This thesis examines the hair imagery that runs through the works of Propertius, Tibullus, and Ovid. Comparative analysis of the elegists’ approaches to the motif, with particular emphasis on determining where and how each deviates from the cultural assumptions and literary tradition attached to each image, sheds light on the character and purposes of elegy as a genre, as well as on the individual aims and innovations of each poet. The Introduction provides some background on sociological approaches to the study of hair, and considers the reasons why hair imagery should have such a prominent presence in elegy. Chapter 1 focuses on the elegists’ engagement with the idea of cultus (‘cultivation’), and their manipulation of the connotations traditionally attached to elaborate hairstyles, of sophistication on the one hand, and immorality on the other, to suit an elegiac context. Chapter 2 looks at how the complexities of the power relationship between the lover and his mistress play out in references to violent hair-pulling. Chapter 3 focuses on the sometimes positively and sometimes negatively spun image of grey-haired lovers, as a reflection of the lover-poet’s own contradictory wishes for his relationship with his mistress; it also considers grey hair as a symbol of physical mortality, as contrasted with poetic immortality. Chapter 4 examines the use of images of loose hair (especially images of dishevelled mourning) to suggest connotations ranging from the erotic to the pathetic, and focuses on the effects the elegists achieve by using a single image to communicate multiple implications. The Conclusion considers the ‘afterlife’ of elegiac hair imagery: the influence that their approaches had on later authors’ handling of similar images.

This dissertation comprises the first study of the poetry of the Portuguese humanist Diogo de Teive (1513-14 – c. 1569). It examines and presents a scholarly edition of the Epithalamium which Teive composed on the occasion of the marriage of Princess Maria of Portugal to Alessandro Farnese in 1565. It also critically explores the work in which the poem was published, the Epodon libri tres (Lisbon, 1565). Because both this and the Epithalamium bring together different strands of Teive’s literary work, Chapter One analyses the development of his literary career, linking it to the ideological and cultural transformations which took place in Portugal from the 1540s to the 1560s, and the author’s attempt to carve his identity and space in the Portuguese literary scene. Chapter Two explores the concepts of ‘imitatio’ and ‘mimesis’ in the Epodon libri tres, shedding light on specific aspects of the Epithalamium. In the eyes of his readers, Teive emerges as a Catholic Horace. This is achieved by means of formal imitation, ‘aemulatio’, and allusion to Horace, a process whereby Teive introduces significant and ideologically motivated differences representative of the impact of Counter-Reformation upon literary writing. The ‘aemulatio’ of Prudentius’s Peristephanon in book II is to be understood in this light. Part Two engages with Teive’s comments on questions of verbal representation in the Epodon libri tres. Chapter Three analyses the Epithalamium from a generic perspective, arguing that it presents instances of generic enrichment, and that these are an example of the appropriation of occasional poetry for the purpose of authorial self-representation. One of the instances of generic enrichment is the incorporation of a didactic passage indebted to the tradition of the ‘speculum principum’, which is analysed in Chapter Four. Part One interprets the rewriting and appropriation of Plutarch and Erasmus as authorising strategies whereby Teive represents himself as an advisor of kings in the Epodon libri tres. Part Two discusses the author’s political thought and opinions, drawing from an analysis of the Epithalamium. Finally, Chapter Five comprises the study of the transmission of the poem, its metrical analysis, edition, translation, and commentary.

The thesis deals with the works of the Czech baroque in Latin writing authors of non- Catholic and Catholic confession: Pavel Stránský (1583-1657), Jan Amos Komenský (1592- 1670), Jan Laetus-Veselský (1609-1659), Julius Solimanus (1595-1639), Bohuslav Balbín (1621-1688), Tomáš Pešina of Čechorod (1629-1680) and Jan Florián Hammerschmidt (1652- 1735). The focus of the thesis is (apart from the comparism of the point of view of the authors on personality and reign of Rudolph II. with the aspect on the ideal of the sovereign at that time) the description of their life and work as well, because some of them haven't been subject of interest of the researchers so far. The thesis brings also the stylistic and content escription of their historiographical works and selected passages from them are edited in the final part of the work.

