This dissertation explores the ground of, and practices of self-reflexivity behind, the often polemical contemporary debates that surround research practices and methodology in humanities and social sciences historiography. I focus on the unexamined reciprocity between conceptions of history and the linguistic and imagistic practices of remembering that affect and produce historiography in the eighteenth century: despite the identity of their epistemological foundation, in the long eighteenth century, ''history'' and "memory" begin to function as diverging truth-claims. By the end of the seventeenth century, John Locke's well-known articulation of tabula rasa--itself a divergence from the remarkably stable medieval and renaissance conceptions of memory as "storehouse" and tabula rasa--signals an epistemological shift in forms of objectivity and, consequently, the subject's experiences of her his interiority. I analyze aspects of the effects of this emerging epistemology on eighteenth century thinkers' reconstructions of the "social body." Across a number of authors' works and forms of representation--William Congreve's drama, Mary Wollstonecraft's political argumentation, picturesque theory and representation of nature, Locke, Hume, and Joseph Priestly's philosophical debates, and William Blake and Laurence Sterne's literary works--I attempt to trace significant shifts in the relation of, 'memory" and ''history.'' Throughout the chapters I focus on the relation of linguistic strategies of representation to shifts in various kinds of social and personal formations: from gender roles and political or cultural forms, to interpretations of causality, agency, and avenues for social change. / Thesis / Doctor of Philosophy (PhD)

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The gendered characterization of the Propertian lover-poet does not fit comfortably into either the role of a traditionally masculine elite male Roman or that of an effeminate elegiac lover. This dissertation argues for a lover-poet whose gender role draws on and reacts to elements from both of these pre-existing roles with the end result of a character that disidentifies with Roman gender roles and exists outside of the binary oppositions that they provide. The lover-poet’s characterization is intimately bound to that of his elegiac puella, usually identified in the poetry as Cynthia, and as such the focus of this dissertation is on the poems in which the lover-poet and Cynthia interact. Propertius explores tensions inherent in the gendered roles and relationships of elegy through his exposure of the limits of elegiac fides and his interaction with non-elegiac fides as part of the language of Roman social relations. These tensions are further exposed through his use of women’s speech, which depicts women as critical of both the elegiac scenario and of mainstream Roman values. Propertius uses the common elegiac trope seruitium amoris to consider issues of freedom, speech, and patronage both within and without the elegiac world and differs from the other Latin love poets in his presentation of his puella as possessing a measure of mastery. He also uses the equally common trope militia amoris to portray the elegiac world as morally superior to that of traditional militia, including epic poetry and contemporary conquest and empire-building. The existence of similar themes and critiques in the non-Cynthia poems, especially those that ostensibly praise Augustus, suggests the importance of further investigation into the connection between Propertius’ construction of masculinity and the social, cultural, and political change of the Augustan era.

The gendered characterization of the Propertian lover-poet does not fit comfortably into either the role of a traditionally masculine elite male Roman or that of an effeminate elegiac lover. This dissertation argues for a lover-poet whose gender role draws on and reacts to elements from both of these pre-existing roles with the end result of a character that disidentifies with Roman gender roles and exists outside of the binary oppositions that they provide. The lover-poet’s characterization is intimately bound to that of his elegiac puella, usually identified in the poetry as Cynthia, and as such the focus of this dissertation is on the poems in which the lover-poet and Cynthia interact. Propertius explores tensions inherent in the gendered roles and relationships of elegy through his exposure of the limits of elegiac fides and his interaction with non-elegiac fides as part of the language of Roman social relations. These tensions are further exposed through his use of women’s speech, which depicts women as critical of both the elegiac scenario and of mainstream Roman values. Propertius uses the common elegiac trope seruitium amoris to consider issues of freedom, speech, and patronage both within and without the elegiac world and differs from the other Latin love poets in his presentation of his puella as possessing a measure of mastery. He also uses the equally common trope militia amoris to portray the elegiac world as morally superior to that of traditional militia, including epic poetry and contemporary conquest and empire-building. The existence of similar themes and critiques in the non-Cynthia poems, especially those that ostensibly praise Augustus, suggests the importance of further investigation into the connection between Propertius’ construction of masculinity and the social, cultural, and political change of the Augustan era.

The Hylas myth, in which the eponymous boy beloved of Heracles is raped by water nymphs while drawing water from a spring, seems to have been a wildly popular subject among the literary circles of Augustan Rome. Indeed the rape of Hylas had been so ubiquitous that Virgil himself could claim that no one was unfamiliar with it (Georgics 3.6: cui non dictus Hylas puer?). Yet despite this declaration, few renditions of the Hylas myth survive. Propertius 1.20, an Augustan era Latin poem in elegiac couplets, is one extant version of the rape of Hylas. While the similarities between this poem and Theocritus Idyll 13, a short Hellenistic hexameter poem composed well before Propertius, have long been observed by modern scholars, there has been no sustained effort to connect these two accounts of the Hylas myth conclusively. Instead, what little scholarly work that has been done on these poems either appraises them in isolation, or seeks a non-Theocritean template behind Propertius 1.20. With this thesis, I aim to prove definitively that Theocritus Idyll 13 is the major model for Propertius 1.20. In my first chapter, I provide a brief overview of the rape of Hylas throughout all of Greek and Latin literature. In my second chapter, I examine Theocritus Idyll 13 with particular attention to its wit, humour, and narrative. In my third chapter, I offer a thorough literary-critical appreciation of Propertius 1.20, establishing links to Idyll 13 wherever possible. Finally, in my conclusion, I consider the possible influence of other poets and mythographers upon Propertius, before appraising 1.20 both independently and within the context of the Propertian Monobiblos. / Thesis / Master of Arts (MA) / The rape of Hylas is a minor event occurring during the famed expedition of the Argo. A handsome boy named Hylas, who is the beloved of the mighty hero Heracles, fetches water during a brief landing on their voyage to Phasis. As Hylas draws water from a spring, water nymphs abduct him. Heracles, now bereaved, rampages madly in futile search while the other Argonauts sail on without him. Such are the general details of the Hylas myth. This thesis examines two versions of the Hylas myth, the first by Theocritus, a third century BC Hellenistic poet, and the second by Propertius, a first century BC Roman poet. My objective is to prove definitively that these two accounts are connected, with Propertius having modelled his treatment on the rendition provided by Theocritus. This will be achieved through a thorough literary-critical appreciation, with particular focus on wit, humour, and narrative.