Thesis (doctoral)--Marburg. / Includes bibliographical references and index.

Thesis (doctoral)--Marburg. / Includes bibliographical references and index.

Thesis--University of Chicago, 1940. / Edited from the manuscript in the library of the University of Chicago, collated with photostat of the manuscript in the Staatsbibliothek, Berlin and microfilm of the manuscript in the Biblioteca Laurenziana, Florence. cf. introd. Includes bibliographical references.

Habilitation-Universitat, Eichstatt, 2005/2006. / Includes bibliographical references and index.

Thesis (Ph. D.)--Indiana University, Dept. of Classical Studies, 2006.

<p> This dissertation applies what David Miller has called &ldquo;the third wave of Jungian thought&rdquo; to a favorite depth psychological story: &ldquo;Cupid and Psyche.&rdquo; Through close examination of previous efforts to interpret Apuleius&rsquo; text, the dissertation displays the essential syntax and assumptions of textual interpretation practiced by &ldquo;first&rdquo; and &ldquo;second&rdquo; wave Jungians. Mythological interpretation from a Depth Psychological perspective has long relied on two assumptions to justify its efforts: first, myths can be interpreted as &ldquo;collective dreams&rdquo; in which character and plot can be searched for clues to the meaning of the composite dream-myth and secondly, that there is a deep link between the &ldquo;meanings&rdquo; discovered in such examinations and the everyday world in which we live. In this view, myths are archetypal lessons. The leading proponent of the third wave, Wolfgang Giegerich, explicitly challenges both of these assumptions. With respect to character and plot, Giegerich believes we need to see through not only to the archetype that guides a character or action but rather &ldquo;all the way&rdquo; through to the structure or syntax of the entire tale as the positions displayed by the characters move along their trajectories. He applies Hegel&rsquo;s dialectical logic of position-negation-sublation-restoration to the logical structure of a tale under examination. This move results in interpretations that are less about theories, morals, or advice on psychological issues and more about aesthetics and the artistic expression of a truth. The final section of this dissertation is a performance of a &ldquo;third-wave&rdquo; interpretation that views the &ldquo;Cupid and Psyche&rdquo; tale as a portrait of beauty in which Venus, Psyche, and Proserpina&rsquo;s box of beauty represent positions in a dialectic displaying the notion of Beauty refining and developing itself. Rather than seeking a tidy conclusion or supporting a specific theory, this reading attempts to satisfy on aesthetic grounds. It is a tale, after all, about Beauty. In the way that the development and display of art refines both the artist and its viewer, this style of mythological interpretation, by avoiding the concretizing reduction common to imagistic readings, deepens the subtlety of thinking in both performer and audience.</p>

Persius is not a particularly favoured poet today, and the standard commentaries on his fifth satire are obsolescent and generally inadequate. The present thesis is intended as an exhaustive study of the poem's language and subject-matter. The colloquial, prosaic and poetical elements in Persius' diction and syntax are determined, together with his neologisms, ellipses and abuses of regular Latin practice. Persius' reliance on Horatian syntax and phraseology, and his tendency to modify what he borrows are noted. Interpretations are advanced on his extensive use of pregnant or deliberately ambiguous Latin and on his strikingly harsh verbal collocations. The textual problems of the poem are examined. The sources and precedents for Persius' numerous metaphors are cited, and detailed treatment is accorded those instances of figurative language which are lengthily sustained or more than usually complex and allusive. The essentially orthodox nature of Persius' Stoicism is demonstrated by references to Stoic sources, and his more conventional type of moralising related to the broad-based ethical instruction found in other Latin writers. Many points of obscurity in Persius' subject-matter are investigated.

This thesis consists of an edition of the Aratea of Germanicus. In its preparation twenty eight manuscripts and many early editions were collated (most of them for the first time) and their relationships established as far as possible. In the construction of the text of the poem the manuscript evidence was evaluated and a large number of conjectures sifted. The text is followed by an English translation and a commentary which discusses the text and the sources of the poem, defends the text printed and comments on other matters such as the author&apos;s style and imitations of earlier Latin poets. There is a discussion in the introduction of the sources, date and authorship of the poem.

The primary purpose of this thesis is the establishing, in so far as that is possible, of the text of Book IV of Ovid's poem. For reasons explained more fully in Part I of the Introduction, the over-reliance of recent editors on the Lactantian MSS. has produced a text of a one-sided nature. The problem would have been more easily soluble if the manuscript-tradition itself of the poem had been stronger and less contaminated, if, to take an oversimplified hypothesis, an early Lactantian archetype could have been balanced against an early non-Lactantian archetype. As things are, however, contamination between MSS. is so widespread, and so unpredictable in its effects, that the truth may be preserved virtually anywhere, even in very few MSS. (see, for example, poma v.127, latebras v.407, and patriaeque vv.680 and 686, which I would regard, despite their slender attestation, as unquestionably correct) : it therefore follows that much is to be gained from the use, in establishing the text, of as many manuscripts as possible; the thesis has as its backbone my own collation of 203 MSS. I have considered it wise to collate again for myself manuscripts used by previous editors because of the very wide scale errors of reporting which have, with time, crept in (see Appendix II). In addition I have dealt, in Part II of the Introduction, and in some of the Appendices, with details of orthography, in order to establish, as nearly as one may from surviving evidence, Ovid's usage in matters of spelling. The Commentary deals largely with textual questions, its main purpose being to justify the choice of text, although other subjects are occasionally touched on (e.g. the Pyramus and Thisbe myth). Appendices deal with some matters of kindred interest.

This thesis is primarily concerned with the documentation of the artistic and literary evidence for each of the traditional twelve labours of Heracles, in the course of which I have made certain discoveries relating to the concept and content of the labours. Heracles is made to perform labours at least as early as the Iliad. The Greeks generally referred to them as, contests in return for a prize, in this case immortality. It is not until the fifth century B.C. that a specific number is defined, namely twelve, by a fragment of Pindar and the metopes of the Temple of Zeus at Olympia. The Cerberus, lion, and hind labours and possibly those of Geryon and the hydra were defined as such before the metopes, which provide a very early and isolated appearance of all the twelve labours of the later canon. I believe these metopes show Elis claiming Heracles as her special hero to emphasise her newly-found identity. As regards the myths which became the traditional labours, Cerberus, lion, hydra and Geryon date at least to the eighth century B.C., birds and possibly Amazons to the seventh, and the rest, with the possible exception of Augeas, to c. 550. The characteristic feature of the labours is the exhibition of heroism: most involve fighting, often against monstrous opponents. Sometimes public benefaction is demonstrated but this is developed more by later writers. Many heroic deeds of Heracles could have been made into labours. The choice at Olympia seems to demonstrate Heracles' close connection with the surrounding area highlighted by the labours he performed in the remote corners of the Greek world as a pan hellenic hero. It was not until the local nature of Olympia's interpretation of the individual labours was forgotten that it was adopted as the canon.