01T11:54:44Z (GMT) No. of bitstreams: 2
Dissertação - Thiago Eustáquio Araújo Mota - 2015.pdf: 7453680 bytes, checksum: eadb2ef82a3b06b688d17eafc92ac84e (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-02-01T11:54:44Z (GMT). No. of bitstreams: 2
Dissertação - Thiago Eustáquio Araújo Mota - 2015.pdf: 7453680 bytes, checksum: eadb2ef82a3b06b688d17eafc92ac84e (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Previous issue date: 2015-12-16 / Abbiamo studiato in questa Tesi di dottorato un aspetto del mito di Enea: la
divinizzazione eroica che appare come una promessa dal fatum nei versi della Eneide di
Virgilio, poema epico composto tra gli anni 29 e 19 aC. Tra le varie possibilità
metodologiche ed ermeneutiche per lo studio di un poema epico, ci concentreremo qui
sulla questione della storicità dell'opera, il suo momento di composizione e le risposte ai
precedenti epici. Come una epopea eroico-storica, l'Eneide è intesa come documento di
complessità inesauribile per studiare il tempo del poeta. Cerchiamo di valutare come le
promesse di apoteosi dell'eroe e dei suoi discendenti, Giulio Cesare e Ottaviano, sono
collegate nella trama, offrendo alla casa dei principi da cui deriva l'Imperatore Augusto,
domus Iulia, ascendenza divina ed eroica. In grado, quindi, di rafforzare la sua
posizione di prestigio sociale e politico, mettendo la famiglia imperiale di sopra delle
altre famiglie aristocratiche. Il poeta fa Giove promettere all'eroe, figlio di Venere, un
tipo di sollevamento ad sidera, allo scopo di ricordare la consecratio/katasterismos di
Giulio Cesare la cui anima è stata identificata alla stella che è apparsa nei cieli di Roma
alla celebrazione dei Giochi per la Vittoria di Cesare - Ludi Victoriae Caesaris (44 a.C).
Ottaviano, a sua volta, è citato come un dio potenziale con un posto riservato nel
pantheon romano. Più di una determinazione dello fatum, Virgilio presenta la
prospettiva di sollevamento stellare basata sul merito rappresentato sia dalla reputazione
e dalla uirtus che sono costruiti nella vita dell'individuo. In concomitanza con l'analisi
ermeneutica dello epico, il nostro sforzo metodologico si sviluppa in due direzioni: in
primo luogo, facciamo un passo indietro al periodo repubblicano per seguire le tracce
dello radicamento di Enea divinizzato nelle leggende di fondazione e nella topografia
del Lazio. Inoltre, dalle testimonianze testuali e dalle monete mettiamo in discussione il
legame tra l'eroe troiano alla genealogia della famiglia degli Iulii. Nel secondo
movimento, al di là del periodo di composizione dell'Eneide, abbiamo cercato di
valutare l'investimento nella genealogia troiana e la riappropriazione di temi epici nelle
cerimonie, monumenti e sculture del primo secolo. Quindi, abbiamo anche analizzato le
appropriazioni dello tema della divinizzazione di Enea da altri autori come Livio,
Dionigi di Alicarnasso e, soprattutto, Ovidio nelle Metamorfosi. / We investigate in this Thesis a specific element of Aeneas’ myth: the heroic
divinization that appears as a promise of fatum in the lines of the Aeneid, epic poem
composed between the years 29 and 19 BC. Among the several methodological and
hermeneutical possibilities for the study of an epic, we focus on the problem of the
historicity of the work, its moment of composition and the responses to previous epic
models. As a heroic-historical epic, the Aeneid is understood as an inexhaustible and
complex document for studying the poet's time. We try to assess how the promises of
apotheosis of this hero and his descendants, Julius Caesar and Octavian, are linked into
the plot, providing to the rulers house, from which comes the Emperor Augustus,
Domus Iulia, heroic and divine ancestry. Able, therefore, to strengthen its social and
political prestige, putting the imperial family apart from the other aristocratic families.
The poet reserves to this hero, son of Venus, one kind of upswing ad sidera in order to
recall the consecratio/katasterismos of Julius Caesar whose soul has been identified to
star – sidus/astrumv - that appeared in the skies of Rome during the celebration of the
Games in Honor of Caesar's Victory - Ludi Victoriae Caesaris (44 a.C). More than a
settlement of fatum, Virgil presents the prospect of stellar ascension based on merit
represented by the fame and uirtus which are both constructed during the individual's
life. Allong with the hermeneutic analysis, our methodological effort unfolds in two
directions: firstly, we step back to the republican past to track the rooting of Aeneas
deified in the foundation narratives and topography of Latium. Moreover, from textual
sources and numismatic evidence, we bring the issue of the constructed link between
the Trojan hero and the genealogy of the Iulii. In a second movement, we seek to
evaluate the investment in Trojan genealogy and the reappropriation of epic themes by
the ceremonies, monuments and sculptural artifacts from the first century AD.
