Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

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Landscape in Roman literature is manifest with symbolic potential: in particular, Vergil and Ovid respond to ideologically loaded representations of abundance in nature that signal the dawn of the Augustan golden age. Vergil's Eclogues foreground a locus amoenus landscape which articulates both the hopes of the new age as well as the political upheaval that accompanied the new political regime; Ovid uses the same topography in order to suggest the arbitrary and capricious use of power within a deceptively idyllic landscape. Moreover, for Latin poets, depictions of landscape are themselves sites for poetic reflection as evidenced by the discussion of landscape ecphrases in Horace's Ars Poetica. My thesis focuses upon the depiction and refiguration of the locus amoenus landscape in the post-Augustan epics of the first century AD: Lucan's Bellum Civile, Valerius Flaccus' Argonautica, Statius' Thebaid and Silius Italicus' Punica. Landscape in these poems retains the moral, political and metapoetic force evident in the Augustan archetypes. However, I suggest that Lucan's Neronian Bellum Civile fundamentally refigures the landscapes of Latin epic poetry, inscribing the locus amoenus with the nefas of civil war in such a manner that it redefines the perception of landscape in the succeeding Flavian poets. Lucan perverts the landscape, making the locus horridus, a landscape of horror, fear and disgust, the predominant landscape of Latin epic; consequently, the poems of Valerius, Statius and Silius engage with Lucan's refiguration of landscape as a means of expressing the horror of civil war. In the first part of my thesis I examine archetypal landscapes, including those of the Augustan poets and Lucan's Bellum Civile. Taking an approach which engages with literary reception theory and the concept of the â horizon of expectationâ as a framework within which literary topographies can be understood as articulating a response to the thematics of civil war, in the second part of my thesis I demonstrate the manner in which landscapes represent a coherent and paradigmatic response to Lucan's imposition of his civil war narrative within the literary landscape of Roman literature.

The Thesis analyses and evaluates how Gavin Douglas (Eneados, 1513) has refocused Virgil's Aeneid, principally by giving more emphasis to the serial particularity inherent in the story, loosening the narrative structure and involving the reader in its retelling. Chapter I pieces together (from the evidence not merely of what Douglas explicitly says, but of what his words imply) what for him a "text" in general is, and what accordingly it means for a translator or a reader to be engaged with it. This sets the scene for what follows. The next four Chapters look in turn at how he re-expresses important (metaphysical) characteristics of the story. In Chapter II his handling of time is discussed, and compared with Virgil's: the Chapter sets out in detail how Douglas consistently refocuses temporal predicates, foregrounding their disjunctiveness and making them differently felt. In Chapter III spatial position and distance are analysed, and Douglas' way of dealing with space is found to display parallels with his treatment of time: networks are loosened and nodal points are accentuated. In Chapter IV the way in which he presents individuals is compared with Virgil's, and a similar repatterning and shift reveals itself: Douglas provides his persons with firmer boundaries. Chapter V deals with fate, where Douglas encounters special difficulties but maintains his characteristic way of handling the story. The aim of these four Chapters is to characterise formally how Douglas concretises and vivifies the tale of Aeneas, engaging his readers throughout in the retelling. Finally, Chapter VI looks at certain general principles of translation theory (notably connected with the ideas of faithfulness and accuracy) and argues for a way in which Douglas' translation can be fairly experienced by the reader and fairly evaluated as a lively retelling which (albeit distinctive) is fundamentally faithful to Virgil.

