Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references. Also available on the Internet.

This dissertation examines the place of Catullus' poetry in the iambic tradition and its innovation within that tradition. By the Classical period, the genre iambos had been distilled down to invective content in iambic meters, despite the much greater variety of features found in the canonical Archaic iambographers (particularly Archilochus and Hipponax, 7th-6th C BCE). Catullus, familiar with these poets not only in their own right but also through the lens of Hellenistic authors such as Callimachus, partakes in and expands this tradition in novel ways. Catullus affirms the connection between invective and iambic meters in some of his poems (25, 29, 37, 39, 52, 59, 60). In others, he subverts his readers' expectations, creating mismatches between meter and content. He employs iambic meters without invective content once in iambic trimeters (4) and in half of his choliambic poems (8, 22, 31, 44). Conversely, he uses unaccustomed meters for invective, including hendecasyllables and elegiac couplets. Scholarly efforts to explain the mismatch of meter and content in Catullus' invective-free iambic poems and in his invective poems in other meters have largely been piecemeal; this study represents a more sustained approach to the problem. I argue in Chapter One that the speed of the skiff in poem 4 enables it to outpace obstacles representing iambos' traditionally dominant feature, invective; against generic expectations, Catullus introduces speed as a pointed alternative to abusive content. Chapter Two demonstrates that Catullus employs his non-abusive choliambic poems in the diagnosis of literary-critical and medical problems, tapping into a strain of aesthetic criticism and complaint found in Callimachus' Iamboi and in Hipponax himself. Chapter Three presents Catullus' hendecasyllables as a flexible meter without a strong ethos, allowing Catullus to link it to both the iambic tradition and love poetry. Finally, Chapter Four explores Catullus' use of elegiac epigram as an open form primarily for invective, matching the longstanding but uneasy coupling of hexameter and pentameter to vignettes of unbalanced relationships. With carefully considered mismatches of form and content, Catullus extends iambos beyond tradition.

Thesis (MA (Ancient Studies)--University of Stellenbosch, 2006. / The aim of this study is to effectively render into Afrikaans the impact of the Latin text of Catullus for readers living through another language, within another culture. The challenge not only lies in transporting the spirit of the original to the translation, but also to represent the detail of the text itself: the stilistic features of word order, word choice, imagery and figures of speech. For this purpose I will follow the functionalist approach to translation as expounded by Christiane Nord (1997).

Thesis (MA)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: A persona is a definable literary technique that all authors necessarily use. This thesis tries to show how Catullus, with the use of six personae (amator acceptus, amator reiectus, hospes urbanus, poeta doctus, fabulator en sacerdos), persuades the reader of the emotional “authenticity” and the accessibility of his poems. This is done firstly by investigating the literary process of which a persona forms part. By comparing this process with the three phases of a conversation (thought, expression and utterance), it is possible to see how a persona can be “discovered”. The thought represents the historical author and his literary context. The expression represents the literary persona itself. The utterance represents the unemotional, “unloaded” elements of the text manifested as the collective function of characters, speakers and narrators. By identifying this process in Catullus’ poetry, the relevant personae are illuminated. Catullus, as a Latin poet who was familiar with “Roman performance poetry” and the ancient theatre mask, also understood this complex process. This thesis argues that Catullus used the persona – like a theatre mask – as a so-called “totem of perspective”. The careful use of persuasive techniques that provide the momentum, are analysed in some of his poems, keeping the function of this “totem of perspective” in mind. The result is that the poet succeeds in creating sophisticated, diverse and accessible personae, which readers through the ages readily accept as “authentic”. / AFRIKAANSE OPSOMMING: ’n Persona is ’n definieerbare literêre tegniek wat alle outeurs noodwendig gebruik. Hierdie tesis beoog om aan te dui hoe Catullus, met die gebruik van ses personae (amator acceptus, amator reiectus, hospes urbanus, poeta doctus, fabulator en sacerdos), die leser van die emosionele “egtheid” en die toeganklikheid van sy werk oortuig. Dit word eerstens gedoen deur die literêre proses waarvan ’n persona deel is, te ondersoek. Deur hierdie proses te vergelyk met die drie fases van ’n gesprek (gedagte, uitdrukking en uiting) is dit moontlik om te sien hoe ’n persona “ontdek” kan word: die gedagte verteenwoordig die werklike outeur en sy literêre konteks, die uitdrukking verteenwoordig die literêre persona self en die uiting verteenwoordig die onemosionele, “ongelaaide” elemente van die teks, soos vergestalt deur die gesamentlike funksionering van karakters, sprekers en vertellers. Deur hierdie proses te identifiseer in Catullus se gedigte, word die betrokke personae verhelder. Catullus, as Latynse digter wat bekend was met “Romeinse performatiewe poësie” en die antieke toneelmasker, het ook hierdie ingewikkelde proses begryp. Hierdie tesis argumenteer dat Catullus die persona – soos ’n toneelmasker – as ’n sogenaamde “perspektieftotem” gebruik het. Die sorgvuldige gebruik van oorredingstegnieke wat die momentum voorsien, word in van sy gedigte geanaliseer met hierdie perspektieftotem-funksie in gedagte. Die resultaat is dat die digter dit regkry om gesofistikeerde, diverse en toeganklike personae te skep wat lesers deur die eeue as “eg” aanvaar.