Im Mittelpunkt der Dissertation „Politik der kleinen Form“ steht die Frage nach der Politizität ‚kleiner‘ Formen in augusteischer Zeit: also der sogenannten Liebeselegie des Properz, Tibull und Ovid sowie der erotischen Dichtung des Horaz. Auf der Grundlage einer Analyse der Gattungs- und Formpolitik ihrer Paraklausithyra und Recusationes wird eine neue Interpretation aufgezeigt. Jenseits von inhaltszentrierten Lesarten, die immer nur den Subversions- oder Affirmationscharakter von Literatur herausarbeiten, schlägt diese Dissertation einen dritten Weg vor: den der Ambivalenz und des Paradoxons. / At the centre of the dissertation „The Politics of Small Forms“ is the question of the politicity of ‘small forms’ in Augustan times: of the so-called love elegy of Propertius, Tibullus and Ovid as well as of the erotic poetry of Horace. On the basis of an analysis of the genre and form politics of their paraclausithyra and recusationes a new interpretation is pointed out. Beyond content-centered readings, which work out either the subversive or the affirmative character of literature, this dissertation suggests a third way: that of ambivalence and paradox.

La thèse présente un corpus de sources gréco-latines relatif à l’Arabie et aux Arabes suivi d’un commentaire. Plus précisément, le corpus s’ouvre à l’époque archaïque avec quelques vers homériques et se termine au IVe siècle apr. J.-C. avec des extraits de l’Histoire romaine d’Ammien Marcellin. Les termes « Arabie » et « Arabe » de la tradition textuelle ancienne n’assument pas les mêmes acceptions qu’aujourd’hui. Au contraire, lorsque nous interrogeons le corpus sur ce qu’est l’Arabie en tant qu’espace géographique et sur l’identité des Arabes, nous aboutissons au constat que nous ne pouvons proposer une définition unique tant les auteurs anciens varient dans leur perception. La question de l’ethnicité est tout aussi complexe. Les sources anciennes désignent comme arabes des tribus qui ne se présentent pas elles-mêmes comme arabes dans leurs inscriptions : les Nabatéens sont désignés comme Arabes Nabatéens dans les textes tandis que cette auto-désignation est inconnue dans les inscriptions nabatéennes. / The dissertation provides a corpus of Graeco-Latin literary sources concerning Arabia and Arabs followed by a commentary. More precisely, the corpus opens in the Archaic period with some Homeric verses and ends in the 4th century C.E. with excerpts from the Roman History of Ammianus Marcellinus. The words “Arabia” and “Arab” in the ancient textual tradition do not have the same meaning as they do today. On the contrary, after questioning the corpus on what is Arabia as space and on the identity of Arabs, we come to the conclusion that we cannot propose a unique definition because ancient authors vary in their perception. Likewise, the issue of ethnicity is equally complex. Ancient sources refer to tribes as “Arabs” who do not present themselves as Arabs in their inscriptions : Nabateans are referred to as Nabateans Arabs in the texts while this self-definition is unknown in Nabatean inscriptions. / تقدم الأطروحة مجموعة من المصادر اليونانية-اللاتينية المتعلقة بالجزيرة العربية والعرب، مشفوعةبتعليق. على نحو أكثر دقة، تفتتح المجموعة في العصر القديم مع بعض أبيات هوميروس، وتنتهي في القرنالرابع الميلادي بمقتطفات من التاريخ الروماني لأميان مارسلين.لا يحمل مصطلحا "الجزيرة العربية والعرب" في التقاليد النصية القديمة معناهما نفسه اليوم، بل علىالعكس فعندما نسائل هذه المصادر عن ماهية الجزيرة العربية بوصفها مساحة جغرافية وعن هويةالعرب، نتوصل إلى استنتاج مفاده أننا لا نستطيع اقتراح تعريف واحد؛ لاختلاف المؤلفين القدامى فيتصوراتهم.المسالة الإثنية معقدة بالقدر نفسه، فالمصادر القديمة تصف بالعروبة القبائل التي لا تقدم هي نفسها فينقوشها على أنها عربية، فمثلا يشار في هذه النصوص إلى الأنباط بأنهم عرب مع أن هذا التصنيف الذاتيغير معروف في النقوش النبطية.

