Ao lado da tradução integral e inaugural em língua portuguesa dos 1456 versos do Waltharius, escrito em língua latina provavelmente entre os séculos IX e X em algum mosteiro do Império Carolíngio, é apresentado um estudo de aproximação à obra, onde são descritos e analisados os aspectos formais e estilísticos (metro, rima, aliteração, assonância, figuras, tempo, espaço, personagens e narrador), o diálogo com a tradição poética, e o problema do gênero literário. A partir do reconhecimento da presença do processo de imitação e dos paralelos estruturais entre o Waltharius e seus antecessores poéticos, entre os quais se destaca a Eneida de Virgílio, é levantada a discussão sobre a tipologia do poema, se épica ou não. Ao opor a definição poética no texto do Waltharius com os teorizadores de gêneros poéticos antigos e medievais, queda a conclusão de que o poema não é composto a partir dos parâmetros de gênero e sim de modelo, sendo, acima de tudo, um poema virgiliano. / Together with the full and inaugural translation into Portuguese of the Waltharius 1456 verses, written in Latin probably between the ninth and tenth centuries in a monastery of the Carolingian Empire, it is presented a study approaching to the work, in which the formal and stylistic aspects (meter, rhyme, alliteration, assonance, figures, time, space, characters and narrator), the dialogue with the poetic tradition, and the problem of literary genre are described and analyzed. From the recognition of the imitation process presence and of the structural parallels between the Waltharius and its poetic predecessors, among which stands out Virgils Aeneid, the discussion is raised on the poems typology, whether epic or not. Opposing the poetic definition found in the Waltharius text to the ancient and medieval theorists of poetic genres, we are lead to the conclusion that the poem is not composed from the parameters of genre, but of model, and it is, above all, a Virgilian poem.

Orientador: Paulo Sergio de Vasconcellos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-04T03:26:24Z (GMT). No. of bitstreams: 1 Klein_GiovaniRoberto_M.pdf: 648589 bytes, checksum: 991c810a5e01dd879d84e6760e82712d (MD5) Previous issue date: 2005 / Resumo: Este trabalho apresenta uma tradução anotada da tragédia Édipo do autor latino Sêneca, acompanhada de uma introdução e de três estudos ensaísticos: o primeiro contrastando o papel do destino no Édipo rei de Sófocles e no Édipo de Sêneca, mostrando as influências da filosofia estóica neste último; o segundo sobre as imagens da peça, discutindo a propriedade de seu uso por parte de um filósofo estóico; o terceiro sobre o uso de descrições na peça, como isso subverte as leis aristotélicas da tragédia e qual o papel que elas podem desempenhar / Abstract: This work presents an annotaded translation of the tragedy Oedipus of the latin author Seneca, followed by an introduction and three essayistic studies: the first one contrasting the role of the fate in Sophocles¿ Oedipus king and in Seneca¿s Oedipus, showing the influences of stoic philosophy in the latter; the second focuses on the images of the play, discussing the property of its use by a stoic philosopher; the third one deals with the use of descriptions in the latin play, how this subverts the aristotelian laws of the tragedy and which is their function in the play / Mestrado / Letras Classicas / Mestre em Linguística

This thesis is about the creation, reception and dissemination of poetry in Flavian Rome as depicted in the satires of Juvenal and the epigrams of Martial. It deals with their relationship with their Augustan predecessors, especially Horace. It discusses the rhetoric of decline that pervades early Juvenalian satire, and to some degree, Martial’s epigrams, especially in relation to an idealized and self-proclaimed Golden Age several generations before. It argues that this decline is representative of a political decline since the Age of Augustus and feelings of disenfranchisement of upper-class men under autocratic rule. It also examines the embeddedness of Flavian literature within its urban social context and the ways in which Martial and Juvenal handle the increasing interconnectedness of life and art in relation to their Augustan predecessors. There are three chapters, entitled Amicitia and Patronage, the Recusatio, and Locating the Poetic Feast. / Graduate

