Ce travail s’inscrit dans le sillage des études récentes sur la mémoire culturelle et démontre comment la notion de mémoire joue un rôle clef dans le déroulement de l’Énéide. L’épopée virgilienne attire fréquemment l’attention du lecteur sur la fabrique poétique d’une atmosphère mémorielle identifiable à travers les lieux de mémoire, des objets signifiants (monimenta) et certains personnages divins et humains. Parmi ces personnages, Anchise représente la mémoire du passé et Ascagne-Iule symbolise le futur en tant qu’ancêtre de la gens Iulia, tandis qu’Énée s’affirme comme le parangon de la memoria romana. Ses choix, ses errances, son séjour carthaginois, sa catabase, sa visite de Pallantée et même le meurtre de Turnus sont imprégnés de la dialectique de la mémoire et de l’oubli. Ces observations permettent de poser un nouveau regard sur le sens général du poème et d’interroger la réception de l’Énéide comme racontant l’accomplissement des fata de Jupiter. Le poème épique renvoie aussi à la narrativisation de la conquête progressive de la mémoire par Énée, qui offre d’intéressants échos aux préoccupations augustéennes sur l’alternative embarrassante entre la vengeance (ultio) et la clémence (clementia). Le poète suscite ainsi une réflexion sur la mémoire comme un puissant moteur de l’action épique, également présentée comme un lien entre les hommes et les époques grâce à la construction d’une mémoire culturelle romaine, héritière des identités culturelles troyenne et latine. Virgile n’utilise pas seulement la mémoire comme la pierre de touche de son poème mais témoigne souvent d’une forme de « mémoire rétroverse », un concept forgé pour les besoins de ce travail. Dans plusieurs passages, Virgile regarde en effet les événements qui ont lieu à l’époque d’Énée avec la subjectivité embarquée d’un poète vivant à l’époque augustéenne. Ce point de vue rétrospectif et prospectif offre un aperçu intéressant de la construction de la mémoire dans l’épopée et de son télos augustéen. / This work draws on recent studies of cultural memory and aims to demonstrate that the notion of memory has a key role to play in the unfolding plot of the Aeneid. The virgilian epic calls the reader’s attention, more often than not, to the poetic fabric of a memorial atmosphere which is identified through ‘places of memory’; meaningful and powerful objects (monimenta); and divine and human characters. From theses characters Aeneas’s family emerges: Anchises represents the past and Ascanius-Iulus embodies the future as the ancestor of the gens Iulia. Aeneas, meanwhile, is the parangon of Memoria Romana. His every choice, the wanderings, the Carthaginian temptation, the catabasis, the visit of Pallanteum and even the death of Turnus at the end of the Aeneid, are permeated throughout with the dialectic of Memory and Oblivion. These observations encourage us to reconsider the general meaning of the poem and to question the reception of the Aeneid as an accomplishment of Jupiter’s fata and the realization of divine will. For the epic poem also seems to be the narrativization of Aeneas’s progressive conquest of memory. This, in turn, suggests intriguing echoes of Augustan preoccupations with the embarrassing alternative visions of ultio and clementia.The poet also raises the suggestion of memory as a driving force behind epic action, which is equally presented as a link between individual and time, owing to the construction of a Roman cultural memory inherited from Trojan and Latin cultural identities. Not only does Vergil use memory as a cornerstone for his narrative, but he often exploits the position of « reversive memory », a concept introduced by this thesis. In many passages, Vergil looks at the events of Aeneas’s time from the embedded perspective of a poet living in Augustan times. This both retrospective and prospective point of view provides a fascinating insight into the continuous construction of epic memory and its historical télos under Augustus.

