Orientador: Paulo Sergio de Vasconcellos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-08T09:06:13Z (GMT). No. of bitstreams: 1 Prata_Patricia_D.pdf: 2832519 bytes, checksum: f3770db672390b54c7f5aacca51b0ff1 (MD5) Previous issue date: 2007 / Resumo: Esta tese apresenta as discussões atuais sobre intertextualidade no âmbito dos estudos clássicos, mais especificamente, da literatura latina, bem como um estudo intertextual da obra Tristes de Ovídio, o qual propõe uma leitura dos elementos épicos desses livros do exílio, baseada no intertexto que divisamos a partir da comparação com a Eneida virgiliana e, finalmente, sua tradução anotada, em versão bilíngüe. Tal trabalho, dada a diversidade de seus propósitos, encontra-se dividido em duas partes: a primeira traz a discussão da teoria intertextual e a análise das elegias; a segunda, a tradução dos Tristes. A tradução intenta divulgar, além de servir de apoio à leitura intertextual que dela propomos, em língua portuguesa, uma obra muito pouco traduzida e estudada no Brasil. Temos apenas uma tradução completa dos Tristes publicada, a de Augusto Velloso, de 1952, que se propõe ser didática, pois é justalinear, seguindo a ordem direta do texto latino, ao passo que em outros países toda a obra de Ovídio vem sendo traduzida e alvo de inúmeros estudos que promovem uma reavaliação crítica de sua poesia / Abstract: This thesis presents some of the current discussions of intertextuality in the area of classical studies, specifically Latin literature. It also provides a unique reading of the epic elements of Ovid's Tristia, based on the intertext furnished by a comparison with Virgil's Aeneid, as well as an annotated bilingual translation. The thesis is divided into two parts, the first being the discussion of intertextual theory and the analysis of the elegies, and the second the actual translation. In addition to supporting the intertextual reading proposed, the translation into Portuguese provides access to a literary work which has been little studied and translated in Brazil. There is only one other complete translation of the Tristia available: the 1952 translation of Augusto Velloso, which is a line-by-line translation of the original Latin text. In other countries, however, the entire works of Ovid have been translated and have been the focus of numerous studies which have led to a critical revaluation of his poetry / Doutorado / Linguistica / Doutor em Linguística

A presente dissertação divide-se em duas partes. Na primeira, analisamos O mercador, de Plauto, examinamos o que disse Aristóteles sobre o gênero cômico e estudamos as origens da comédia, com destaque para a Nea, com base no trabalho de George E. Duckworth. Partindo-se desse estudo, as características próprias da comédia, em geral, são apontadas, demonstrando-se a fórmula da comédia utilizada pelos autores antigos, apresentada neste trabalho, ao citarmos Northrop Frye. Após isso, focalizamos a estrutura da obra O mercador e, também, os tipos existentes na obra plautina, sobretudo os tipos femininos. A seguir, destacamos a relação amorosa entre o senex e a escrava-cortesã. Na segunda parte da dissertação, traduzimos a comédia, a partir do texto latino encontrado na edição de A. Ernout publicada pela Société d\'Édition \"Les Belles Lettres\". / This dissertation is presented in two parts: in the first one, we made an analysis of Plautus\'Mercator. To lay the foundation of such analysis, we considered what Aristoteles stated about comedy and we also retrace the sources of comedy, with particular emphasis on the Nea, by taking into consideration the study of George Duckworth. Still based on this work of Duckworth, we conducted a research on the identifying characteristics of comedy and, to do such, we also consulted Northrop Frye, whose work helped us to expose the strategies of comedy developed by the ancient authors. After this comprehensive study of comedy, we gave an analysis of the structure of the play and the characters, particularly the female ones, presented in Mercator. Eventually, the first part of our study is dedicated to examine the loving relationship between senex and his slave courtesan. In the second part of the dissertation, we present a translation into Portuguese of Plautus\' comedy from the original text, in Latin, which was found in A. Ernout\'s book published by the Société d\'Édition \"Les Belles Lettres\".