Preface: The scope of the commentary is limited. I have been concerned with establishing the diction of Silius in Book 11. I have shown which words are confined to epic, which words are poetic and which words are prosaic. I have not attempted to establish whether there is a correlation between Silius' use of 'poetic' and' prosaic' words and the content of what he is saying. But I have noticed that Silius frequently uses prosaic words when he is following Livy or some other historical source. In other cases, Silius may be using prosaic words because of his own training as an orator. He is clearly indebted to Cicero. Nor have I attempted to establish whether there is any particular effect when Silius uses a'poetic' or 'prosaic' word or phrase or construction. I have been influenced by considerations of length and also by the fact that I believe any such attempted interpretation, although it might produce valuable results, would of necessity be much more subjective than what I have actually done. I leave any such interpretation to future researchers of Silius.

This thesis presents a study of the metrics and prosody of the carmina latina epigraphica from the Roman provinces of North Africa, the purpose of which is to test the prevailing but unsubstantiated view that these carmina exhibit especially poor versification, and that in them can be observed a chronological decline in quality of versification. A representative corpus of dated carmina latina epigraphica africana is established, the inscriptions are subjected to an analysis of their metrics and prosody, and conclusions are drawn concerning the nature, extent and chronology of their deviation from classical standards of versification. The corpus of inscriptions has four introductory chapters, which form Part II of the study. The first describes the criteria according to which the texts have been chosen. The second, third and fourth present three premises on which analysis and interpretation of their versification are based; these concern the authorship of the carmina, the educational background of the authors, and the linguistic milieu in which they were composed. The core of the thesis is Part III, which comprises the texts of eighty-six dated carmina, analyses of their versification and commentaries on several features of their composition. Observations are offered regarding: the nature and possible causes of unclassical metric and prosodic phenomena; the extent to which an author deviates from literary norms, and the effect of his errors on a quantitative reading of the poem; a brief assessment of each author's understanding of and competence in the composition of classical quantitative verse; the graphic disposition of the text and its effect on the reader's recognition and recitation of the poetic content. Conclusions drawn from the data compiled in Part III include the following. Unclassical metric features characteristic of the corpus include the combination of different meters in one poem, the composition of hypermetric and hypometric lines and the intermixture of prose with lines of verse. Such phenomena are found in about one-half the texts. Prosodical irregularities fall into two main types: those that can be considered classical (ascribable to an author's application of classical licences); and those that are errors, most of which are attributable to the intrusion of certain unclassical phonological features of an author's everyday speech. Prosodical errors occur in about three-quarters of the texts. Four main observations are offered regarding the distribution of errors in the corpus. The extent to which individual authors adhere to literary norms varies widely; the majority of versifiers, however, have adhered sufficiently well that their works can be read quantitatively without serious hindrance. The presence of metric deviations in a poem carries no chronological significance, for these are fairly evenly distributed throughout the corpus; a general chronological decline in adherence to classical prosody is discernible from the first century to the fifth, with a reverse in the decline seen in poems dated to the last three centuries of the period. The presence in the corpus of several poems of unsound versification of very early date and of poems of sound versification of very late date proves that the practice of some scholars of dating otherwise undatable carmina according to their quality of versification is unsafe. Pagan authors tend to adhere slightly more closely than their Christian counterparts to classical metrics and prosody. Poems of reasonably sound metrics and prosody tend to be inscribed in such a way as to facilitate the reader's recognition and recitation of their poetic content, while poems of poor quality of versification tend to be inscribed haphazardly. Appendix I provides full scansion of each carmen. Appendix II lists initia carminum. / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

Little scholarly work has been done on Amores 1.13 despite the fact that it is thematically unique in the extant corpus of Latin elegy and an altogether brilliant example of Ovidian ingenuity. The theme of the poem, Aurora’s premature arrival and disruption of a lovers’ union, is derived chiefly from Hellenistic love epigram. Scholars have often noted that two epigrams in particular, both composed by Meleager of Gadara, may have served as Ovid’s literary models. In fact, there are three Meleagrian epigrams which appear to have influenced the composition of Amores 1.13: A.P. 5.172, 5.173, and 12.137. In the following chapters, I examine the Meleagrian dawn epigrams without reference to Amores 1.13. Once the constituent elements of the Meleagrian dawn epigram have been properly established, I then consider Meleager’s influence on Amores 1.13 and the way in which Ovid adapts the Meleagrian model to suit his specific poetic needs. Finally, I provide a detailed literary-critical commentary on all elements of note. / Thesis / Master of Philosophy (MA)

