The purpose of this dissertation is to provide a critical analysis and evaluation of the Satyricon of Petronius, by placing it in its historical, literary, and artistic context. Neronian taste therefore becomes the unifying theme around which the chapters are organized. Chapter One immerses Petronius within the cultural pursuits of Nero's aula, while Chapter Two pursues the question of court literary taste. Chapter Three consists of a Campanian Commentary to the Cena Trimalchionis and thus explicates the Neronian arts of etiquette and leisure. The Appendix re-evaluates the strong evidence for a Neronian dating of the work and for the identification of the consular T. Petronius Niger as both author of the Satyricon and Nero's elegantiae arbiter. This dissertation reflects the position that the Satyricon is an example of literary nalyvLa, a non-serious court amusement, which takes as its central theme the "refer to document" motif so typical of ancient symposium literature and likewise appropriate to the emperor's own predilections. The work fits well within the tastes of Roman "refer to document", the unbroken line of aristocrats, who, from the period of the late Republic, left the Capitol to pursue pleasures both cultural and physical in the resort cities of campania. The thesis is advanced that Petronius came to prominence as Seneca faded from favour, and that the Satyricon replaced Seneca's worthier tragedies and treatises as a court entertainment. Evidence from the Epistulae Morales of Seneca, written after his retirement, indicates that the former tutor of Nero made plaintive criticisms against the low habits both of language and lifestyle in which the aula indulged under the influence of Tigellinus and Petronius. The nature of the Neronian literary Renaissance is surveyed with special emphasis upon the impact of Nero's personal taste upon letters. Neronian literature, regardless of the author or genre in question, strives to achieve the effect of pathos, nostalgie de la boue, theatrical exaggeration, and naturalism naive to the point of embarrassment. Petronius displays all of these characteristics as he narrates his tale of the graeculus, Encolpius, who, like the artist-emperor, finds himself trapped within the constraints of the Roman cultural climate. Petronius combines the genres of Roman Menippean satire and Greek prose fiction into a graphic melange of the foibles of his age. Chapter three comprises a social commentary to the Cena Trimalchionis in which the Cena is qescribed against the backdrop of its Campanian locale. The many homely details of his life, his house and its furnishings, which Trimalchio relates, are compared to the extant archaeological evidence for life at Pompeii, Herculaneum, Puteoli, and the other towns of the Phlegraean Fields. The commentary is intended for use in the classroom at the university level. / Thesis / Doctor of Philosophy (PhD)

Made available in DSpace on 2014-06-11T19:26:34Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-01-23Bitstream added on 2014-06-13T20:15:15Z : No. of bitstreams: 1 martinelli_re_me_fran.pdf: 206759 bytes, checksum: 03219e41621edac031b23671f8f16bb9 (MD5) / O presente trabalho tem por proposta estudar a representação da morte e as expectativas que ela pode causar em uma sociedade em transformação, Roma Antiga (período do Principado), onde surge um grupo de pessoas ricas e com influências, os libertos-ricos. Nossa principal fonte foi o Satyricon, romance escrito por volta da segunda metade do século I d.C. (época neroniana), por um autor conhecido por Petrônio. Para realização deste estudo, elaboramos três capítulos e cada um encerra com uma conclusão prévia, referente ao assunto discutido, para que o texto, em seu conjunto, disponha de uma coesão inerente ao trabalho produzido. O primeiro capítulo teve por objetivo apresentar o autor, sua obra, o poder e a morte no Satyricon. O segundo, visou discutir sobre os libertos na historiografia e, por fim, o terceiro, analisou o olhar de Petrônio e sua representação sobre a morte. Com isso, concluímos que a morte gerou vários interesses e conflitos entre grupos distintos na sociedade que estava em transformação entre os séculos I e II d.C. / The present work has as intended to study the representation of the death and the expectations that it can cause in a society in transformation, Old Rome (period of the Principality), where a group of rich people appears and with influences, the freedoman-rich ones. Our main source was Satyricon, romance writen about the second half of the century I A.D. (time neroniana), for a well-known author for Petrônio. For accomplishment of this study, we elaborated three chapters and each one has a previous conclusion, regarding the discussed subject, so that the text, in its totality, has an inherent cohesion to the produced work. The first chapter had for objective to present the author, his work, the power and the death in Satyricon. The second, discussed on the freedoman in the historiography and, finally, the third, analyzed the glance of Petrônio and its representation on the death. With that, we concluded that the death treated several interests and conflicts among different groups in the society that was in transformation between the centuries I and II A.D.