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No. of bitstreams: 2 Dissertação - Thiago Eustáquio Araújo Mota - 2015.pdf: 7453680 bytes, checksum: eadb2ef82a3b06b688d17eafc92ac84e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-12-16 / Abbiamo studiato in questa Tesi di dottorato un aspetto del mito di Enea: la divinizzazione eroica che appare come una promessa dal fatum nei versi della Eneide di Virgilio, poema epico composto tra gli anni 29 e 19 aC. Tra le varie possibilità metodologiche ed ermeneutiche per lo studio di un poema epico, ci concentreremo qui sulla questione della storicità dell'opera, il suo momento di composizione e le risposte ai precedenti epici. Come una epopea eroico-storica, l'Eneide è intesa come documento di complessità inesauribile per studiare il tempo del poeta. Cerchiamo di valutare come le promesse di apoteosi dell'eroe e dei suoi discendenti, Giulio Cesare e Ottaviano, sono collegate nella trama, offrendo alla casa dei principi da cui deriva l'Imperatore Augusto, domus Iulia, ascendenza divina ed eroica. In grado, quindi, di rafforzare la sua posizione di prestigio sociale e politico, mettendo la famiglia imperiale di sopra delle altre famiglie aristocratiche. Il poeta fa Giove promettere all'eroe, figlio di Venere, un tipo di sollevamento ad sidera, allo scopo di ricordare la consecratio/katasterismos di Giulio Cesare la cui anima è stata identificata alla stella che è apparsa nei cieli di Roma alla celebrazione dei Giochi per la Vittoria di Cesare - Ludi Victoriae Caesaris (44 a.C). Ottaviano, a sua volta, è citato come un dio potenziale con un posto riservato nel pantheon romano. Più di una determinazione dello fatum, Virgilio presenta la prospettiva di sollevamento stellare basata sul merito rappresentato sia dalla reputazione e dalla uirtus che sono costruiti nella vita dell'individuo. In concomitanza con l'analisi ermeneutica dello epico, il nostro sforzo metodologico si sviluppa in due direzioni: in primo luogo, facciamo un passo indietro al periodo repubblicano per seguire le tracce dello radicamento di Enea divinizzato nelle leggende di fondazione e nella topografia del Lazio. Inoltre, dalle testimonianze testuali e dalle monete mettiamo in discussione il legame tra l'eroe troiano alla genealogia della famiglia degli Iulii. Nel secondo movimento, al di là del periodo di composizione dell'Eneide, abbiamo cercato di valutare l'investimento nella genealogia troiana e la riappropriazione di temi epici nelle cerimonie, monumenti e sculture del primo secolo. Quindi, abbiamo anche analizzato le appropriazioni dello tema della divinizzazione di Enea da altri autori come Livio, Dionigi di Alicarnasso e, soprattutto, Ovidio nelle Metamorfosi. / We investigate in this Thesis a specific element of Aeneas’ myth: the heroic divinization that appears as a promise of fatum in the lines of the Aeneid, epic poem composed between the years 29 and 19 BC. Among the several methodological and hermeneutical possibilities for the study of an epic, we focus on the problem of the historicity of the work, its moment of composition and the responses to previous epic models. As a heroic-historical epic, the Aeneid is understood as an inexhaustible and complex document for studying the poet's time. We try to assess how the promises of apotheosis of this hero and his descendants, Julius Caesar and Octavian, are linked into the plot, providing to the rulers house, from which comes the Emperor Augustus, Domus Iulia, heroic and divine ancestry. Able, therefore, to strengthen its social and political prestige, putting the imperial family apart from the other aristocratic families. The poet reserves to this hero, son of Venus, one kind of upswing ad sidera in order to recall the consecratio/katasterismos of Julius Caesar whose soul has been identified to star – sidus/astrumv - that appeared in the skies of Rome during the celebration of the Games in Honor of Caesar's Victory - Ludi Victoriae Caesaris (44 a.C). More than a settlement of fatum, Virgil presents the prospect of stellar ascension based on merit represented by the fame and uirtus which are both constructed during the individual's life. Allong with the hermeneutic analysis, our methodological effort unfolds in two directions: firstly, we step back to the republican past to