The thesis consists of detailed commentary on the first 201 lines of Catullus 64, together with an edited text and apparatus criticus. It represents about half a planned commentary on the whole poem, which will also include an introduction. The commentary begins by discussing the poem’s Argonautic opening, its use of allusion to negotiate generic relationships with epic and tragedy, and its exploration of narrative, pictorial and first-person ‘lyric’ modes. As the narrative jumps to Peleus’ wedding, the commentary examines the complicated moral signals about Roman luxury and the golden age sent by the description of the gleaming palace surrounded by abandoned fields. The transition to the description of Ariadne prompts an examination of how this ‘disobedient’ ecphrasis emphasises details that a picture could not literally convey, together with an analysis of the male narrator’s objectifying presentation of a woman in distress. The ecphrasis proper is then disrupted by a ‘flashback’ covering Ariadne’s first encounter with Theseus and his fight with the Minotaur: the commentary explores the ways in which shifting focalisation complicates the reader’s judgement of Theseus’ heroism. Finally, the thesis looks at Ariadne’s speech as an intertextual node, investigating the meanings generated by its relationships with other speeches from both earlier and later in Greek and Roman poetic traditions, and examining how each theme or topos is used in this particular situation both by the alluding poet and by Ariadne herself. More discursive notes introducing the various sections are interspersed with shorter lemmata considering textual, metrical, linguistic and cultural-historical issues as well as literary interpretation. The commentary aims both to open up the possibilities of meaning offered by individual words and phrases, and to advance critical understanding of key aspects of the whole poem, such as its narratorial voice, engagement with visuality and place in literary history.

Bibliography: leaves 341-352. / ix, 352 leaves : col. ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Investigates how Roman poets make use of imagery and vocabulary of colour and shining to enhance the effectiveness of their poetry. Focuses on the work of three Roman poets, Catullus, Propertius and Horace (in his Carmina) because they have many themes in common and exhibit skilful and imaginative use of colour imagery and vocabulary. Parallels are drawn with the colour imagery of the poets' predecessors, contemporaries and successors (in both Greek and Latin verse). / Thesis (Ph.D.)--University of Adelaide, Centre for European Studies and General Linguistics, 1999?

Bibliography: leaves 341-352. / ix, 352 leaves : col. ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Investigates how Roman poets make use of imagery and vocabulary of colour and shining to enhance the effectiveness of their poetry. Focuses on the work of three Roman poets, Catullus, Propertius and Horace (in his Carmina) because they have many themes in common and exhibit skilful and imaginative use of colour imagery and vocabulary. Parallels are drawn with the colour imagery of the poets' predecessors, contemporaries and successors (in both Greek and Latin verse). / Thesis (Ph.D.)--University of Adelaide, Centre for European Studies and General Linguistics, 1999?

Königliches Gymnasium, 1875--Gnesen.