Made available in DSpace on 2016-04-18T21:31:59Z (GMT). No. of bitstreams: 3 Neemias Oliveira da Silva1.pdf: 1241780 bytes, checksum: 02c97afbbd65956b40b3c9fbc908aae9 (MD5) Neemias Oliveira da Silva2.pdf: 3045962 bytes, checksum: d181cc5d3cae4209cbd6edae00c4bb7c (MD5) Neemias Oliveira da Silva3.pdf: 859939 bytes, checksum: 3c76f13b2174ec695c5bff5ef2021e0c (MD5) Previous issue date: 2009-09-09 / Fundo Mackenzie de Pesquisa / This study aims to map out a discussion about the daily ritual inserted on the filmic work Satyricon of Federico Felini. This work includes the ritual, in latin "ritualis", as a set of practices of man, replete of symbolic values which have been recreated and incorporated by the film industry. Therefore the analysis of filmic work will be based on Satyricon of Petronius literary work which was written in the first century AD. The bridge to understand two separate worlds, the contemporary and the classic, is the focus on director and producer of movie: Federico Fellini. The popular festivals, the dance, the mysticism, the religion are human expressions that are used for mediation in cultural traditions of a particular social group and that began to integrate itself in the film language. From this perspective, we try to map the daily rituals and representations of individuals which are include on own time and space. In this way, the methodology used to analyse the movie and literary work will be based in the reading of the bibliographic material. Through of the analysis of the filmic work Satyricon of Federico Fellini, we will examine how far the Epicuru's philosophy of Carpe Diem is inserted in daily rituals and how the film industry uses the ceremonial language. / Este estudo tem por objetivo traçar uma discussão sobre os rituais cotidianos inseridos na obra fílmica o Satyricon de Federico Fellini. Este trabalho compreende o ritual, no latim ritualis, como um conjunto de práticas do homem, repleta de valores simbólicos aos quais foram recriadas e incorporadas pela indústria cinematográfica. Portanto, a análise da obra fílmica será baseada na obra literária Satyricon de Petronius escrita no século I d.C. A ponte para compreender dois mundos, do Clássico ao contemporâneo, é o foco no diretor e produtor do filme: Federico Fellini. As festas populares, a dança, o misticismo, a religião são expressões humanas que servem de mediação das tradições culturais de um determinado grupo social e que passou a se integrar na linguagem cinematográfica. Nessa perspectiva, nós buscamos mapear os rituais cotidianos e as representações dos indivíduos inseridos em seu próprio tempo e espaço. Desta forma, a metodologia usada para analisar o filme e a obra literária será baseada na leitura do material bibliográfico. Através da análise da obra fílmica Satyricon de Federico Fellini, nós analisaremos o quanto da Filosofia de Epicuro do Carpe Diem está inserida nos rituais cotidianos e como a indústria cinematográfica usa a linguagem ritualística.

