Thesis (doctorat)--Université de Paris, 1927. / Includes bibliographical references.

Habilitationsschrift--Mainz. / Issued in parts. Bibliography: p. 13-15 (1st group)

Thesis--Helsingfors. / "Index librorum": p. [v-vi].

Thesis--Bonn, Univ. 1889. / Vita.

Thesis.

Academisch proefschrift--Letteren--Universiteit van Amsterdam, 1971. / Bibliogr. p. 211-222. Index.

Notwithstanding the extensive research done on Ovid’s Metamorphoses, only a few scholars have attempted to discuss the frequent presence of trauma and catharsis in the episodes of the Metamorphoses. The hypothesis in this thesis is that the reader can participate in the cathartic responses of the characters to traumatic experiences in the episodes of Ovid’s Metamorphoses 10, through entering the sub-created world in the narrative. The hypothesis is tested by reading Ovid’s Metamorphoses, and especially Book 10, through a fantasy perspective based on Tolkien’s concept of sub-creation. The method to be used in the investigation of the Latin text is a combination of an intratextual and a narratological analysis. Episodes with a traumatic theme from Book 10 are used to identify three traumatic themes: the trauma caused by the loss of love or a lover, the trauma caused by the loss of someone or something other than a lover and the trauma caused by forbidden or unnatural love. Episodes which share the same traumatic themes from other books of the Metamorphoses are also selected and discussed. Each episode is discussed by means of Tolkien’s elements of sub-creation, namely recovery, escape and consolation, as focal points. The research concluded that it is possible for the reader to identify with the characters in their experiences of trauma and catharsis by means of participation in the sub-created world. The participation of the reader is made possible by the narrator’s use of defamiliarisation, the use of Tolkien’s aspects of sub-creation and narratological elements. / Thesis (DLitt)--University of Pretoria, 2020. / Ancient Languages / DLitt / Unrestricted

"No serious Latinist will deny the probability that Statius will again emerge from the current scholarly re-evaluation of Silver Age Epic as the great poet he seemed to the finest spirits of High Middle Ages and Renaissance, rather than as the pale imitator of Virgil he appeared to the censorious criticism of the nineteenth century, obsessed as it was with its twin heresies of originality and inevitable progress." (Tanner, R G 1986. Epic Tradition and Epigram in Statius ANRW II 32.5, 3020) Publius Papinius Statius (c.AD 40-96) is best known for his occasional poetry, the Silvae, which is in scholarly vogue at present. He also composed a monumental twelve-book epic, little known until this century, concerning the myth of the Seven Against Thebes, as well as beginning a poem, popular in the Middle Ages, intended to chronicle the full career of the hero, Achilles. Death prevented the completion of the latter work, so that there are only 1127 lines extant. I here undertake an evaluation of female characterisation in the Thebaid and Achilleid, as a positive contribution to the rehabilitation programme described in the quotation above. Because Statius' poetry properly observes the ancient literary convention of imitatio, an examination of any feature thereof necessarily first takes account of the treatment of these myths before Statius. Although there is no precise literary precedent for the Achilleid, there are various possible Greek and Roman sources for the Thebaid, among them Euripides' Phoenissae and Hypsipyle, Apollonius' Argonautica and Seneca's Phoenissae. Naturally Homer's Iliad provided many of the poetical techniques for depicting the pathos of young warriors killed in battle and the subsequent grief of their relatives. A vital consideration, given Statius' reputation as a "pale imitator of Virgil", is to identify the influence of the Aeneid on Statius' techniques of characterisation, as well as to assess his usage of Virgilian style and phraseology. An equally significant contribution to Statius' presentation of women, and one of especial importance for the Achilleid, is made by Ovidian poetry, particularly the Metamorphoses and Heroides. To a lesser extent Statius was influenced by contemporary Latin epics: Valerius Flaccus' mythological Argonautica, Lucan's politico-historical Pharsalia and Silius Italicus' Punica. In analysing the presentation of heroines and goddesses in the Thebaid, little attempt is made to divine a method or spirit of characterisation "common" to both poems. Rather, the contrast between the portrayal of female personality in the two epics emphasises the very different tone of each: the distinctly comic tone of the Achilleid is reflected in the light-hearted portrayal of the three main characters Thetis, Deidamia and Achilles; on the other hand, the tragic atmosphere of the Thebaid is reflected in the intense portrayal of the chief female characters, Argia, Antigone, Jocasta and Hypsipyle. Insofar as it is ever valid or possible to expect literature to reflect the "real" perceptions and ideals of author and audience, I make some brief attempt to set Statius' treatment of his female characters against the prevailing attitudes and socio-cultural norms of his day. Statius' portrayal of women in his Silvae is of some relevance here, though chiefly the poems are to be regarded as literary texts rather than sociological documents.

This dissertation examines the avant-garde as one of the last significant cultural manifestations in Latin America that attempted to offer an alternative to capitalism in the twentieth century. My study redefines the avant-garde as a global critique of modernity whose emergence can only be explained from a geopolitical perspective. During this time, the world order dictated that metropolitan areas like Western Europe be engaged in a mutual economic dependence with peripheral regions such as Latin America. Consequently, a revolutionary socialist impulse originated from within secondary economic areas in the world like Russia and Latin America. Movements such as Dada and Cubism conveyed the necessity for art to break from the autonomous status attributed to it by the bourgeoisie; but ultimately, these aesthetic projects did not address an essential component of the changing social picture, namely the articulation of collective fantasies directed at the emerging masses. The avant-garde was able to articulate these dreamworlds only after art intersected with socialism. With this convergence art claimed a different kind of autonomy, one not based on innocuous insularity but on a socially conscious critical capacity. The revolutionary discourse that resulted from the combination of political and artistic realms aimed at addressing the masses as an integral part of a new modern society. The chapters include muralism (Diego Rivera), periodicals (Amauta), and poetry (Vallejo). Building upon local and global geopolitical perspectives, these works constructed socialist dreamworlds, expressions of utopian desires to transform the world, against the backdrop of art's tendency toward new modes of production and aesthetic sensibilities in the early twentieth century. Sifting through the ruins of these cultural artifacts, I discuss topics such as the figure of the intellectual and the history of radical ideas in Latin America; Marxism; public art and state sponsorship; iconography of revolution and spectrality; and the autonomy of art at the intersection of politics and aesthetics.

Thesis--Neuchâtel. / Includes bibliographical references (p. [v]-vii) and index.