Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-05-13T14:05:31Z No. of bitstreams: 1 cassiahelenavassaoaraujo.pdf: 5584182 bytes, checksum: 3d482ab44aadd2d627fbb30b2b540e63 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-06-27T20:46:46Z (GMT) No. of bitstreams: 1 cassiahelenavassaoaraujo.pdf: 5584182 bytes, checksum: 3d482ab44aadd2d627fbb30b2b540e63 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-06-27T20:47:12Z (GMT) No. of bitstreams: 1 cassiahelenavassaoaraujo.pdf: 5584182 bytes, checksum: 3d482ab44aadd2d627fbb30b2b540e63 (MD5) / Made available in DSpace on 2016-06-27T20:47:12Z (GMT). No. of bitstreams: 1 cassiahelenavassaoaraujo.pdf: 5584182 bytes, checksum: 3d482ab44aadd2d627fbb30b2b540e63 (MD5) Previous issue date: 2013-10-07 / A presente dissertação consiste na análise do processo de quadrinização de “Memórias de um sargento de milícias”, obra de Manuel Antônio de Almeida, objetivando evidenciar como o folhetim foi traduzido em imagens por Indigo e Bira Dantas. Para tal intuito, foi necessário, primeiramente, estabelecer a intrínseca relação entre imagem e escrita; conceituar história em quadrinhos; e, em seguida, traçar um histórico deste tipo de narrativa no mundo e no Brasil, a fim de mostrar como a sua linguagem, tão própria, foi sendo construída e desenvolvida, até o surgimento das primeiras obras baseadas em textos literários, inclusive a que constitui o objeto de estudo deste trabalho, produzida em 2007. Em um segundo momento, empreendeu-se uma reflexão sobre o folhetim, suas características, de que forma elas são perpetuadas nos quadrinhos e estabeleceu-se o tipo de tradução – a icônica – como a maneira que se dá a transcriação de uma obra literária em história em quadrinhos. Em um terceiro momento, a partir de teorias já engendradas especificamente sobre a obra de Manuel Antonio de Almeida, buscou-se traçar paralelos em relação aos quadrinhos. E, por fim, realizou-se uma observação pormenorizada da HQ a propósito do espaço, do tempo, dos personagens e do narrador quadrinizado. O referencial teórico dessa pesquisa envolve reflexões de Eisner (1999, 2008), McCLoud (1995, 2006, 2008), Ramos (2012), McLuhan (1964), Bakhtin (1996), Andrade (1972), Benjamin (2008), Candido (1970, 2012), DaMatta (2007), Nikolajeva; Scott (2011), Mendonça (2010), Plaza (2010), Serra (1997). / This dissertation consists of the analysis of the process of cartooning for "Memoirs of a militia sergeant," the work of Manuel Antonio de Almeida, aiming to show how the serial was translated into images by Indigo and Bira Dantas. For this purpose, first it was necessary to establish the intrinsic relationship between image and writing; conceptualize comic, and next, enable the historical scenarios of this kind of narrative in the world and in Brazil in order to show how their own language, was being built and developed, until the emergence of the first works based on literary texts, including what constitutes the object of this work, produced in 2007. In a second moment, it was developed a reflection on the serial, its characteristics, how they are perpetuated in the comics and it was established the transcreation of a literary work in comic strips throughout the iconic translation. In a third phase, from theories already engendered specifically on the work of Manuel Antonio de Almeida, it aims to compare parallels in relation to comics. And finally, was carried out a detailed analysis of the comics in relation to place, time, characters and the narrator in cartoons. The theoretical framework of this research involves reflections of Eisner (1999, 2008), McCloud (1995, 2006, 2008), Ramos (2012), McLuhan (1964), Bakhtin (1996), Andrade (1972), Benjamin (2008), Candido (1970, 2012), Da Matta (2007), Nikolajeva, Scott (2011), Mendoza (2010), Plaza (2010), Serra (1997).

'Waqwaq' is something that is often attested in classical Arabic literature and that does not always refer to the same thing. In some cases it can be an island or even more than one. Sometimes it is a piece of land, sometimes a tree, sometimes a group of people and sometimes a bird. Waqwaq is for example found in medieval Arabic geographical texts that claims to describe the inhabited world and the end of it, which varied a lot. Today we have a geographical end to the world we live in. We know how far we can travel and we more or less know what we are going to find. But how was it in the Arabic speaking world during the Middle Ages? Where was the end of the world located and what was to be found there? This Magister's Thesis is about finding the characteristics for the Arabic geographical myth through waqwaq as a case study.