This dissertation studies the Elysian Fields, the Furies, and Tartarus in the Augustan elegists (Tibullus, Propertius, and Ovid) and in several pseudepigraphic elegies (the Corpus Tibullianum, the pseudo-Ovidian Consolatio ad Liviam, and the pseudo-Vergilian Elegiae in Maecenatem). I ask three guiding questions: 1. Does there exist a trademark “elegiac” afterlife, distinct from the afterlife in epic poetry? 2. Can we speak of a “Propertian” underworld, as opposed to a “Tibullan” or “Ovidian” Hades? 3. How do the attitudes of the love elegists, both collectively and individually, change over time? I argue that the love elegists constantly negotiate and renegotiate genre, poetics, and changing social circumstances through such literary set pieces as Elysium, the Erinyes, and the prisoners of Tartarus (Tantalus, Ixion, Sisyphus, Tityos, and the Danaids). Chapter 1 demonstrates how the gates to the Elysian Fields — explicitly open to men and women in Tibullus, implicitly open only to women in Propertius, and evidently open only to birds in Ovid — close slowly over time. Chapter 2 proves that the Eumenides have a metaliterary function in the elegies of Propertius. Just as the Furies enforce a strict family hierarchy and maintain the natural order of the universe, so too do the sisters keep Propertius and Tarpeia in their proper generic spheres. Chapter 3 discusses the antagonistic attitude Tibullus harbors towards Tartarus and the sympathetic mindset Propertius has adopted. Tibullus understands the prisoners as mirror images of the various roadblocks that stand between him and romantic satisfaction. Propertius, meanwhile, sees the inmates as allies in love. Chapter 4 focuses specifically on Tartarus in Ovid’s elegies, with special interest in the poet’s changing treatment of the same myths before and after exile. Chapter 5 studies pseudepigrapha as early and important reception of the eschatological ideas advanced in Augustan love elegy.

Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: In his Odes, Horace pays particular attention not only to the subject in hand, but also to the reader as his audience, or the addressee, who is usually mentioned at the beginning of the poem. As this kind of communication draws the poet into his own creation, it is useful to refer to him in that context, as the speaker. It is evident from the manner of communication with the addressee that Horace conveys the message of each poem not solely by means of statements, but by implying certain facts, through this interaction between speaker and addressee. The specific addressee for each ode - to whom the speaker's attitude is a reaction - is therefore chosen with great care, in order to underline a specific subject or support a point of view. Just as each ode is different, and contains a variety of differing emotions, Horace's speakers display a myriad of different attitudes. His deeper sentiments do however remain constant. This brings one to the realisation that Horace applies a number of "roles", in order to obtain the desired effect in each poem. Eventually the interaction is not between the speaker and the addressee, but between the poet and the reader. Some of the poems do not give the names of addressees, only the roles Horace plays as the speaker. These roles are termed personae, and represent the poet on a number of realistic and super-realistic planes. In this study, a selection of personae was analysed and the effects examined, in order to establish in what way the persona might influence the interpretation of the poem. Initially a collective overview of several personae was planned, for the purpose of a synthesis of those personae, possibly leading to the discovery of a central Horatian persona. It was however, found, in the complex perfection of his work, that that central person is Horace: the poet. / AFRIKAANSE OPSOMMING: In Horatius se Odes, gee hy dikwels spesifieke aandag nie net aan die onderwerp nie, maar ook aan die leser as sy gehoor, of die aangesproke persoon, wat dikwels in die begin van die gedig genoem word: Omdat so 'n kommunikasie die digter in sy eie skepping intrek, is dit sinvol om na hom in daardie konteks as die spreker te verwys. In die wyse waarop daar dan met die aangesprokene gekommunikeer word, word dit duidelik dat Horatius die boodskap van sy gedig nie slegs deur middel van stellings oordra nie, maar dat hy ook deur middel van die wisselwerking tussen die aangesprokene en die spreker, sekere feite impliseer. Die aangesproke persoon, waarop die spreker se houding dan'n reaksie is, word dus vir elke ode gekies om 'n sekere onderwerp of siening te ondersteun. Soos wat elke ode dus verskil, en'n verskeidenheid emosies bevat, verskil Horatius se houdings teenoor sy aangesprokenes drasties. Sy dieper oortuigings bly egter dieselfde. Dit lei die leser tot die besef dat Horatius 'n verskeidenheid "rolle" aanwend om in elke gedig die gewensde effek te verkry. Die werklike wisselwerking is nie tussen die spreker en die aangesprokene nie, maar tussen die digter en die leser. Sommige gedigte bevat geen name van aangesprokenes nie; slegs die rolle wat Horatius as die spreker gebruik. Hierdie rolle word personae genoem en verteenwoordig die digter op 'n aantal realistiese en bo-realistiese vlakke. Die effekte van 'n seleksie personae word in hierdie studie deur middel van analise ondersoek om vas te stel hoe die toepassing van die persona die interpretasie van die gedig beïnvloed. 'n Gesamentlike beskouing van 'n aantal digterlike personae is aanvanklik beplan, met die oog op 'n sintese van die personae, wat moontlik tot die ontdekking van 'n sentrale persona by Horatius sou kon lei. Daar is egter bevind dat die sentrale persoon wat in die komplekse perfeksie van sy werk self sit, dié is van Horatius as digter.

Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: In the Epistulae Morales Seneca presents his moral philosophy. Scholars such as Hadot, Mans and Smuts have studied Seneca's moral philosophy in the Epistulae Morales. The question is, how does Seneca present and develop his moral philosophy in the Epistulae Morales, i.e. what literary technique does he use? Scholars have pointed out that Seneca's use of the epistolary form is an integral part of this literary technique. The epistolary form was an ideal medium for conveying his moral philosophy: "[Seneca] presented himself as a spiritual guide, and for that purpose he made use of the literary form of letters ... In this form Seneca was able to give a detailed presentation of the course of moral education" (Misch 1950:419). The more specific question is thus: how does Seneca use the epistolary form to present and develop his moral philosophy in the Epistulae Morales? In order to answer how Seneca employs the epistolary form, it is necessary to understand what Seneca's goal was with the Epistulae Morales. I suggest that the goal of Seneca's moral philosophy in the Epistulae Morales is the development of a practical moral identity. Seneca's choice of the letter as the form of his philosophical discussion enabled him to create certain fictional personae. The three main personae of the Epistulae Morales are the Ideal Persona (the embodiment of Seneca's moral philosophy), the persona Seneca and the persona Lucilius. These personae demonstrate the phases of moral progress. The Ideal Persona is the ideal, which the personae Seneca and Lucilius must strive towards becoming. The persona Seneca acts in the role of the mentor, advising the persona Lucilius on how to achieve this ideal, but he is himself still struggling towards it. The persona Lucilius is just beginning to walk the road of moral progress at the beginning of the Epistulae Morales. The phases of moral progress, which are enacted by the three personae, are also the phases of the development of a practical moral identity. The practical moral identity should thus be viewed both as a goal and as a process in the letters. Epistulae Morales 1-29 form a separate whole, as scholars have pointed out. These letters also supply sufficient evidence of Seneca's literary technique of developing a practical moral identity in the Epistulae Morales. A close reading of Epistulae Morales 1-29 in Chapter 2 analyses this literary technique. Chapter 3 involves a systematic exposition of the practical moral identity in terms of certain themes. The themes represent the main aspects of moral development, i.e. the main aspects of the development of a practical moral identity in Epistulae Morales 1-29. / AFRIKAANSE OPSOMMING: In die Epistulae Morales bied Seneca sy morele filosofie aan. Vakkundiges soos Hadot, Mans en Smuts het Seneca se morele filosofie in die Epistulae Morales bestudeer. Die vraag is egter, hoe ontwikkel Seneca sy morele filosofie in die Epistulae Morales, m.a.w watter literêre tegniek gebruik hy? Vakkundiges het daarop gedui dat Seneca se gebruik van die briefvorm 'n integrale deel van hierdie literêre tegniek uitmaak. Die briefvorm was 'n ideale medium om sy morele filosofie weer te gee: "[Seneca] presented himself as a spiritual guide, and for that purpose he made use of the literary form of letters ... In this form Seneca was able to give a detailed presentation of the course of moral education" (Misch 1950:419). Die meer spesifieke vraag is dus: hoe gebruik Seneca die briefvorm om sy morele filosofie in die Epistulae Morales te ontwikkel? Om hierdie vraag te beantwoord, is dit nodig om te verstaan wat Seneca se doel met die Epistulae Morales was. Ek stel voor dat Seneca die ontwikkeling van 'n praktiese morele identiteit ten doel gehad het. Seneca se gebruik van die briefvorm het hom in staat gestel om sekere fiktiewe personae te skep. Die drie hoof personae van die Epistulae Morales is die Ideale Persona (die verpersoonliking van Seneca se morele filosofie), die persona Seneca en die persona Lucilius. Hierdie personae verteenwoordig die fases van morele ontwikkeling. Die Ideale Persona is die ideaal, wat Seneca en Lucilius moet nastreef. Seneca speel die rol van mentor. Hy gee Lucilius raad oor hoe om hierdie ideaal te verwesenlik, maar hyself streef ook daarna. Die Epistulae Morales open met Lucilius aan die begin van sy morele ontwikkeling. Die fases van morele ontwikkeling wat deur die drie personae opgevoer word is ook die fases van die ontwikkeling van 'n praktiese morele identiteit. Die praktiese morele identiteit moet gesien word as beide 'n doel en 'n proses in die briewe. Epistulae Morales 1-29 vorm 'n afsonderlike geheel, soos deur vakkundiges uitgewys is. Hierdie briewe verskaf voldoende bewys vir die literêre tegniek waarmee die praktiese morele identiteit in die Epistulae Morales geskep word. 'n Gedetailleerde analise van Epistulae Morales 1-29 in Hoofstuk 2 analiseer hierdie literêre tegniek. Hoofstuk 3 gee 'n sistematiese uiteensetting van die praktiese morele identiteit in terme van sekere temas. Die temas verteenwoordig die hoof aspekte van morele ontwikkeling, m.a.w. die hoof aspekte van die ontwikkeling van 'n praktiese morele identiteit in Epistulae Morales 1-29.