track the rooting of Aeneas deified in the foundation narratives and topography of Latium. Moreover, from textual sources and numismatic evidence, we bring the issue of the constructed link between the Trojan hero and the genealogy of the Iulii. In a second movement, we seek to evaluate the investment in Trojan genealogy and the reappropriation of epic themes by the ceremonies, monuments and sculptural artifacts from the first century AD. Therefore, we analyze the reappropriation of this theme of Aeneas' divinization by the augustan authors, Livy, Dionysius of Halicarnassus and especially Ovid in Metamorphoses. / Investigamos nesta Tese um elemento específico do mito de Enéias: a divinização heroica que aparece como promessa do fatum nas linhas da Eneida de Virgílio, poema épico composto entre os anos 29 e 19 a.C. Buscamos avaliar como as promessas de apoteose do herói e seus descendentes, Júlio César e Otávio, estão concatenadas na trama, conferindo à casa de governantes a qual se liga o Imperador Augusto, domus Iulia, ancestralidade divina e heroica. Capaz, portanto, de reforçar sua posição de prestígio social e político frente às outras famílias aristocráticas. O poeta reserva ao heroi, filho de Vênus, um tipo de elevação ad sidera, de forma a rememorar a consecratio/katasterismos de Júlio César cuja alma foi identificada ao astro – astrum/ sidus - que apareceu nos céus de Roma durante celebração dos Jogos à Vitória de César - Ludi Victoriae Caesaris (44 a.C). Otávio, por sua vez, é mencionado como um diuus em potência, com um lugar reservado no panteão romano. Mais do que uma determinação do fatum, Virgílio apresenta esta perspectiva de ascensão sideral fundamentada no mérito, representado tanto pela fama quanto pela uirtus que são construídas em vida pelo indivíduo. Concomitante à análise hermenêutica do épico, nosso esforço metodológico se desdobra em dois sentidos: primeiramente, recuamos ao passado republicano para rastrear na documentação textual e arqueológica o enraizamento de Enéias divinizado nas narrativas fundacionais e na topografia do Lácio. Ademais, a partir das fontes textuais e da evidência numismática, problematizamos a vinculação do heroi troiano à genealogia familiar dos Iulii. Em um segundo movimento, para além do período de composição da Eneida, buscamos avaliar o investimento na genealogia troiana e a reapropriação de temas épicos nos cerimoniais, monumentos e artefatos esculturais do século I d.C. Por conseguinte, nos debruçamos sobre as reapropriações do tema da divinização de Enéias pelos autores do Principado de Augusto, Tito Lívio, Dionísio de Halicarnasso e especialmente Ovídio nas Metamorfoses.

L'objet de cette thèse est de montrer en quoi l'Énéide constitue le récit de l'initiation royale d'Énée sous le patronage de Diane, la déesse latine de la souveraineté. L'épopée révèle sa dimension initiatique à travers sa triplicité - narrative et fonctionnelle -, en accord avec la théologie de la déesse initiatique, elle-même triple et trifonctionnelle. Chacun des niveaux fonctionnels de Diane est incarné par l'une de ses servantes : Didon (troisième fonction), la Sibylle (première fonction),Camille (deuxième fonction). Subissant les épreuves rencontrées dans les domaines sauvages et marginaux dont elles sont - au moins symboliquement - les maîtresses (Carthage, Cumes, le Latium), Énée se qualifie comme initié dans chaque fonction, ce qui lui permet d'accéder au statut d'être complet, trifonctionnel, idéal du roi indo-européen. / The purpose of this thesis is to show how the Aeneid constitutes the account of the royal initiation of Aeneas under the patronage of Diana, the Latin goddess of sovereignty. The epic reveals its initiatory dimension through its narrative and functional triplicity, in accordance with the theology of the initiatory goddess, triple and trifunctional herself. Each of Diana's functional levels is embodied by one of her servants: Dido (third function), the Sibyl (first function), Camilla (second function). Subjected to the trials in the wild and marginal areas of which they are - at least symbolically - the mistresses (Carthage, Cumae, Latium), Aeneas qualifies as an initiate in every function, which allows him to access to the status of complete, trifunctional being, the ideal of the lndo-European king.