This thesis examines the programmatic use of rare Homeric words in the epigrams of Callimachus. Particular interest is taken in hupar.r Iegwnena, words that occur only once in the Homeric corpus. The initial task of the thesis is to establish context for the epigrams by placing Callimachus in his historical and cultural milieu. Then a detailed study of five key epigrams, 1, 2, 3, 34 and 54 Gow-Page (AP 12.102, 12.43. 12.1.50, 7.80 and 7.89), is undertaken. In each of these poems. Callimachus uses allusion to Homer in order to express his literary aesthetic. Callimachus explores ideas such as the tension between his role as both a scholar and a love poet. the concept of immortality through poetry, and the importance of originality and concision in the creation of poetry. These ideas are more than just themes in Callimachus' poetry: they also serve as programmatic statements for his epigrams.

This dissertation proposes a new interpretative approach to the theatrical material in Horace’s Sermones and Epistles. In particular, it focuses on a selection of poems in which Horace employs a wide array of dramatic devices to depict and discuss the patron-client relationship (Sermones 1.9, 2.5, 2.7 and Epistles 1.17 and 1.18). These devices include dialogue, stage directions, stock characters, expressly theatrical metaphors, and diction echoing playwrights such as Plautus and Terence. I argue that Horace intentionally activates the language of the stage in order to spotlight the theatricality involved in performing the role of a client. In so doing, the poet characterizes the client as an actor and underlines the scripted nature of the words and gestures that he directs toward his patron. In each of these poems, Horace employs a variety of negative stereotypes in order to associate the client with different kinds of performers (e.g., the parasitus, captator, servus, scurra, and planus). In the process, he confronts criticism that he himself likely received in the extrapoetic world impugning his amicitia with his own patron, Maecenas. Horace defends himself against charges of acting and sycophancy by demonstrating that an element of performance is endemic to the patron-client relationship itself. The dissertation is organized as a series of close readings of the five poems that best illustrate Horace’s correlation between dramatic and social performance. For each poem, I identify and interpret the dramatic elements and illustrate how they complement and enhance the dramatic subtext. Chapter 1 concentrates on Sermones 1.9, in which Horace encounters a pest seeking an introduction to Maecenas. Chapter 2 deals with Sermones 2.5, the dialogue between Tiresias and Ulysses on the subject of inheritance-hunting (captatio). Chapter 3 explores Sermones 2.7, in which Horace’s slave Davus accuses him of proteanism when it comes to Maecenas. Chapter 4 presents comparanda from Horace’s Epistles 1.17 and 1.18, in which Horace utilizes the same dramatic devices to shape his advice to two prospective clients. Taken together, these analyses uncover new layers in Horace’s multifaceted depiction of the patron-client relationship, and provide additional insight into his poetic personae and poetic program.

As a cultural staple, the Christian faith has been a defining characteristic of the United States for generations. Religion has moved from the spiritual and become integral to many parts of this society’s social gatherings, artistic outlets, and even businesses. Often rooting itself in conservative values and interpretations of The Bible, Evangelicalism’s beliefs regarding damnation and hell contradicts its sola scriptura theological view. Yet, with The Bible’s near silence on hellish matters when looked at as a whole, the human need to have these gaps filled allowed for literary portrayals of hell and explanations of damnation to become part of this subsect of Christianity. Lining sermons with bits and pieces of Faustus’s lost soul, a new tradition was born. Filling churches with paintings of unique layers of hell from Dante’s Inferno, this tradition took on new life. This thesis analyzes how Evangelicalism has bypassed The Bible in favor of Doctor Faustusand Inferno as well as how Christianity in the United States influences literature and biblical interpretations.

