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The Identification of the manuscripts of Catullus cited in Statius' edition of 1566 ... /Ullman, B. L. Statius, P. Papinius January 1908 (has links)
Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references.
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Catulls Epigramme im Kontext hellenistischer DichtungHartz, Cornelius January 2004 (has links)
Zugl.: Hamburg, Univ., Diss., 2004
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Imagery of colour and shining in Catullus, Propertius and Horace /Clarke, Jacqueline, January 1998 (has links) (PDF)
Thesis (Ph. D.)--University of Adelaide, Centre for European Studies and General Linguistics, 1999? / Includes bibliographical references (leaves 341-352).
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The Identification of the manuscripts of Catullus : cited in Statius' edition of 1566 ... /Ullman, B. L. Statius, P. Papinius January 1908 (has links)
Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references. Also available on the Internet.
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Catullus se Carmina in Afrikaans vertaal : ’n funksionalistiese benaderingDe Kock, Annemarie 03 1900 (has links)
Thesis (MA (Ancient Studies)--University of Stellenbosch, 2006. / The aim of this study is to effectively render into Afrikaans the impact of the Latin text of Catullus for readers living through another language, within another culture. The challenge not only lies in transporting the spirit of the original to the translation, but also to represent the detail of the text itself: the stilistic features of word order, word choice, imagery and figures of speech. For this purpose I will follow the functionalist approach to translation as expounded by Christiane Nord (1997).
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Perspektieftotems : ses personae van CatullusDu Toit, Pieter Francois 12 1900 (has links)
Thesis (MA)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: A persona is a definable literary technique that all authors necessarily use. This thesis tries to show how Catullus, with the use of six personae (amator acceptus, amator reiectus, hospes urbanus, poeta doctus, fabulator en sacerdos), persuades the reader of the emotional “authenticity” and the accessibility of his poems. This is done firstly by investigating the literary process of which a persona forms part. By comparing this process with the three phases of a conversation (thought, expression and utterance), it is possible to see how a persona can be “discovered”. The thought represents the historical author and his literary context. The expression represents the literary persona itself. The utterance represents the unemotional, “unloaded” elements of the text manifested as the collective function of characters, speakers and narrators. By identifying this process in Catullus’ poetry, the relevant personae are illuminated.
Catullus, as a Latin poet who was familiar with “Roman performance poetry” and the ancient theatre mask, also understood this complex process. This thesis argues that Catullus used the persona – like a theatre mask – as a so-called “totem of perspective”. The careful use of persuasive techniques that provide the momentum, are analysed in some of his poems, keeping the function of this “totem of perspective” in mind. The result is that the poet succeeds in creating sophisticated, diverse and accessible personae, which readers through the ages readily accept as “authentic”. / AFRIKAANSE OPSOMMING: ’n Persona is ’n definieerbare literêre tegniek wat alle outeurs noodwendig gebruik. Hierdie tesis beoog om aan te dui hoe Catullus, met die gebruik van ses personae (amator acceptus, amator reiectus, hospes urbanus, poeta doctus, fabulator en sacerdos), die leser van die emosionele “egtheid” en die toeganklikheid van sy werk oortuig. Dit word eerstens gedoen deur die literêre proses waarvan ’n persona deel is, te ondersoek. Deur hierdie proses te vergelyk met die drie fases van ’n gesprek (gedagte, uitdrukking en uiting) is dit moontlik om te sien hoe ’n persona “ontdek” kan word: die gedagte verteenwoordig die werklike outeur en sy literêre konteks, die uitdrukking verteenwoordig die literêre persona self en die uiting verteenwoordig die onemosionele, “ongelaaide” elemente van die teks, soos vergestalt deur die gesamentlike funksionering van karakters, sprekers en vertellers. Deur hierdie proses te identifiseer in Catullus se gedigte, word die betrokke personae verhelder.
Catullus, as Latynse digter wat bekend was met “Romeinse performatiewe poësie” en die antieke toneelmasker, het ook hierdie ingewikkelde proses begryp. Hierdie tesis argumenteer dat Catullus die persona – soos ’n toneelmasker – as ’n sogenaamde “perspektieftotem” gebruik het. Die sorgvuldige gebruik van oorredingstegnieke wat die momentum voorsien, word in van sy gedigte geanaliseer met hierdie perspektieftotem-funksie in gedagte. Die resultaat is dat die digter dit regkry om gesofistikeerde, diverse en toeganklike personae te skep wat lesers deur die eeue as “eg” aanvaar.