A presente dissertação consiste em um estudo e na tradução do Eunuchus de P. Terêncio Afer. A obra é a quarta comédia de Terêncio, representada em Roma no ano de 161 a.C., durante os Ludi Megalenses. O estudo divide-se em três partes: o contexto da obra, a sua estrutura e o ethos das personagens. Em relação ao contexto, são considerados o gênero da obra, os espetáculos cênicos, as origens do teatro latino e a biografia literária do autor. Para a análise da estrutura da obra, são examinadas separadamente as duas partes que a constituem: o prólogo e o enredo. O prólogo terenciano tem como peculiaridade o seu uso para a polêmica literária. O enredo organiza-se em duas bases: a suspensão do argumento e a dupla intriga. O ethos das personagens é o alvo principal deste estudo. Foram escolhidas seis personagens para a análise: Taís, Pítias, Pânfila, Fédria, Quérea e Parmenão. Nessa análise, procurou-se operar com dois tratamentos dados ao conceito de ethos: o primeiro, dentro do pensamento aristotélico, nos desdobramentos que o termo ganha na Retórica e na Poética; o segundo, situado no âmbito da Análise do Discurso Francesa, em um desenvolvimento feito por Dominique Maingueneau, ao recuperar, por via da pragmática, a noção de ethos da retórica. / The present dissertation includes both a translation of Terence\'s play The Eunuch and a study on it. The play is Terence\'s fourth comedy and was staged in 161 BC, in Rome, during the Ludi Megalenses. The study has been divided into three parts: the context of the play, its structure and the ethos of the characters. Regarding the context, we considered the genre question, staging and stagecraft, latin theatre origins and the author\'s literary biography. The analysis of the structure has two parts, according to the division of the play itself into a prologue and the plot. Terence\'s prologues are peculiar in their aptness for literary polemics. The plot is organized on two main axes: line suspension and double intrigue. The characters\' ethe are the main target of this study. Six characters have been chosen for the analysis: Thais, Pythias, Pamphila, Phaedria, Chaerea, Parmeno. We approached the concept of ethos in two ways for this analysis: first, within aristotelian thought, and the way it unfolds in both the Rhetoric and the Poetics; second, within the French Discourse Analysis, following a development by Dominique Maingueneau, as he recovered, via his pragmatics, the rhetorical concept of ethos.

Esta tese dedica-se ao estudo do gênero poético conhecido como epithalamium, \"epitalâmio\", e sua presença entre as composições poéticas supérstites localizadas temporalmente entre o início do período helenístico e o fim da Antigüidade Clássica. Neste estudo, são analisadas composições poéticas gregas e latinas com o objetivo de identificar as características que seriam associadas a esse gênero ao longo desses séculos. / This doctoral thesis is a study about the poetical genre known as epithalamium and its occurrence among the transmitted poetical compositions located between the beginning of the Hellenistic period and the end of the classical antiquity. Greek and Latin poetical compositions are analysed in order to identify the main characteristics that are supposed to be associated to that genre during that time

No final do século I a.C., a Elegia Erótica Romana desafiou os gregos e as convenções poéticas apresentando um poeta-amante que cantava suas aventuras amorosas em primeira pessoa. Como se isso não bastasse, esse eu-elegíaco se dedicava à puella como se tal tarefa fosse uma militia, um seruitium amoris, e que exigia tempo integral. Galo, Propércio e Tibulo nos apresentaram suas dominas e se negaram a servir à pátria. Ovídio foi além: seguiu seus predecessores mas fez com que seus leitores aprendessem a entender o papel de cada uma das normas na construção desse gênero. Escreveu seu primeiro livro, Amores, e , a partir daí, começou a traçar um caminho ascendente: queria sua Elegia elevada, não apenas média. Para isso, produziu recusationes, elegias programáticas e, o mais importante, confluiu gêneros. Fez uso da Epistolografia, da Retórica, da Didática e de personas e exempla míticos para compor Heroides, Ars amatoria e Remedia amoris. Nesta dissertação, mostra-se a trajetória do poeta na elevação da Elegia Erótica de Ovídio. / At the end of the 1st. century b.C., Latin Erotic Elegy challenged Greeks and poetic conventions when portrayed a man, poet and lover, talking, in the first person, about his adventures: he also dedicated himself to a puella as if it were a militia, his seruitium amoris, which was a full-time job. Gallus, Propertius and Tibullus introduced us to their dominas and did not (want to) serve their nation. Ovid did more than that: he followed his predecessors but made his readers learn the role of each of the principles of the genre. He wrote his first book, Amores, and, from then on, delineated an ascendant path: he wanted his Elegy to be high, not only something that depicted an average subject. In order to achieve it, he composed recusationes, programmatic elegies and, most important of all, he converged genres: he was able to use Epistolography, Rhetoric, Didactic and mythological personas and exempla to write Heroides, Ars amatoria and Remedia amoris. In this dissertation, we show his trajectory in the elevation of Ovids Erotic Elegy.