Esta tese trata da obra poética neolatina publicada em Lyon, França, nos anos de 1539 e 1540, pelo humanista português Antônio de Gouveia, consistindo em duas centenas de epigramas e mais quatro cartas de amor em versos. Foram feitos o estabelecimento do texto latino, com o cotejo de diferentes edições, e a tradução para o português, acrescida de notas e comentários. Foram feitas diversas análises, de cunho poético, para examinar os procedimentos estilísticos de composição da obra e para verificar a presença da literatura clássica no texto renascentista. A existência de duas diferentes edições da poesia epigramática propiciou o exame e a interpretação de algumas das alterações introduzidas pelo poeta lusitano. Inclui-se, ainda, um capítulo sobre a vida de Antônio de Gouveia, enfocando, principalmente, sua formação humanística e sua circulação nos meios artísticos e acadêmicos da Renascença européia. / This thesis deals with the Neo-Latin poetic work published by Antônio de Gouveia, Portuguese humanist, in Lyon, France, in the years 1539 and 1540, consisting of two hundred epigrams and four love letters in verse. The thesis includes the comparative edition of the Latin text, with critical apparatus, and the translation of it into Portuguese, with notes and comments. It also includes a poetic analysis, in order to examine the stylistic procedures of the composition of the work, and to verify the influence of classical literature on this Renaissance text. The existence of two different editions of the epigrammatic poetry permitted the examination and interpretation of some changes made by the Portuguese poet. The thesis also has a chapter about the life of Antônio de Gouveia, focusing his humanistic education and his movement in the artistic and academic circles of European Renaissance.

Esta tese trata da obra poética neolatina publicada em Lyon, França, nos anos de 1539 e 1540, pelo humanista português Antônio de Gouveia, consistindo em duas centenas de epigramas e mais quatro cartas de amor em versos. Foram feitos o estabelecimento do texto latino, com o cotejo de diferentes edições, e a tradução para o português, acrescida de notas e comentários. Foram feitas diversas análises, de cunho poético, para examinar os procedimentos estilísticos de composição da obra e para verificar a presença da literatura clássica no texto renascentista. A existência de duas diferentes edições da poesia epigramática propiciou o exame e a interpretação de algumas das alterações introduzidas pelo poeta lusitano. Inclui-se, ainda, um capítulo sobre a vida de Antônio de Gouveia, enfocando, principalmente, sua formação humanística e sua circulação nos meios artísticos e acadêmicos da Renascença européia. / This thesis deals with the Neo-Latin poetic work published by Antônio de Gouveia, Portuguese humanist, in Lyon, France, in the years 1539 and 1540, consisting of two hundred epigrams and four love letters in verse. The thesis includes the comparative edition of the Latin text, with critical apparatus, and the translation of it into Portuguese, with notes and comments. It also includes a poetic analysis, in order to examine the stylistic procedures of the composition of the work, and to verify the influence of classical literature on this Renaissance text. The existence of two different editions of the epigrammatic poetry permitted the examination and interpretation of some changes made by the Portuguese poet. The thesis also has a chapter about the life of Antônio de Gouveia, focusing his humanistic education and his movement in the artistic and academic circles of European Renaissance.

Texte remanié de : Doctoral dissertation : ? : University of Michigan : ? / Bibliogr. p. [297]-308. Notes bibliogr. Index.