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Imagery of colour and shining in Catullus, Propertius and Horace / Jacqueline Ruth Clarke.Clarke, Jacqueline, 1964- January 1998 (has links)
Bibliography: leaves 341-352. / ix, 352 leaves : col. ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Investigates how Roman poets make use of imagery and vocabulary of colour and shining to enhance the effectiveness of their poetry. Focuses on the work of three Roman poets, Catullus, Propertius and Horace (in his Carmina) because they have many themes in common and exhibit skilful and imaginative use of colour imagery and vocabulary. Parallels are drawn with the colour imagery of the poets' predecessors, contemporaries and successors (in both Greek and Latin verse). / Thesis (Ph.D.)--University of Adelaide, Centre for European Studies and General Linguistics, 1999?
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Imagery of colour and shining in Catullus, Propertius and Horace / Jacqueline Ruth Clarke.Clarke, Jacqueline, 1964- January 1998 (has links)
Bibliography: leaves 341-352. / ix, 352 leaves : col. ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Investigates how Roman poets make use of imagery and vocabulary of colour and shining to enhance the effectiveness of their poetry. Focuses on the work of three Roman poets, Catullus, Propertius and Horace (in his Carmina) because they have many themes in common and exhibit skilful and imaginative use of colour imagery and vocabulary. Parallels are drawn with the colour imagery of the poets' predecessors, contemporaries and successors (in both Greek and Latin verse). / Thesis (Ph.D.)--University of Adelaide, Centre for European Studies and General Linguistics, 1999?
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Bemerkungen über den metrischen und rhythmischen Bau, sowie über den Gebrauch der Homoeoteleuta in den Distichen des Catull, Tibull, Properz und OvidEichner, Ernst. January 1875 (has links)
Königliches Gymnasium, 1875--Gnesen.
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Meaningful form : parallelism and inverse parallelism in catullus, tibullus and horace.Van der Riet, Jacobus Werndly January 1998 (has links)
A thesis submitted to the Faculty of Arts, University of the Witwatersrand,
Johannesburg, in fulfilment of the requirements for the degree of Doctor of
Philosophy. / All the poems of Catullus and Tibullus and the first three books of Horace's Odes
are investigated tor structures of parallelism and inverse paralelism (chiasmus) and
thus the extent to which these devices were used is determined. Such structures are
demonstrated for the first time for several poems. Sometimes additions or
modifications are made to the structural analyses of other scholars, and sometimes
their findings are confirmed. The notion that inverse parallelism was seldom used by
Roman authors is dispelled. The freedom with which these devices were used,
resulting in a great variety of deviations from strictly symmetrical structures, is
demonstrated Both common and idiosyncratic features in the use of the devices by
the three authors are shown. Several poems of each author are discussed to illustrate
that the demonstration of a structure of parallelism or inverse parallelism is in itself
an interpretative act, which can at the same time serve as a basis for further
interpretation. In particular it is shown that structures of inverse parallelism often, if
not always, iconically reflect the meaning of the poem (hence the title of the thesis)
This ability or structures of inverse parallelism to reflect the meaning of the poem
may partly account for the fact that they are used more frequently than are structures
of parallelism. In the poems discussed structures of inverse parallelism iconically
reflect the ideas of reversal, cyclical movement, non-progression/deadlock, balance
and/or contrast and enclosure, as well as combinations of the above, such as a spiral
(both progression and non-progression) or the combination of reversal and nonprogression.
Continuity between the structural methods of Greek and Roman authors
is demonstrated, and a theoretical framework is provided, which answers the
questions how such structures can be determined, and what purposes, both practical
and poetic, they serve. A literary-critical awareness of inverse parallelism in
Antiquity is demonstrated. St. Augustine, especially, has a fairly developed
theoretical frame of reference on the subject, in his De Genest ad Litteram / Andrew Chakane 2019
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