The object of education in the United States is development of the human being as a person and as a citizen in a democracy. In high school that person is a youth--one whose needs for development are common to the democratic tradition of every age. The greatest wealth of any nation is its human beings. A person is whole and unified, yet he possesses many avenues through which life is realized, experiences are enlarged and control is secured over materials and forces. In view of the objectives above, it is planned to present in the paper a discussion of the way in which Virgil reveals the qualities which if acquired characterize youth as honorable, upright and noble characters. In chapter two which follows, each quality is exemplified by several noteworthy illustrations from the Aeneid. / Typescript. / "August, 1953." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: W. Edwards, Professor Directing Paper. / Includes bibliographical references (leaf 20).

Orientador: Cláudio Aquati / Banca: Lúcia Sano / Banca: Ulisses Infante / Resumo: Este estudo tem por objetivo levantar uma hipótese acerca do desenvolvimento do romance antigo, na tradição greco-latina, a partir da tópica de História do rei Apolônio de Tiro. A hipótese é possível a partir da afirmação de que o romance de aventuras e de provações (narrativas gregas) não se opõe ao romance de aventuras e de costumes (narrativas romanas), pois a oposição se desfaz diante da constatação de que ambas as tradições apresentam romances sérios e cômicos / Abstract: The purpose of this study is to state a hypothesis about the development of the ancient romance, in the Greek-Latin tradition, from the topic of The Story of Apollonius, king of Tyre. The hypothesis is possible by stating that the Adventure Romance of Ordeal (Greek narratives) is not opposed to the Adventure Romance of Everyday Life (Roman narratives), as this opposition dissipates in front of the evidence that both traditions have serious and comical romances / Mestre

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Roman Comedy is defined by the tensions between comic convention and humour’s ability to interrogate societal norms. The playwrights, Plautus and Terence, experimented with their generic restrictions to create unique and complexly structured plays that posed questions on personal and collective identity. This study identifies a critical framework of gender manipulation that shows how citizen men of comic plays transgressed traditional norms of masculinity on a relational, physical, and structural level. It is grounded on the idea that gender plays an integral role in constructing the self. Once characters transgress their gender, other aspects of their identity adjust accordingly until they assume a new social and comic role. I divide my analysis into three character studies from Plautus’ Menaechmi, Terence’s Eunuchus, and Plautus’ Casina. I argue that both playwrights follow the same pattern, where a citizen man performs a physical act of gender transgression in response to dissatisfaction with his emasculating relationship with a female counterpart. This act reveals tensions pertaining to cultural dissonance and citizenship, sexuality in the transition to adulthood, and the crisis of old age. It is followed by a structural manipulation that shifts character and narrative tropes to bring the play to some resolution. This study provides a new framework for investigating the relationship between character and narrative, as well as generic convention and comic subversion in Roman Comedy. It diverges from recent scholarship on comic gender roles to reveal the distinct ways that Plautus and Terence experimented with the patriarchal constructions of masculinity and femininity in addition to the binarism of gender. / Dissertation / Doctor of Philosophy (PhD) / In the comic plays of 3rd- and 2nd-century BCE Rome, gender played an important role in the way that citizen men interacted with the world around them. This study identifies a pattern tracing how they were motivated to step outside the norms of traditional masculinity and how this performance affected their identities and plotlines. The pattern comprises three stages: emasculation from an overpowering woman, a physical change of clothes or scent in response to that emasculation, and a plot change to bring the play to a conclusion. The gendered instability experienced by these men at each stage exposes underlying tensions in cultural dissonance and citizenship, the role of sexuality in the transition to adulthood, and the crisis of old age. Investigations of the plays through this pattern reveal how the playwrights experimented with their genre and the impact they had in addressing the on-going concerns of their audiences.