Thesis--Cornell University, 1914. / Reprint of the 1916 ed. Bibliography: p. [111]-113.

Inaug. Diss.--Philosophische Fakultät--Münster, 1969. / Contient des extraits de l'"Art poétique" d'Horace. Bibliogr. p. 277-283. Index.

Thesis--Cornell University, 1914. / Reprint of the 1916 ed. Bibliography: p. [111]-113.

Nos livros das Odes Horácio empregou treze esquemas métricos distribuídos por poemas de temas diversos. A influência da tradição eólica representada pelos dois musicistas de Lesbos, Safo e Alceu, pautou a maioria das escolhas temáticas e formais do poeta. Odes compostas em metros asclepiadeus e jônicos kataV stivcon, em estrofes sáficas, alcaicas e asclepiadéias e em dísticos de formação variada (cola datílicos, sáficos, jâmbicos e trocaicos), mostram ritmos próprios, capazes de imprimir, no ânimo do ouvinte, sensações diferenciadas, de acordo com a natureza da seqüência métrica empregada. A teoria do ethos métrico leva em consideração o conceito da conveniência (Prevpon, decorum): conteúdo e forma em harmonia na criação poética. Os efeitos impressivos das medidas gregas, naturalizadas por Horácio, que deu feição datílica aos versos eólicos, fixou quantidades livres e disciplinou as estrofes, devem-se ao caráter psicagógico dos metros, herdado da antiga teoria musical. Desde Platão e Aristóteles, passando por Cícero, Demétrio, Dionísio de Halicarnasso, Longino e Quintiliano, registramse a preocupação de classificar os metros de acordo com sua adequação a cada tipo de composição e a censura de seu uso indiscriminado na prosa e na poesia. A análise rítmico-semântica de algumas odes de Horácio revelou o zelo do poeta em combinar forma e conteúdo e em selecionar palavras de composição sonora e formação métrica em harmonia com o sentido. Nas Odes a musicalidade do ritmo métrico tem implicações semânticas, realçando a expressão textual. / It has been observed in Horace\'s Odes books that he has employed thirteen metrical schemes distributed among thematic different poems. Aeolic tradition influence, represented by the two Lesbian musicians Sappho and Alcaeus, was responsible for most of the formal and thematic choices of the poet. Odes written in asclepiadean meters and ionic kataV stivcon, in sapphic, alcaic end asclepiadean strophes and in various distics (cola datctylics, sapphics, iambics and trochaics) show their own rhythms, which are able to impress different sensations to their listeners, according to the nature of the metrical sequence used. The theory of metrical ethos considers the convenience concept (Prevpon, decorum): subject and form harmonically living in poetic creation. The impressive effects of greek measures, (which were naturalized by Horace, gave dactylic features to the aeolic verses, fixed free amounts and regulated the strophes), are due to the psychagogic character of the meters, inherited by the old musical theory. Since Plato, Aristotle, Cicero, Demetrius, Dionysius of Halicarnassus, Longinus and Quintilianus, there is a worry at classifying meters according to their adequacy to each kind of composition and disapproval of its nonrestrictive use in prose and poetry. The rhythmic-semantics analysis of some odes from Horace revealed the poet care to combine form and subject and to select sonorous words and metrics in harmony with sense. In Odes, metrics rhythm musicality has semantic implications that highlight the textual expression.

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Baker Cabin, a pioneer log structure, is located on privately owned property near the community of Carver, Oregon. According to traditional accounts the cabin has existed continuously on this site since its construction in 1856. Archaeological excavations of the cabin's foundation and the surrounding area uncovered date-able artifacts and a second foundation with an associated well. Analysis of the artifacts associated with the present cabin foundation indicate a post-1870 construction date those associated with the second foundation and its well indicate an 1850’s occupation. Four hypotheses that are explored in this paper can be derived from the interpretation of all available data: Baker Cabin was constructed in 1856 at a presently undiscovered site on the claim but was moved to its present location about 1870. Baker Cabin was constructed in 1856 on the precise spot that it now stands but reconstruction by the Old Timers' Association involved a complete rebuilding of the foundation. Baker Cabin was constructed in 1856 on the present foundation but extensive repairs were done on the foundation in the 1870's. The old foundation represents a smaller cabin occupied from the late 1840's until 1856. The old foundation with its associated well represents the original construction am habitation of the site. The present cabin is not the original 1856 cabin referred to in tradition but is rather a cabin constructed about 1870. Data used in this research include excavated materials, informant interviews, and historical documents. The excavated materials consist of glass and pottery sherds, buttons, cartridges, and toys. Informants interviewed are Baker descendants, and they provided recollections, documents, and pictures. Historical documents used included census and tax assessment records, newspapers, Donation Land Claim material, and family ledgers. Results of this research reveal that the authentic history of Baker Cabin will not be known unless further evidence becomes available. The first two hypotheses would seem to have no validity, however, the third and fourth hypotheses can be supported by the available data.