This is a study of the translation and reception of the Roman historian Livy in the sixteenth century in the British Isles. The thesis examines five major translations of Livy's history of Rome, the Ab Urbe Condita, into the English and Scottish vernaculars. The texts considered here span from the earliest extant translation of around 1533 to the first, full-scale translation published in 1600. By taking a broad view across the century, the thesis uncovers the multiple and versatile uses to which Livy was being put and maps out the major trends surrounding his reception. The first chapter examines Livy's initial reception into print in Europe, outlining the attempts of his earliest editors to impose a critical order onto his enormous work. The subsequent chapters consider the respective translations undertaken by John Bellenden, Anthony Cope, William Thomas, William Painter, and Philemon Holland. Each translation is treated as a case study and compared in detail with the Latin original, thereby revealing the changes Livy's history experienced through the process of translation. By locating these translations in the cultural and political contexts from which they emerged, this study reveals how Livy was exploited in some of the most pressing debates of the period, from arguments over women's apparel to questions of faith. The thesis also considers how these translations responded to the most recent developments in European scholarship on the Ab Urbe Condita and on classical history more generally. Livy's contribution to the development of Scottish historiography is also considered, both as a stylistic model and as a rich source of narrative material. Ultimately this thesis demonstrates that Livy played a fundamental though hitherto underexplored role in the development of vernacular literature and historiography in the British Isles.