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Theses (M.A.)--Marshall University, 2007. / Title from document title page. Includes abstract. Document formatted into pages: contains iii, 86 pages. Bibliography: p.82-86.

Orientador: Isabella Tardin Cardoso / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T11:37:47Z (GMT). No. of bitstreams: 1 Orosco_GabrielaStrafacci_M.pdf: 1499304 bytes, checksum: 8dcba777729471fd896b80f8ef7a63bc (MD5) Previous issue date: 2011 / Resumo: O interesse deste estudo é observar a presença da deusa romana Vênus, cujo principal atributo é o amor, em obras do poeta romano Públio Ovídio Nasão (43 a. C - 17 / 18 d. C.), mais especificamente nos poemas Os Remédios do amor (Remedia Amoris) e em passagens selecionadas das Metamorfoses (Metamorphoseon Libri). Ao cotejar esses excertos, verifica-se que a deusa, seja metonimicamente (por exemplo, como sinônimo do substantivo "amor"), seja como personagem de aventuras e desventuras amorosas, abrange muito da poesia ovidiana e configura-se de diversas maneiras: no poema didático Remedia Amoris, por exemplo, Vênus é relacionada, com frequência, a narrativas de infelicidade amorosa. Nessa obra, o eu poético, propondo a cura do amor, cita a deusa como referência a histórias amorosas malfadadas. Observar a participação da deusa do amor em Metamorfoses, em que ela não é apenas referida como metonímia de seu atributo, como também é personagem de narrativas míticas, permite perceber com mais clareza em que medida os respectivos episódios mitológicos são mencionados ou aludidos também em Os Remédios do amor. Os excertos de Metamorfoses respectivos aos mitos referidos em Remedia compõem o corpus traduzido, a saber, Met. IV 169-189, X 298-739 e XIV 441-608 (bem como a comparação com sua menção em Remedia Amoris) é ponto de partida para uma análise da figura de Vênus. O estudo visa, ainda, contribuir modestamente para a discussão sobre a concepção do sentimento amoroso em Ovídio, em particular a ideia de amor como doença / Abstract: This study has as a central interest observing the presence of the Roman goddess Venus, whose main attribute is love, in Publius Ovidius Naso?s work (43 B. C - 17 / 18 A. D.), more specifically in the poems Remedia Amoris (Remedies for Love) and in selected passages of Metamorphoseon Libri (Metamorphoses). Throught the comparison among the latin passages pertaincing to both ovidian works, it is noticed that the goddess presence - either metonymically (for instance, as a synonymous for the noun "love") or as a character of amorous adventures or misadventures - comprises much of the ovidian poetry. In the didactic poem Remedia Amoris, for example, Venus is frequently related to unhappy love narratives. In Remedia the lyric self, purposing the cure for love, mentions the goddess as a reference to unlucky love stories. Observing in the Metamorphoses how the goddess of love participates as a mythical character, helps to perceive the allusion to mythological episodes that also takes part in Remedia Amoris. The respective excerpts of Metamorphoses (namely Met. IV 169-189, X 298-739 e XIV 441-608) that are mentioned in Remedia Amoris compose the corpus of our study. The translation of the selected passages of Metamorphoses, as well as a comparison with their mention in Remedia amoris, is the starting point for the analysis. The study aims also to modestly contribute for the reflection on the conception of the love feeling constituted in Ovid, mainly the idea of love as a disease / Mestrado / Linguistica / Mestre em Linguística

Texte remanié de : Dissertation : Sprach- und Literaturwissenschaften : Universität Erlangen-Nürnberg : 1989. / Index.

Originally presented as the author's thesis (Ph. D.)--University of California, Berkeley, 1987. / Includes bibliographical references (p. 238-244).

Ovid’s interest in women and their lives is apparent throughout his texts, but is especially so in the Metamorphoses. This study analyses the violation and violence of women in the Roman poet’s epic and sets out to uncover the governing social mores and values that perhaps shaped the representations of women in the text. It examines how Ovid’s narratives may betray his values and attitudes and those of his audience as well as looking at the various ways that the poet and his rape episodes have been read. After surveying the literature on rape in Ovid’s Metamorphoses, Ars Amatoria and the Fasti, a brief historical context for the Metamorphoses is provided; women’s lives in Rome, the rape laws that existed during this time, as well as Roman sexuality are then examined. After this, a close textual analysis of different rape episodes in the Metamorphoses is presented, including the episodes of nymphs as victims, the silencing of rape victims and sexually ‘aggressive’ women, in order to reveal and examine the patterns that emerge. While Ovid’s intentions and attitudes towards women, as they are found in the Metamorphoses, have been read by some as sympathetic, by others as misogynistic and still others as more neutral, it is concluded that, although there is space for various readings, as a poet, Ovid was ‘opportunistic’ in his choice of materia and, above all, he wished to stimulate and delight his audience. While his personal values may not necessarily be reflected in his works and his readers may never know the ‘true’ intentions behind the poem, the Metamorphoses does hold up a mirror to the negative treatment of women and exposes the gender inequalities that existed during Ovid’s time. As a poet, however, Ovid’s conceived role is to entertain his audience and despite his somewhat problematic treatment of women and rape victims, he does just that.