<p>This dissertation is an attempt to study and comment upon the text of Aeneid 11. In so doing it has been necessary to trace the literary origins of the characters concerned in the hope that this would give some consistent direction to their characterization.</p> <p>Since the world's first historians had been Greeks who had associated history with epic poetry,considering that "history owed its technique and its very existence to Homer and other Greek poets" and that "Athenian tragic drama in the fifth century B.C ... also influenced Greek historical writing" (M.Grant. The Annals of Imperial Rome,10), history and poetry were inextricably woven together as Virgil's Shield of Aeneas clearly indicates (Aeneid 8.626 ff.). That this rapport would have some bearing upon Vergil's work is an aspect noted by a number of scholars who see the Aeneid in terms of allegory,a point of view which I have attempted to explore in treating Aeneid 11.</p> <p>In assessing Vergil's major heroes and his heroine Camilla,it was necessary to evaluate both descriptions and behaviour patterns of other major characters throughout Vergil's epic.As a result of this,my awareness of Vergil's knowledge of ambiguous writing techniques grew and it seemed to me that a subtle manipulation of mythology and Roman history would provide an excellent vehicle for both characterization and narrative of outstanding personages of Vergil's own era.</p> <p>Vergil's deliberate yet sensitive treatment of his major characters,his variatio in the use of typology,his highlighting of motivation and interests,of the horrors of war in which the young and frequently the innocent suffer on both sides,his recording of public debates between prominent politicians and pen portraits of regal furiosae,all find their counterparts in the period of civil strife which ensued after the assassination of Julius Caesar. The sympathy and humanitas of Vergil for all concerned,mirrored in his generally successful attempt to write aequo animo,might be summed up in Aeneas'desperate groan as he views the battle-scenes and carnage depicted on the walls of Juno's temple at Carthage: sunt lacrimae rerum et mentem mortalia tangunt (Aen.1.462).</p> / Doctor of Philosophy (PhD)

The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil.

The Thesis analyses and evaluates how Gavin Douglas (Eneados, 1513) has refocused Virgil's Aeneid, principally by giving more emphasis to the serial particularity inherent in the story, loosening the narrative structure and involving the reader in its retelling. Chapter I pieces together (from the evidence not merely of what Douglas explicitly says, but of what his words imply) what for him a "text" in general is, and what accordingly it means for a translator or a reader to be engaged with it. This sets the scene for what follows. The next four Chapters look in turn at how he re-expresses important (metaphysical) characteristics of the story. In Chapter II his handling of time is discussed, and compared with Virgil's: the Chapter sets out in detail how Douglas consistently refocuses temporal predicates, foregrounding their disjunctiveness and making them differently felt. In Chapter III spatial position and distance are analysed, and Douglas' way of dealing with space is found to display parallels with his treatment of time: networks are loosened and nodal points are accentuated. In Chapter IV the way in which he presents individuals is compared with Virgil's, and a similar repatterning and shift reveals itself: Douglas provides his persons with firmer boundaries. Chapter V deals with fate, where Douglas encounters special difficulties but maintains his characteristic way of handling the story. The aim of these four Chapters is to characterise formally how Douglas concretises and vivifies the tale of Aeneas, engaging his readers throughout in the retelling. Finally, Chapter VI looks at certain general principles of translation theory (notably connected with the ideas of faithfulness and accuracy) and argues for a way in which Douglas' translation can be fairly experienced by the reader and fairly evaluated as a lively retelling which (albeit distinctive) is fundamentally faithful to Virgil.

This thesis investigates how understandings of history in diverse texts of the Graeco-Roman period illuminate Lukan eschatology. Two strands of Lukan scholarship have contributed to an enduring tendency to underestimate the centrality of eschatology to Luke/Acts. Hans Conzelmann's thesis, that Luke focused on history rather than eschatology as a response to the parousia's delay, has dominated Lukan scholarship since the mid-twentieth century, with concomitant assumptions about Luke's politics and understanding of suffering. Recent Lukan scholarship has centred instead on genre and rhetoric, examining Luke/Acts predominantly in relation to ancient texts deemed the same genre while overlooking themes (including those of an eschatological character) that these texts do not share. This thesis offers a fresh approach. It illuminates the inherent connections between Luke's understanding of history and its end, and demonstrates significant ways in which Luke's eschatological consciousness shapes key themes of his account. By extending comparisons to a wider range of texts, this study overcomes two clear methodological shortfalls in current research: limiting comparisons of key themes to texts of similar genre, and separating non-Jewish from Jewish texts. Having established the need for a new examination of Luke's eschatology in Chapter 1, in Chapter 2 I set out the study's method of comparing diverse texts on themes that cut across genres. Chapters 3 to 6 then consider each key text and Luke/Acts in relation to a different aspect of their writers' conceptions of history: the direction and shape of history; determinism and divine guidance; human culpability and freedom; and the present and the end of history. The analysis shows that in every aspect of history examined, Luke/Acts shares significant features of the texts with which, because they do not share its genre, it is not normally compared. Setting Luke/Acts in conversation with a broader range of texts highlights Luke's periodised, teleological view of history and provides a nuanced picture of Luke's understanding of divine and human agency, all of which is affected in fundamental ways by his portrayal of the present time already within the final period of history. As a result, this study not only clarifies Lukan eschatology, but reaffirms the importance of eschatology for Lukan politics and theodicy.