Orientador: Marcos Aurélio Pereira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T11:10:28Z (GMT). No. of bitstreams: 1 Miotti_CharleneMartins_D.pdf: 1773916 bytes, checksum: 778de91d0605ae2cfb774e577c533629 (MD5) Previous issue date: 2010 / Resumo: Nas primeiras linhas das Sátiras (I, I, 24) Horácio defende a artimanha do riso no laborioso ofício de dizer a verdade. O modus loquendi empregado de acordo com um propósito pré-definido era já entre os antigos tema fecundo, uma vez admitido que o sucesso ou o fracasso de um orador poderia ser determinado unicamente pela sua habilidade retórica. O humor se constituía desde os filósofos pré-socráticos como um poderoso (e perigoso) instrumento capaz de potencializar os efeitos de um bom discurso ou desmoralizar definitivamente aquele que não soubesse usá-lo, por exemplo, com parcimônia e elegância. Multiplicam-se, assim, reflexões sobre a utilidade do riso que visam esclarecer a natureza do que o desencadeia, além de regulamentar o emprego do risível considerando critérios muito bem demarcados. É nesse contexto que se insere o De risu, capítulo III do sexto livro da Institutio oratoria de Quintiliano - o mais extenso dentre os cinco capítulos do livro. Com a tradução do De risu, buscamos sublinhar as especificidades desse ?tratado de uso conveniente do humor? em seu diálogo com a tradição retórica e poética antigas, observando a percepção de Quintiliano sobre o assunto à luz dos autores ali explicitamente citados - quais sejam: Cícero, Catulo e Horácio - nas obras mais frequentemente aludidas no De risu (De oratore II, Carmina Catulli, Sermones) / Abstract: In the Satires (I, I, 24), Horace defends the cunning of laughter on the laborious craft of saying the truth. The modus loquendi used in accordance with a predefined purpose was already recognized among ancient authors as a fruitful subject, once it is admitted that the success or failure of an orator could only be determined by his rhetorical ability. Humour has been constituted, since the post-socratic philosophers, as a powerful (and dangerous) instrument capable of potentializing the effects of an outstanding speech or demoralizing decisively the one who does not make dexterous and parsimonious use of all the inexhaustible resources offered by the method of laughter. Thus, there is a proliferation of reflections on the utility of laughter that intend to clarify the nature of that which releases it, besides regulating the deployment of the laughable, taking into consideration strongly demarcated criteria. It is within this context that the De risu is inserted, the third chapter of the sixth book of Quintilian's Institutio oratoria - the most extensive amongst the five chapters of the book. Through the translation of the De risu, we seek to highlight the specificities of this ?treatise of convenient use of humor? in its dialogue with rhetorical and poetical ancient tradition, observing Quintilian's perception about the subject at the light of authors explicitly mentioned therein - namely: Cicero, Catullus and Horace - in the works most often alluded in the De risu (De Oratore II, Carmina Catulli, Sermones) / Doutorado / Linguistica / Doutor em Linguística

The existence of a metaphoric female standing in for poetic style was only plainly discussed in a paper from 1987 concerned with Roman elegiac poetry. This figure is given the title of scripta puella or written woman, since her existence depends solely on the writings of an author. These females often appear to have basis in reality; however there is insufficient evidence to allow them to cross out of the realm of fantasy. The term scripta puella in poetry refers to a perfected poetic form, one the author prefers over all others, and a human form creates the illusion of a mistress. Using this form, usually described in basic terms which create an outline of a woman, a poet easily expresses his inclination towards specific poetic styles and elements. While other scholars recognize the scripta puella in elegiac poetry, little research has been done into other genres. For this thesis, the focus is on the genre called Latin verse satire. The genre contains four recognized authors: Lucilius, Horace, Persius, and Juvenal. In order to prove her existence, each collection of satires is examined in its original language and analyzed with heavy emphasis on recognizing key phrases and attributes of scriptae puellae. Her appearances can be difficult to determine, as some examples will show, yet the existence of scriptae puellae enrich modern understanding of ancient texts. In addition to the four authors, articles and books dealing with women, satire, and women in satire are consulted to aid in explanation and support. With this body of proof, scriptae puellae are shown to exist within the Latin verse satirists' texts; they act as a link between the four authors and as a link to Greek poetry, which has been considered a possible predecessor for satire. This knowledge allows for a better explanation of satire as a genre and opens up the possibilities for further study in other genres which contain women of various forms.