Therefore, we analyze the reappropriation of this theme of Aeneas' divinization by the
augustan authors, Livy, Dionysius of Halicarnassus and especially Ovid in
Metamorphoses. / Investigamos nesta Tese um elemento específico do mito de Enéias: a divinização
heroica que aparece como promessa do fatum nas linhas da Eneida de Virgílio, poema
épico composto entre os anos 29 e 19 a.C. Buscamos avaliar como as promessas de
apoteose do herói e seus descendentes, Júlio César e Otávio, estão concatenadas na
trama, conferindo à casa de governantes a qual se liga o Imperador Augusto, domus
Iulia, ancestralidade divina e heroica. Capaz, portanto, de reforçar sua posição de
prestígio social e político frente às outras famílias aristocráticas. O poeta reserva ao
heroi, filho de Vênus, um tipo de elevação ad sidera, de forma a rememorar a
consecratio/katasterismos de Júlio César cuja alma foi identificada ao astro – astrum/
sidus - que apareceu nos céus de Roma durante celebração dos Jogos à Vitória de César
- Ludi Victoriae Caesaris (44 a.C). Otávio, por sua vez, é mencionado como um diuus
em potência, com um lugar reservado no panteão romano. Mais do que uma
determinação do fatum, Virgílio apresenta esta perspectiva de ascensão sideral
fundamentada no mérito, representado tanto pela fama quanto pela uirtus que são
construídas em vida pelo indivíduo. Concomitante à análise hermenêutica do épico,
nosso esforço metodológico se desdobra em dois sentidos: primeiramente, recuamos ao
passado republicano para rastrear na documentação textual e arqueológica o
enraizamento de Enéias divinizado nas narrativas fundacionais e na topografia do Lácio.
Ademais, a partir das fontes textuais e da evidência numismática, problematizamos a
vinculação do heroi troiano à genealogia familiar dos Iulii. Em um segundo movimento,
para além do período de composição da Eneida, buscamos avaliar o investimento na
genealogia troiana e a reapropriação de temas épicos nos cerimoniais, monumentos e
artefatos esculturais do século I d.C. Por conseguinte, nos debruçamos sobre as
reapropriações do tema da divinização de Enéias pelos autores do Principado de
Augusto, Tito Lívio, Dionísio de Halicarnasso e especialmente Ovídio nas
Metamorfoses.
|
29 |
A Structural analysis and visual abstraction of the pictorial in the Aeneid, I-VIShaw, Rayford Wesley 06 1900 (has links)
The pictorial elements of the first six books of the
Aeneid can be evidenced through an examination of its
structural components. With commentaries on such
literary devices as parallels and antipodes, interwoven
themes, cyclic patterns, and strategic placement of words
in the text, three genres of painting are treated
individually in Chapter 1 to illustrate the poet's
consistency of design and to prove him a craftsman of the
visual arts.
In the first division, "Cinematic progression," attention
is directed to the language which conveys movement and
frequentative action, with special emphasis placed on
specific passages whose verbal components possess
sculptural or third-dimensional traits and contribute to
the "spiral" and "circle" motifs, the appropriate visual
agents for animation.
Depiction of mythological subjects comprises the second
division entitled "Cameos and snapshots." Three
selections, dubbed monstra, are explicated with such
cross references as to illustrate the poet's use of
epithets which he distributes passim to elicit verbal
echoes of other passages.
The final division, "The Vergilian landscape," addresses
two major themes, antithetical in nature, the martial and
the pastoral. Their sequential juxtaposition in the text
renders a marked contrast in mood which is manifested
pictorially in the transition from darkness to light. A
panoramic chiaroscuro emerges which is the tapestry
against which Aeneas makes his sojourn through the
Underworld. It is the perfect backdrop to accompany the
overriding theme of "things hidden," res latentes, which
encompasses a greater part of the epic and becomes the
culminant motif of the paintings which comprise the
visual presentation.
Chapter 2 functions as a catalogue raisonne for art
inspired by the Aeneid from early antiquity up to the
present day. Such examples of artistic expression
provide a continuum with which to appropriate Horace's
maxim, ut pictura poesis, in their evaluation.
The verbal exegeses in Chapter 1 have been programmed to
comport with the thematic content of the visual
presentation in Chapter 3, a critique exemplifying the
transposition of the verbal to the pictorial. With these
canvases I have attempted to render a new perspective of
Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil.
|
30 |
À la recherche de Proserpine : la loggia du palais épiscopal de Bagnaia au temps du cardinal Niccolò Ridolfi (1541-1550)Herbert, Cassandre 09 1900 (has links)
No description available.
|
Page generated in 0.0638 seconds