After murdering Pelias, Ovid’s Medea boards her famous chariot driven by dragons in order to get to Corinth. She does not, however, take a direct route, but makes a detour around the Aegean Sea, which allows the narrator to present 17 metamorphoses as stations of her flight. Whereas the resulting catalogue is traditionally understood as a prime example of a praeteritio which resembles a number of myths that were otherwise leftover in the Metamorphoses, this paper argues that the route Medea takes and the stories she sees from above reflect her own thoughts at this stage of her character-development and above all prepare her fatal decision to kill her own children at the destination of her voyage in Corinth. This circuitous flight and the view from above related to it thus form essential parts of her own metaleptic transformation into the mythological Medea whom the reader in Ovid’s time already knew so well.

(anglicky) Database vendors are traditional significant subjects of informaton industry. Today they operate on the information market for almost 50 years, during that time their services have changed. This master thesis aims to examine and basically analyze the actual offer of their services, compare chosen features of them and to carry out evaluation of the services. The text presents database vendors and so called aggreggators and their traditional services. Also the price policy of the database vendors is mentioned. Case study of the offer of services of four database vendors is performed. The results demostrated, that traditional services of database vendors are still significant part of their product offer. But the form has changed. And some subject also offer services not typical for traditional database vendors.

This thesis is an analysis of an English verse translation of Ovid's Metamorphoses, published in 1632 by the Englishman George Sandys. This book included a full English commentary and was illustrated by several full-plate engravings. This study examines the edition's elaborate utilization of the rhetorical practices of artificial memory and related concepts of rhetorical invention. It demonstrates that these rhetorical practices were chosen and implemented for their inherent structural appropriateness for the cultivation of prudence, or practical wisdom. It reveals that the lessons in practical wisdom encoded in the work through the techniques of artificial memory were particularly aimed at political issues and the concerns of rulers. From the work's preoccupation with prudence as appropriate for a ruler, and from the dedication and prefatory texts, it becomes clear that it was intended to provide a means of counsel, or advice, to the King Charles I in an elaborate poetic format.

De ses œuvres de jeunesse jusqu’aux poèmes de l’exil, Ovide a progressivement construit une langue poétique propre, qui entremêle des stylèmes religieux appartenant à la langue liturgique de l’époque augustéenne, et des stylèmes purement poétiques, tantôt repris à la tradition littéraire, tantôt originaux : il joue ainsi de la frontière qui sépare le carmen religieux et le carmen poétique en faisant s’élever un chant nouveau, total, par lequel il sacralise la poésie, qui est bien alors la musique du monde, la musique créatrice, proprement poïétique, dont le souffle donne son sens, sa forme et sa beauté (forma) au monde. Le discours élégiaque est alors bien plus qu’un simple propos érotique, ou même métapoétique. Si Ovide nous parle d’amour, il nous parle aussi de poésie, mais pas seulement d’une poésie narcissique qui serait sa propre fin et son objet : ce qui se reflète au miroir de la poésie ovidienne, telle qu’elle se met en jeu dans les énoncés de prière, c’est une perspective, une perspective transcendante par laquelle le poète tente de contempler le Verbe divin, la Musique totale qui organise l’univers. Loin de jouer de manière parodique avec le discours sacré, qu’il subvertirait à des fins érotiques et humoristiques, comme l’ont écrit les partisans d’une élégie immanente, Ovide nous semble sublimer par un souffle sacré, et par l’apport de stylèmes religieux, la poésie élégiaque de manière à en faire le chant qui rejoue la création du monde en même temps qu’il la dit. / From his early works to the poems of exile, Ovid progressively constructed a personal poetic language, mixing religious stylemes belonging to the liturgical language of the Augustan age with purely poetic stylemes, some taken from literary tradition, others quite original: he thus plays on the borderline separating the religious carmen from the poetic carmen, giving birth to a new, total song endowing poetry with a sacred status, making it music of the world, the properly poietic music of creation whose breath gives the world its meaning, its form and its beauty (forma). Elegiac discourse is then more than a simple erotic, or even metapoetic statement. If Ovid speaks to us of love, he also speaks to us of poetry, but not just a narcissistic poetry taken as its own end and object. What is reflected in the mirror of Ovidian verse as it takes shape in the utterance of prayer is a perspective – a transcendental perspective through which the poet attempts to contemplate the divine Word, the total Music which organizes the universe. Far from playing on sacred discourse in an ironic mode, subverting it to erotic or humorous ends as partisans of an immanent elegy have written, Ovid seems to us to be sublimating elegiac poetry by instilling it with a sacred breath and importing religious stylemes into it, in such a way as to make of it the Song which replays the creation of the world at the same time as telling it.