Thesis--Paris. / Bibliography: p. 1-3.

Thesis--Marburg. / Includes bibliographical references (p. 218-228).

Thesis (doctoral)--Friedrich-Wilhelms-Universität zu Berlin, 1934. / Includes bibliographical references.

Inaug.-Diss.--University of Marburg, 1901. / Vita. "Tabella siglorum": p. [vi]-vii. Includes bibliographical references and indexes.

Inaug. Diss.--Göttingen, 1880.

Thesis--Kiel.

Thesis (doctoral)--Albert-Ludwigs-Universität, 1935. / Lebenslauf. Includes bibliographical references.

O estudo da poesia chamada didática mostra-se particularmente fecundo quando, dentre os variados poetas antigos, gregos e latinos, que a praticaram, escolhemos, como objeto particular de exame, um poeta como Manílio (c. I d.C.). Sua obra, os cinco cantos do poema latino Astronomica, apresenta razões de caráter poético e mesmo filosófico que nos autorizam a compará-la, por exemplo, à poesia de Lucrécio e Virgílio. Ainda que não desfrute de igual notoriedade, o poema de Manílio, como já apontaram seus poucos estudiosos, é exemplo de elocução poética, na linguagem notável pela variação técnica, e de ardorosa convicção moral, inspirada no estoicismo; também é, contudo, exemplo de um gênero poético hoje as mais das vezes relegado aos recortes das antologias, quando não ao simples esquecimento. Assim, o trabalho aqui proposto é a tradução integral do Astronomica, bem como um breve estudo introdutório acerca do poema, da tradição poética em que se insere e do gênero didático poesia, que nele muito bem se divisa. / The study of the so-called didactic poetry reveals to be particularly fruitful when, amongst the different ancient poets, greek or latin, who practiced it, we choose as our particular objet of investigation a poet like Manilius (c. 1 A.D.). His work, the five chants of the latin poem Astronomica, presents poetical and even philosophical reasons that allow us to compare it, for instance, with the poetry of Lucretius and Virgil. Even though it doesn\'t have the same notoriety, Manilius\'s poem, as few scholars have already remarked, is an example of poetic elocution, in a language remarkable for technical variation, and of an ardent moral conviction, inspired by stoicism; it is also, nevertheless, an example of a poetic genre nowadays often relegated to anthology clippings, when it is not simply forgotten. Taking these into account, the work presented here is the total translation of the Astronomica, and a brief introductory study about the poem, the poetic tradition in which it is inscribed and the didactic genre of poetry, which can easily be seen in it.

This dissertation seeks to demonstrate Lucan's profound engagement and conflict with two ancient intellectual and literary traditions that can both be regarded as escapist, that is, as promising or postulating a sanctuary (whether physical or spiritual) from the world's troubles, and that were both active in Lucan's own day: utopian writing about science, exemplified in Latin by Lucan's uncle Seneca the Younger, as well as by the astronomical poet Manilius, and utopian Egyptology, as reflected in a wide variety of texts ranging from Herodotus, through Diodorus Siculus, to Lucan's contemporary, the Alexandrian polymath Chaeremon. To this end, I have examined two closely related sequences in the De Bello Civili that have received little attention from scholars of Lucan, namely Pompey's journey to Egypt in Book Eight and Caesar's Egyptian sojourn in Book Ten, during which Lucan's two main characters are each shown attempting to take refuge from the poem's ubiquitous violence through the double avenue of travel to Egypt (to which the defeated Pompey flees, and where his pursuer Caesar hopes to leave the civil war behind) and the practice of natural science (with Pompey's astronomical inquiry and Caesar's investigation of the Nile). In this context, I have also considered Cato's Libyan adventures, from the intervening Book Nine. Both Pompey and Caesar discover that escape through either method is impossible, for the fabled Egyptian Shangri-La is now embroiled in the political, social, and economic crisis of the outside world, while not only the natural universe but even the very act of inquiry into nature are alike contaminated by the ethos of civil war. The virtuous Cato, on the other hand, does not even make the attempt, maintaining a single-minded focus on his civic duties. By revealing such escape to be both immoral (through Cato's example) and impossible (through the examples of Pompey and Caesar), Lucan signals his decisive rejection of the escapist predilections of many of his contemporaries (including his uncle Seneca and his own father Annaeus Mela), who tried to distance themselves from the vicissitudes of political life under the later Julio-Claudians through retirement into a state of philosophical otium.

This dissertation seeks to demonstrate Lucan's profound engagement and conflict with two ancient intellectual and literary traditions that can both be regarded as escapist, that is, as promising or postulating a sanctuary (whether physical or spiritual) from the world's troubles, and that were both active in Lucan's own day: utopian writing about science, exemplified in Latin by Lucan's uncle Seneca the Younger, as well as by the astronomical poet Manilius, and utopian Egyptology, as reflected in a wide variety of texts ranging from Herodotus, through Diodorus Siculus, to Lucan's contemporary, the Alexandrian polymath Chaeremon. To this end, I have examined two closely related sequences in the De Bello Civili that have received little attention from scholars of Lucan, namely Pompey's journey to Egypt in Book Eight and Caesar's Egyptian sojourn in Book Ten, during which Lucan's two main characters are each shown attempting to take refuge from the poem's ubiquitous violence through the double avenue of travel to Egypt (to which the defeated Pompey flees, and where his pursuer Caesar hopes to leave the civil war behind) and the practice of natural science (with Pompey's astronomical inquiry and Caesar's investigation of the Nile). In this context, I have also considered Cato's Libyan adventures, from the intervening Book Nine. Both Pompey and Caesar discover that escape through either method is impossible, for the fabled Egyptian Shangri-La is now embroiled in the political, social, and economic crisis of the outside world, while not only the natural universe but even the very act of inquiry into nature are alike contaminated by the ethos of civil war. The virtuous Cato, on the other hand, does not even make the attempt, maintaining a single-minded focus on his civic duties. By revealing such escape to be both immoral (through Cato's example) and impossible (through the examples of Pompey and Caesar), Lucan signals his decisive rejection of the escapist predilections of many of his contemporaries (including his uncle Seneca and his own father Annaeus Mela), who tried to distance themselves from the vicissitudes of political life under the later Julio-Claudians through retirement into a state of philosophical otium.