Le corpus épique du 18e siècle en France, en Angleterre, en Pologne et au Danemark révèle trois types de survivance de l’épopée : (1) une survivance théorique dans la poétique spéculative (dont le modèle relativement incontesté est au 18e siècle l’Art poétique de Boileau), (2) l’épopée héroïque (comme la Henriade de Voltaire), toujours critiquée pour ses imperfections ; et (3) l’épopée comique (sur le modèle du Lutrin de Boileau), au succès bien plus unanime tant au 18e siècle qu’au regard de la postérité : The Rape of the Lock d’Alexander Pope, Peder Paars de Ludvig Holberg, Myszeis d’Ignacy Krasicki. L’épopée ne pourrait-elle ainsi survivre qu’au prix de sa dégradation de l’héroïque au comique ? Le poème héroïque serait-il donc tant étouffé par ses règles qu’il ne puisse exister dans la modernité qu’au prix d’un burlesque libérateur qui en relâche l’emprise ? Si, depuis la fin du 17e siècle, les échecs du genre épique sont régulièrement attribués à sa surthéorisation, il semble pourtant que l’héroïcomique se révèle au 18e siècle la forme par excellence de la régularité poétique. Loin d’être étouffé par ses règles, le genre épique tel que le conçoivent des théoriciens et des poètes inspirés par le classicisme français comme Alexander Pope, Ludvig Holberg, Charles Batteux, Ignacy Krasicki ou F. X. Dmochowski est à la fois régulier et vivant. L’efficacité du genre épique, qui englobe alors l’héroïcomique, dépend de son inscription dans un cadre formel « classique » qui se fonde largement sur les relectures de la Poétique d’Aristote au 18e siècle. Le reconstituer, c’est définir une « lisibilité classique » – c’est-à-dire un horizon d’attente esthétique et normatif dans lequel les règles ne sont pas des slogans, mais définissent réellement des pratiques poétiques signifiantes. La thèse explore, dans ses cinq parties, les implications de cette idée au niveau de la réception des textes épiques modernes (I), de la composition de l’ouverture épique conçue comme patrice du poème (II), des représentations de l’inspiration et du rôle du poète épique (III), de la fiction poétique (la « fable », IV) et de la textualité épique (diction et tableaux épiques, V). Les épopées anglaises, danoises ou polonaises étudiées témoignent ainsi des métamorphoses que connaît au 18e siècle le classicisme, européanisé et vivant – quand les ambitions refondatrices de Voltaire s’inscrivent en faux par rapport à une doctrine normative dont le poète français perçoit, moins que certains de ses contemporains, la productivité. / Considering an epic corpus from 18th-century France, England, Poland and Denmark, the epic genre can be said to exist in the 18th century in several forms. (1) As the theoretical object of speculative poetics (the main model of which is Boileau's Art Poétique). (2) As heroic epics, such as Voltaire's Henriade, which may enjoy success but are whose shortcomings are systematically pointed out by critics. (3) As comic epics (heavily influenced by Boileau's Lutrin), which achieve much greater success than their heroic counterparts both in the 18th century and today: Pope's Rape of the Lock, Ludvig Holberg's Peder Paars, Ignacy Krasicki's Myszeis. Can the epic genre then only survive through comic degradation? Is heroic poetry so smothered by speculative rules of art that it can only survive when burlesque subversion relaxes them?Whereas theoretical over-thinking has been, since the late 17th century, the go-to explanation for the many failures of early modern epic poetry, it seems that heroicomic poetry is actually a paragon of poetic regularity in the 18th century. Far from being asphyxiated by its rules, the epic genre as theorized and practiced by men of letters admirative of French neoclassicism such as Alexander Pope, Ludvig Holberg, Charles Batteux, Ignacy Krasicki or F. X. Dmochowski is both regular and very much alive. An epic is even more efficient the better it fits within a neoclassical framework heavily based on 18th-century reinterpretations of Aristotle's Poetics. To formulate this framework amounts to understanding "classical readability", a set of aesthetic and normative expectations within which poetic rules are not empty slogans but describe actual meaningful poetic techniques.This dissertation examines the implications of this idea with respect to the reception of early modern texts in the 18th century (I), how the opening lines of epic poems are seen to program the bulk of the work (II), the representation of the inspiration and social role of the epic poet (III), epic fiction (the "fable", IV), and the composition of the epic text itself (V). The aforementioned English, Danish and Polish epics are testaments to the transformations of neoclassical poetics and poetry through 18th-century Europe, whereas Voltaire's ambitious attempt at a reform of the neoclassical normative doctrine shows that, in contrast to some of his contemporaries, he failed to perceive its poetic conductivity.

Qualifying work has interdisciplinary charakter. This work is concentrate on knowledge of history and culture of age last members of Přemysl´s dynasty and the first members of Luxembourg´s dynasty. The primary aim of work is to identify the conditions under which there is courtly literature and minnesing on the courts of these rulers. Next aim is using the comparative method to define the basic topics in prose and poetry. The secondary aim is recognizing influence of German and Latin literature domestic and foreign on literature written in Czech. The work ?Minnesing and court literature at the court of last members of Přemysl's dynasty and the first members of Luxembourg's dynasty? deals with years 1283?1306 and 1310?1333 taking into account also past years.

This is an investigation of the epic poetry produced in and about the Ibero-American world during the early modern period (sixteenth to eighteenth centuries) in trilingual perspective: in addition to the more familiar Spanish- and Portuguese-language texts, consideration is also––and, for the purposes of the thesis, above all––given to material in Latin. Latin was the third of the international literary languages of the Iberian imperial world; it is also by far the most neglected, having fallen between the cracks of modern disciplinary boundaries in their current configurations. The thesis seeks to rehabilitate the Latin-language component as a fully-fledged member of the Ibero-American epic tradition, arguing that it demands to be analysed with reference not only to the classical and classicising traditions but to those same themes and concerns––in this case, the centre|periphery binary––as are investigated for counterparts when in Spanish or Portuguese. The crucial difference is that––while the ends may be the same––the means of thematising these issues derive in form and signifying power from interactions with the conceptual vocabularies and frameworks of the Greco-Roman epic tradition. How is America represented and New World space figured––even produced––in a poetic idiom first developed by ancient Mediterranean cultures with no conception whatsoever of the continent of the western hemisphere? At the core is one such long neglected Ibero-American Latin-language epic by a figure who lived across the Iberian imperial world: the 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza, 1777) by Catalan-born Jesuit José Manuel Peramás. Peramás’s epic––which has never been the subject of a literary-critical study before––is offered as a test case: an exercise in analysing a Latin-language Hispanic epic qua Hispanic epic and setting it into Ibero-American literary-cultural context. This is to be understood in relation to the field of so-called ‘New World poetics’: an at present emergent zone of inquiry within Iberian colonial studies which until now has been developing almost completely without reference to the Latin-language portion of the corpus.