In this dissertation, I trace the different lives and afterlives of Octavia Minor, Augustus’ sister. I offer a comprehensive study of the ancient literary representations of Octavia; through the course of four chapters and an epilogue, I demonstrate how she occupies a defining space in the public imagination of the early principate. The purpose of this dissertation is to make the literary lives and afterlives of Octavia more visible and to examine how such representations may relate not only to Octavia’s time but also to the times of the sources, from antiquity to the Renaissance. In Chapter 1, I start by pointing out how late Republican customs of marriage and female alliances influence Octavia’s life and its representations and monitor the influence that Octavian had on his sister, and vice versa. Here as throughout the dissertation, I examine how different authors represent Octavia, her widowhood, and her betrothal at the Treaty of Brundisium. In Chapter 2, I trace Octavia’s travels through Greece and the Hellenistic influences in representations of her. This chapter concludes with how she is presented in treatments of the Treaty of Tarentum, where she grows into her role either as mediator or political pawn, according to which sources are followed. Chapter 3 begins with the honours of 35 that both Octavia and Livia receive. Thereafter, I argue for Plutarch’s Octavia as the subject of a mini-parallel life as Cleopatra’s foil. After her divorce with Antony, the literary Octavia seems to negotiate the boundaries between the public and private sphere habitually: we will trace this phenomenon in depictions of Augustus’ victorious return, Octavia’s mourning of Marcellus, and, ultimately, in her own state funeral. In Chapter 4, I examine the different ways in which Octavia’s continuing influence is felt and expressed through the different areas in her life, such as lineage, education, and culture, in what I call “the Octavia Factor.” The epilogue recognizes the historical Octavia as a point of intertextual reference in the pseudo-Senecan Octavia and explores the possibilities of future work on renaissance reception of Octavia. It is in this way that I shed new light on the development of “the Octavia narrative” in the literary sources.

Numerous examples of the "digital scholarly edition" exist online, and the genre is thriving in terms of interdisciplinary interest as well as support granted by funding agencies. Some editions are dedicated to the collection and representation of the life's work of a single author, others to mass digitization and preservation of centuries' worth of texts. Very few of these examples, however, approach the task of in-text interpretation through visualization. This project describes an approach to digital representation and investigates its potential benefit to scholars of various disciplines. It presents both a digital edition as well as a framework of justification surrounding said edition. In addition to composing this document as an XML file, I have digitized a 1794 English translation of Virgil's Aeneid and used a customized digital markup schema based on the guidelines set forth by the Text Encoding Initiative to indicate a set of poetic figures—such as simile and alliteration—within that text for analysis. While neither a translation project nor strictly a poetical analysis, this project and its unique approach to interpretive representation could prove of interest to scholars in several disciplines, including classics, digital scholarship, information management, and literary theory. The practice serves both as a case-in-point as well as an example method to replicate with future texts and projects.

This dissertation argues that in two different genres, oratory and political philosophy, Cicero presents to the Roman elite a variety of possible motives for pursuing a political career, and advances his vision of legitimate political engagement. It challenges recent interpretations, first, by demonstrating how Ciceronian forensic rhetoric transcends judicial goals in pursuit of broader cultural and political aims (Chapter 1); second, by demonstrating that Cicero’s political philosophy advances a new form of elite engagement, informed by Greek ethical philosophy and contemplative pursuits (Chapters 2-4); and, third, by demonstrating that Cicero viewed philosophy as essential for rhetoric, not due to its instrumental value but as an ethical grounding for both personal behavior and public oratory (Chapter 4). The first chapter argues that in the Pro Sestio, Cicero uses the prospect of civic glory to motivate his listeners to defend the republic. The second chapter, in contrast, shows how Cicero’s first dialogue on political philosophy, the De Re Publica, downplays the motive of civic glory in favor of less mercenary motives drawn from Greek ethical philosophy, especially the attraction of virtue as its own reward. Cicero attempts to persuade his potentially resistant Roman audience, however, by adopting an initial pose of hostility towards philosophy and by putting philosophical ideas in the mouths of his Roman dialogical personae. The third chapter, on the Somnium Scipionis, argues that Cicero concludes the De Re Publica by employing the authority of Scipio to inspire his audience to study cosmology in order to acquire knowledge of the motives, ends, and means of political engagement; Scipio qualifies Laelius’s earlier argument about virtue, reevaluating it as a means to an eternal reward based on Platonic eschatology. The fourth chapter shows that in De Legibus 1, the character Marcus Cicero mounts two arguments for natural law in two different styles, one aimed at Atticus the intellectual and the other at Quintus the politician, suggesting two chief segments of his potential reading audience. Marcus concludes with an inspiring speech intended to show Atticus that philosophy demands engagement in politics and to convince Quintus that philosophic knowledge gives public oratory ethical grounding.