This research report deals with the function of the figure of Death in German literature from the 14th to the 16th century and its early Latin predecessors. This thesis aims to give an overview of such texts, written predominantly in Latin until the first half of the 15th century and also in German from the second half of the 15th century. From the overview of the texts, it is evident that the figure of Death was employed mainly by reform-oriented groups within the Church in texts whose contents had a socio-religious bias. This, together with an analysis of the possible recipients of the texts, provides support for the thesis that these groups must have used the figure of Death within the social context of the period (from the 12th to the 16th century) in an attempt to protect the interest of the Church as an institution as well as its strong influence on society. The time span from the 14th to the 16th century is then subdivided into two epochs. The first epoch encompasses the period from the 14th century to the beginning of the Reformation; the second epoch encompasses texts dating from the beginning of the Reformation. Several texts from each epoch are analysed in detail in order to prove the thesis. The choice of texts takes into account the dominant church reform groups as well as the most relevant genres of the time. This investigation shows that the church established its hold on society, on the one hand, by keeping the higher clergy and the nobility in the place assigned to them by the concept of "ordo", and on the other hand, by directing social criticism at the people of high standing, and so appeasing the lower classes who were looking to heretical groups for the realization of their spiritual needs and social ambitions. Reform was thus seen by the reform-oriented people within the Church as upholding the "God-given" social order, related to the Great Chain of Being, by all estates. The more this order crumbled because the real political power-brokers had changed, the more universal the criticism of the figure of Death became. After the Reformation, however, the universality of social criticism was increasingly restricted to the local level, being mainly aimed at rich individuals within the city population. / Thesis (Ph.D.)-University of Natal, Durban, 1989.

La littérature québécoise du XIXe siècle souffre de lourds préjugés que la critique contemporaine semble difficilement dépasser. Il est principalement reproché aux auteurs d’écrire de mauvais romans, privilégiant le fond au détriment de la forme. Pourtant, la lecture des œuvres publiées durant cette période indique clairement que certains écrivains font un usage massif de références à la culture classique. Ce recours intertextuel systématique leur permet d’inscrire le littéraire dans leurs œuvres tout en les rattachant aux genres épique et bucolique. Or, l’intertextualité gréco latine intervient précisément dans une période agitée par des querelles sur l’enseignement des œuvres classiques dans les collèges. Au cœur de cette polémique, une mouvance intellectuelle marquée par les idées de Monseigneur Gaume reproche à la littérature païenne de pervertir la jeunesse et prône un enseignement exclusif du latin chrétien. L’ampleur du débat dans la presse de l’époque est telle que les écrivains – qui ont tous été scolarisés dans des collèges classiques – ne pouvaient en aucun cas l’ignorer. La présente thèse étudie ainsi le dialogue intertextuel mené dans la production littéraire québécoise entre 1850 et 1870. Analysant l’image et la fonction de la culture gréco-latine dans les milieux littéraires québécois durant toute la querelle gaumiste, elle projette un nouvel éclairage sur les textes et met en évidence le savant travail littéraire effectué par leurs auteurs. / Nineteenth-century Quebec literature suffers from severe prejudice that contemporary critics seem unable to overcome. Authors are mainly criticized for writing bad novels, focusing on the content to the detriment of the form. However, the reading of works published during this period clearly indicates that some writers made an extensive use of references to classical culture. This systematic resort to intertextuality allowed them to introduce literary elements into their works while linking them to the epic and bucolic genres. But the Greco-Roman intertextuality intervened precisely in a time agitated by disputes over the teaching of classics in colleges. At the heart of this controversy, a movement of intellectuals influenced by the ideas of Monseigneur Gaume criticized pagan literature for perverting the youth, and promoted an exclusive teaching of Christian Latin. The extent of the debate in the press of the time is such that the writers – all of whom were educated in classical colleges – could by no means ignore it. Thus, the present thesis studies the intertextual dialogue conducted in Quebec’s literary production between 1850 and 1870. Analyzing the image and function of the Greco-Roman culture in Quebec’s literary circles during the entire Gaumist quarrel, it puts the texts under a new light and underlines the clever literary work performed by their authors.