No description available.

Liberalitas forms one of the central frameworks for defining social bonds within Roman society, and was part of how Roman poets constructed the world. This is most explicitly evident in the poets’ references to “patrons” and benefactors, but it extends much further. The poets worked within a broad framework of social conventions and expectations which must be understood in order to see how their poetry uses and responds to the concepts associated with liberalitas. Cicero’s de officiis and Seneca’s de beneficiis are therefore useful, as they offer idealised, prescriptive views of liberalitas in Roman society. Many scholars have investigated the relationships between poets and their patrons, including Peter White, Barbara Gold, James Zetzel, and Phebe Lowell Bowditch. I argue that any true understanding of the role of liberalitas in Roman poetry must also comprehend its importance in other areas. This dissertation focuses on the poetry of Catullus, Horace, Propertius, Tibullus, and Virgil in the Eclogues. The introduction addresses traditional liberalitas as defined by Cicero and Seneca in their works on benefits and duties. Chapter one illustrates how Catullus, Horace, and Tibullus display ideals similar to those of Cicero and Seneca and use the conventions of liberalitas for praising and blaming members of their social groups. Chapter two addresses the problems of status raised by liberalitas and investigates the strategies used by Catullus, Horace, Propertius, and Tibullus to mitigate these problems and further their social, literary, and aesthetic aims. Chapter three demonstrates how the love poets used and redefined the terminology and ideology of liberalitas to construct an obligation on the part of their beloveds to reciprocate the gifts given by the poets but reject the gifts given by rival lovers. Finally, Chapter four examines the role of liberalitas in formulating and expressing a poetic program in Virgil’s Eclogues, which points to its function in mediating the connection between ‘real-life’ political and social concerns and the literary preoccupations of Roman poets. The various applications of this concept demonstrated in these four chapters present the study of liberalitas as a useful and productive tool in the investigation of the poetry of this period.

Liberalitas forms one of the central frameworks for defining social bonds within Roman society, and was part of how Roman poets constructed the world. This is most explicitly evident in the poets’ references to “patrons” and benefactors, but it extends much further. The poets worked within a broad framework of social conventions and expectations which must be understood in order to see how their poetry uses and responds to the concepts associated with liberalitas. Cicero’s de officiis and Seneca’s de beneficiis are therefore useful, as they offer idealised, prescriptive views of liberalitas in Roman society. Many scholars have investigated the relationships between poets and their patrons, including Peter White, Barbara Gold, James Zetzel, and Phebe Lowell Bowditch. I argue that any true understanding of the role of liberalitas in Roman poetry must also comprehend its importance in other areas. This dissertation focuses on the poetry of Catullus, Horace, Propertius, Tibullus, and Virgil in the Eclogues. The introduction addresses traditional liberalitas as defined by Cicero and Seneca in their works on benefits and duties. Chapter one illustrates how Catullus, Horace, and Tibullus display ideals similar to those of Cicero and Seneca and use the conventions of liberalitas for praising and blaming members of their social groups. Chapter two addresses the problems of status raised by liberalitas and investigates the strategies used by Catullus, Horace, Propertius, and Tibullus to mitigate these problems and further their social, literary, and aesthetic aims. Chapter three demonstrates how the love poets used and redefined the terminology and ideology of liberalitas to construct an obligation on the part of their beloveds to reciprocate the gifts given by the poets but reject the gifts given by rival lovers. Finally, Chapter four examines the role of liberalitas in formulating and expressing a poetic program in Virgil’s Eclogues, which points to its function in mediating the connection between ‘real-life’ political and social concerns and the literary preoccupations of Roman poets. The various applications of this concept demonstrated in these four chapters present the study of liberalitas as a useful and productive tool in the investigation of the poetry of this period.