Thesis--Paris. / Bibliographie en note.

Thesis (Ph. D.)--Drew University, 1987. / Vita. Includes bibliographical references (leaves 254-262).

Thesis--Paris. / Bibliographie en note.

My study focusses on the laments expressed by Ariadne and Dido in the poems of Catullus, Vergil and Ovid. My study examines the evolution of the character type of the lamenting woman from its Greek origins and portrayal to its presentation in Catullus 64, Aeneid 4 and Heroides 7 and 10. The scholarship and theories of Elizabeth Harvey, Rebecca Armstrong, Bridgitte Libby, Laurel Fulkerson and Sharon James were essential for my understanding and interpretation of these poems. I also consider the implications of male poets writing ventriloquized female voices. Over the course of three chapters, I argue that each of these authors contributes to the development and establishment of a new Romanized theme of the seduced and abandoned lamenting woman and character type. It is evident in each depiction of Ariadne and Dido that the authors build on the standard characterizations in Greek epic and tragedy, and that from these models a new type of lamenting woman emerged. With this project I intend to make a contribution to our understanding of the issues involved in the poetic portrayal of male and female voices in the context of the classical literary tradition of lamenting. / Thesis / Master of Arts (MA) / The aim of this thesis is to examine the motif of the lament of abandoned women in Latin poetry. My study focusses on the laments expressed by the characters of Ariadne and Dido in the ancient poems of Catullus, Vergil and Ovid. My study examines the evolution of the character type of the lamenting woman from its Greek origins and portrayal to its presentation in Catullus 64, Aeneid 4 and Heroides 7 and 10. Over the course of three chapters, I argue that each of these authors contributes to the development and establishment of a new Romanized theme of the seduced and abandoned lamenting woman and character type. With this project I intend to make a contribution to our understanding of the issues involved in the poetic portrayal of male and female voices in the context of the classical literary tradition of lamenting.

This thesis presents a literary study of three subtypes of the maiden stock character in Plautine Comedy: the silent virgo, the meretrix-virgo, and the virgo in transition. The comic maiden is remarkable in Roman Comedy, in that she is the female protagonist of most if not all of the plays in which she is a character, although she sometimes never appears onstage. The aim of this thesis is to investigate how the playwright manages and enrichens his portrayals of the virgo despite her limitations, and to analyze her significance in the broader themes of her plays. This has been done by detailed character analyses of three of Plautus’ plays, each of which features a virgo who represents one of the three subtypes of the comic maiden (i.e. Phaedria from Plautus’ Aulularia, Palaestra from Plautus’ Rudens, and Alcmena from Plautus’ Amphitruo respectively). Through the examination of the characters’ speeches and conversations, including those presented by the maiden herself when she appears onstage, it is evident that the virgo is a central figure in tensions and conclusions driving the plot. Because of her contradictory circumstances (i.e. her premarital pregnancy, slave status, or change in stock role), this integral function is contingent on her piety and innocence, which must be maintained throughout the play. Finally, the propitious resolution of the plot comes about in the restoration of the maiden’s status and the promise of marriage between her and the male lover. Because of this, she is also deeply connected to the underlying themes of morality and communal bonds governing the play. This research highlights the valuable and central role of a character in Plautine comedy, whose on-stage presence is often limited or even non-existent. / Thesis / Master of Arts (MA) / This thesis analyzes the portrayals of three subtypes of the virgo or maiden stock character in the comedies of Plautus, a Roman playwright who flourished in the late third to early second centuries BCE. More specifically, this thesis presents a detailed character study of Phaedria as the silent maiden in Aulularia, Palaestra as the prostitute-maiden (meretrix-virgo) in Rudens, and Alcmena the maiden in transition in Amphitruo. The aim is to investigate how Plautus manages and enrichens his characterization of these maidens, as well as their significance in the broader themes of the plays. Through the textual analyses of characters’ speeches and dialogues, this research highlights the centrality of the virgo in the tensions and resolutions driving the plot, and her connection to the underlying themes of morality and communal bonds in Plautus’ plays.

Thesis (Ph. D.)--Uppsala University, 2000. / Includes bibliographical references (p. 360-375) and indexes.

Thesis (Ph. D.)--Uppsala University, 2000. / Includes bibliographical references (p. 360-375) and indexes.

This study has several key purposes. First, it tests the potential applicability of the modern discourses of neuro- and cognitive science to the study of medieval texts and languages: more specifically, it does this by using two core methodological tools, namely the embodied view of the mind and a theory of metaphor developed collaboratively by the linguist, George Lakoff, and the philosopher, Mark Johnson, to explore the range of significances which may be drawn from the ways in which human life and existence are represented in a sample of twelfth-century Latin texts. Second, it challenges the view, held by some modern scholars, that by the medieval period Latin was an intrinsically inadequate language for the purposes of self-expression. And finally, it problematises the existing discourses in medieval studies on the individual, self, and subjectivity, first, by developing a new mode of analysing the mental lives of medieval people, and second, by challenging the view that advanced forms of self-awareness were “discovered” during the twelfth century. By following this course, this study offers a number of fresh insights into twelfth-century texts and the phenomena of the individual, self, and subjectivity. Most importantly, it shows that the ways in which human life and existence are represented in medieval texts are best understood in terms of complex interactions between the biological mind and body and their effects in the world (especially their “socio-cultural” effects). From this conclusion, it is argued that the basis of the individual, self, or subject must be found, not just in socio-cultural development, but also the biological realities of human existence. Furthermore, this study contributes to existing literature on the twelfth century by exploring the range of influences, ancient and contemporary, which affected how medieval people thought about themselves and other people, while affirming their basis in the interaction between the mind, body, and culture.

Esta pesquisa de mestrado objetivou o estudo da peça latina Otávia do Pseudo-Sêneca, que inclui uma tradução para o português, acompanhada de notas e de um estudo introdutório. Este trabalho centrou-se em apontar o que se têm discutido entre os estudiosos de literatura clássica em relação à peça. Foi pertinente para esse expediente uma análise do gênero praetexta, do qual faz parte esta peça, considerando as divergências entre praetexta republicana e imperial, bem como a observação de como a peça integra mito e história. Essa pesquisa inclui também considerações sobre como Otávia dialoga com as tragédias de Sêneca, autor ao qual a peça foi atribuída erroneamente. / This Master\'s degree investigation aimed the study of the latin play Pseudo-Seneca\'s Octavia, which includes a translation into Portuguese, accompanied by notes and an introductory study. This work focused on showing what has been discussed between the classical literary scholars about the play. It was relevant to this expedient an analysis of praetexta genre, which this play is part, considering the differences between republican and imperial praetexta, as well as the observation of how the play includes myth and history. This research also includes considerations on how Octavia dialogues with Senecan tragedies, author to whom the play was erroneously attributed.

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.