The pictorial elements of the first six books of the Aeneid can be evidenced through an examination of its structural components. With commentaries on such literary devices as parallels and antipodes, interwoven themes, cyclic patterns, and strategic placement of words in the text, three genres of painting are treated individually in Chapter 1 to illustrate the poet's consistency of design and to prove him a craftsman of the visual arts. In the first division, "Cinematic progression," attention is directed to the language which conveys movement and frequentative action, with special emphasis placed on specific passages whose verbal components possess sculptural or third-dimensional traits and contribute to the "spiral" and "circle" motifs, the appropriate visual agents for animation. Depiction of mythological subjects comprises the second division entitled "Cameos and snapshots." Three selections, dubbed monstra, are explicated with such cross references as to illustrate the poet's use of epithets which he distributes passim to elicit verbal echoes of other passages. The final division, "The Vergilian landscape," addresses two major themes, antithetical in nature, the martial and the pastoral. Their sequential juxtaposition in the text renders a marked contrast in mood which is manifested pictorially in the transition from darkness to light. A panoramic chiaroscuro emerges which is the tapestry against which Aeneas makes his sojourn through the Underworld. It is the perfect backdrop to accompany the overriding theme of "things hidden," res latentes, which encompasses a greater part of the epic and becomes the culminant motif of the paintings which comprise the visual presentation. Chapter 2 functions as a catalogue raisonne for art inspired by the Aeneid from early antiquity up to the present day. Such examples of artistic expression provide a continuum with which to appropriate Horace's maxim, ut pictura poesis, in their evaluation. The verbal exegeses in Chapter 1 have been programmed to comport with the thematic content of the visual presentation in Chapter 3, a critique exemplifying the transposition of the verbal to the pictorial. With these canvases I have attempted to render a new perspective of Vergil's epic in the genre of abstract expressionism. / Art / D. Litt. et Phil.

This thesis examines the increasing sophistication of sixteenth-century French literary engagement with Virgil's Aeneid. It argues that successive forms of engagement with the Aeneid should be viewed as a single process that gradually adopts increasingly complex literary strategies. It does this through a series of four different forms of literary engagement with the Aeneid: translation, continuation, rejection and reconciliation. The increasing sophistication of these forms reflects the writers' desire to interact with the original Aeneid as political epic and Roman foundation narrative, and with the political, religious and literary contexts of early modern France. The first chapter compares the methods of and motivations behind all of the sixteenth-century translations of the Aeneid into French; it thus demonstrates shifts in successive translators' interpretations of Virgil's work, and of its application to sixteenth-century France. The next three chapters each analyse adaptation of Virgil's poem in a major French literary work. Firstly, Ronsard's Franciade is analysed as an example of French foundation epic that simultaneously draws upon and rejects Virgil's narrative. Ronsard's poem is read in the light of Mapheo Vegio's “Thirteenth Book” of the Aeneid, or Supplementum, which continues Virgil's narrative and carries it over into a Christian context. Next, Agrippa d'Aubigné's response to Virgilian epic in Les Tragiques is shown to have been mediated by Lucan's Pharsalia and its anti- epic and anti-imperialist interpretation of the Aeneid. D'Aubigné's inversion of Virgil is highlighted through comparison of attitudes to death and resurrection in Les Tragiques, the Aeneid and Vegio's Antoniad. Finally, Guillaume de Salluste du Bartas' combination, in La Sepmaine and La Seconde Sepmaine of the hexameral structure of Genesis with Virgil's narrative of reconciliation after civil war is shown to represent the most sophisticated understanding of and most complex interaction with the Aeneid in sixteenth-century France.