Orientador: Cláudio Aquati / Resumo: Este trabalho teve como objeto de pesquisa uma obra da literatura latina, o Satíricon, de Petrônio. Dela, sob o viés da amizade, foi analisada, a dupla formada pelo protagonista Encólpio e seu inseparável (ou quase) amigo Gitão. O conceito de amizade foi estudado, por um lado, com base em Ética a Nicômaco, de Aristóteles, que faz uma valoração do conceito de philia, e De amicitia, obra na qual Cícero propõe parâmetros morais e éticos que deveriam estar presentes em uma relação entre amigos e, por outro, em obras nossas contemporâneas, como Genealogias da amizade, de Ortega (2002), e A amizade no mundo clássico, de Konstan (2005). Com base nessas, foi possível identificar e analisar, no Satíricon, o traço da amizade que se desenvolve na dupla composta por Encólpio e Gitão, sobretudo no sentido de tecer uma discussão a respeito do que leva as duas personagens a se relacionarem e atuarem juntas e os efeitos desse mesmo relacionamento para a construção desse romance antigo romano. / Abstract: This study focused on a Latin literary work, the led Satyricon, by Petronius. The friendship relation between Encolpius and Giton. The friendship concept was studied recurring to on the Nichomachean Ethics, by Aristotle, which considers the value of the philia concept, and on De Amicitia, work in which Cicero purposes ethics and moral parameters that should be present in a friendship. Contemporary studies, such as Genealogias da amizade, by Ortega Guerrero (2002), and Friendship in the Classical World, by Konstan (2005), were also used. It was possible to identify and analyze the friendship trace developed between Encolpius and Giton, mainly in the sense of approaching a discussion about what leads both characters to be and act together and the effects of this same relation for the construction of this ancient Roman novel. / Mestre

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Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2006-2007 / À partir de l'examen attentif des témoignages des auteurs anciens au sujet de la fable milésienne, nous arrivons à identifier trois de ces histoires à l'intérieur du Satyricon de Pétrone, soit VÉphèbe de Pergame, la Matrone d'Éphèse et Philomèle de Crotone. L'analyse narrative de ces récits révèle que les fables milésiennes du Satyricon constituent généralement des anachronies appartenant au niveau métadiégétique, reliées au récit premier par une relation de contraste ou d'analogie, ce qui leur confère une fonction thématique ; elles sont intimement liées au récit premier puisqu'elles sont racontées par des personnages-narrateurs, qu'elles s'adressent à des narrataires intradiégétiques et que le narrateur extradiégétique effectue les passages d'un niveau narratif à l'autre. Dans une perspective plus élargie, ces récits servent principalement à dévoiler la psychologie des personnages, en représentant leurs états d'âmes, et à véhiculer une critique de mœurs, adoucie par l'humour et volontairement reléguée au second niveau.

À la suite de son édition du Satiricon de Pétrone, A. Ernout présente soixante-trois extraits constitués, d'une part, de témoignages ou citations effectués par des auteurs anciens qui commentent Pétrone, et, d'autre part, de fragments poétiques en vers attribués à Pétrone par des scribes du Moyen Age et par des humanistes. Ce corpus, transmis en dehors de la tradition manuscrite directe du Satiricon, représente le fondement de notre mémoire, qui se donne pour objectif d'en produire une édition critique comportant un établissement du texte latin accompagné d'un apparat critique sommaire, une traduction française et un commentaire explicatif détaillé. Ce commentaire, à la fois littéraire, historique, linguistique, stylistique et métrique, vise à éclairer la signification générale de ces textes, à apporter une contribution à l'étude de leur authenticité pétronienne et à permettre de faire un bilan des informations nouvelles qu'ils procurent sur le contenu du Satiricon.

In Roman society, freed slaves were elevated to a citizen-like status, yet they never had the full rights of their free-born counterparts. Despite the inequality of the system, many freedmen appear to have found great success in the realm of business. This report endeavors to reveal why it was that this group prospered within the Roman economy using a pseudo-Darwinian perspective. Scholarship has, for the most part, tended to avoid Darwinian lines of thought in sociological studies but this report shows the power of this type of thinking. The first chapter clarifies the nature of slavery in the Roman world and the wide variety of experiences that slaves could have. Chapter two considers the different ways that slaves could be manumitted and how a freedman’s status could differ depending on the formality of his release from servitude. The third chapter examines the literary representations of freedmen in the genre of comedy and Petronius’ Satyricon. Chapter four turns to the archaeological evidence and provides a sense of how freedmen represented themselves to the wider community. Lastly, the fifth chapter, using a pseudo-Darwinian model, will show that the image of the successful freedman is not an anomaly of the archaeological record or a trope of Latin literature but an inevitable outcome of the intense selection that slaves underwent. / text