Greek literature is infamous for its fondness of narrating in horrific detail the violent plots of man versus man, man versus beast, and even man versus god, encompassing conflicts that range from individual vendettas to large-scale warfare. The extant stories of Greek epic and drama preserve merely a snippet of the ancient audience’s fascination with violence in all its forms. Depicted among these bloody confrontations is a subject that seems taboo even to modern viewers—kin murders. Epic conceals the most brutal violations of kinship ties, preferring a more nuanced approach to such horrors. Tragedy, in contrast, relishes translating these particular crimes onto the public stage. However, in dramatic performance the violent acts themselves are only either described in words or alluded to; they are always completed off-stage, and audience members must rely on their imaginations to recreate the most offensive parts of an episode. There is a similar hesitation in visualizing these gruesome stories of parents slaying children, wives murdering husbands, brothers turning against each other, or sons slaughtering mothers in Greek art. In contrast, there are numerous portrayals of lethal violence in other contexts that are unabashedly explicit and shockingly gory. For example, images of quarrels between political rivals or cultural others enjoyed popularity from the earliest periods of Greek art. But depictions of sanctioned violence in the military sphere occupy a different realm than the rare illustrations of the most sinister of transgressions—the murder of one’s own kin. The tantalizing few examples of this exceptional category of violence prompt further study, yet there has never been a comprehensive investigation on portrayals of intrafamilial murder in in the visual repertoire. In Kindred Killers: Intrafamilial Murders in Archaic and Classical Greek Art, I bring together and examine for the first time the evidence for murder against kin in Greek art from the seventh to the fourth centuries BCE. I assemble a catalog of 202 images related to four types of intrafamilial murder within the nuclear family unit: filicide, spousal homicide, parricide, and fratricide. Geographically, the material spans from mainland Greece, including Attica, Corinth, and the Peloponnese, to East Greece, and to South Italy and Sicily; the objects range from pottery, shield bands, seals, and other representatives of the so-called minor arts, to statue groups, temple architecture, and lost monumental wall paintings. I investigate the iconographic patterns of the four typologies, tracing their changes through time, medium, and area of production, while also considering factors, such as manner, intent, and motivation, in order to establish a visual language for “intrafamilial murder.” I frame the images within broader, shifting cultural notions of violence and explore how the various scenes of kinship murder challenge and solidify social norms, negotiate interpersonal power, and express the tensions brought about by ever-changing family dynamics.

<p>The Phaenomena, written by Aratus of Soli in 276-274 B.C., enjoyed immense popularity in antiquity and was translated into Latin verse by Marcus Tullius Cicero, Germanicus Caesar and Rufius Festus Avienus, and into Latin prose by an anonymous author writing in the seventh century A.D. Previous studies of these works have provided important observations about individual aspects of the Latin poems and this thesis seeks to add to the understanding and appreciation of the works by comparing in detail the three verse translations and, where appropriate and possible, the prose Aratus Latinus, with the Greek original and with each other.</p> <p>The first chapter examines the problem of the popularity of the Greek Phaenomena down to the Renaissance and the second chapter investigates the nature of translation as a Roman literary phenomenon. The five chapters which follow include statistical surveys, based on both scansion of the poems and on computer-concordances compiled for the thesis, and stylistic analyses in order to elucidate the degree to which the translations were dependent upon and independent from the Greek model and the similarities and differences amcng the translations them.selves. Chapter III investigates four aspects of metre (metrical patterns, first and fourth foot, elision, and caesurae and diaereses). Chapter rv examines the quantity of sound and, in particular, initial consonantal alliteration. Chapter V contains a discussion of compound adjectives and epithets and Chapter VI, a discussion of special astronomical vocabulary (words of brightness, color terms and four special words: uis, laetus, tristis, crinis). Chapter VII investigates Greek words and Latin archaisms in the Latin translations and establishes evidence for Cicero's creation of a uniquely Latin poem through the use of Latin archaisms. The final chapter discusses further the emergence of a distinctly Roman Phaenomena, for Germanicus in the use of references to aspects of Roman life and for Avienus in the area of borrowings from the previous Latin translations of Aratus' poem. It concludes with a study of the ways in which each of the verse translators alter the emphasis of the original by reshaping its theme, thereby emphasizing the extent to which the translators went beyond their Greek model to create individual and original Latin works.</p> / Doctor of Philosophy (PhD)