No description available.

Inaug.-diss.--Gt̲tingen. / Vita. Includes bibliographical references.

Inaug.-diss.--Göttingen. / Vita.

Inaug.-Diss.--Heidelberg. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

No description available.

Inaug.-Diss.--Heidelberg. / Vita. Includes bibliographical references. Also issued online.

Inaug.-Diss.--Heidelberg. / Vita. Includes bibliographical references. Also issued in print.

Orientador: João Batista Toledo Prado / Resumo: O presente trabalho consiste em um estudo da arte gramatical intitulada Terentiani Mauri de litteris, de syllabis, de metris, do autor latino Terenciano Mauro (TM), que se ocupa da descrição e técnica de uso dos versos da lírica latina. Composto pelos livros De litteris, De syllabis e De metris, o tratado técnico perpassa os mais variados tópicos: desde o estudo das letras latinas e da formação de sílabas, até o emprego de diferentes metros na composição dos versos de renomados poetas latinos. O estudo volta-se à investigação das principais características do Prefácio e do livro De Metris de TM, a fim de evidenciar as diferentes camadas que constituem o texto, uma vez que é possível identificar, em algumas passagens, a emergência de uma função poética, ainda que em segundo plano. Nesse sentido, observou-se que TM demonstra certo cuidado na elaboração do plano de expressão de sua obra, na medida em que compõe o texto empregando metros do acervo da poesia clássica latina. Verificou-se também que o metricista constrói o ritmo de seu texto mantendo um movimento constante dos versos, além de explorá-lo por meio de um arranjo regular dos elementos na oração. Trata-se, portanto, de uma arte métrica com aspectos metapoéticos. Assim, pretendeu-se comprovar que esse aspecto indica certa performatividade do texto, uma vez que ele demonstra a matéria por meio do arranjo dos versos que compõem o arranjo do plano de expressão. À luz de estudos antigos e recentes, dispôs-se não apenas a apr... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present work consists of a study of the ars grammatica named Terentiani Mauri de litteri, de syllabis, de metris, written by the Latin author Terentianus Maurus (TM) and which focuses on the description and technique used in the verses of the Latin lyric. It is composed of the books: De litteris, De syllabis and De metris, covering varied topics - from the study of the Latin letters and the formation of the syllables to the usage of different metric in the composition of renowned Latin poets. This study aims to investigate the main characteristics of the Preface and the book De Metris, by TM, highlighting the different parts that constitute the text, since it is possible to identify in some excerpts the presence of a poetic function. It is observed that the grammarian was quite careful in the elaboration of the plan of expression of his work as far as he uses meters of the classic Latin poetry catalogue while he writes his text. Furthermore, it is noticed he develops the rhythm of his text maintaining a constant movement of his verses besides exploring it through a regular arrangement of the elements in the sentence. It is, thus, a metrical treatise with metapoetic features. Therefore, it was intended to prove that this aspect suggests some performativity of the text as it shows the subject through the arrangement of the verses which form the arrangement of the plan of the expression. In the light of past and present studies, not only was it desired to submit an overview ... (Complete abstract click electronic access below) / Mestre

This dissertation treats the subject of temporality in Ovid’s exile poetry. I argue that the post-exile texts feature a systematic distortion of time that cannot be conveyed by conventional chronometry. I read this phenomenon as a testament to the condition of the displaced person: the trauma of exile fosters a dissonance between interior (subjective) and exterior (objective) temporality, whereby time becomes stagnant, retrospective, or compulsively circular. The object of this thesis is to chart the evolution of this relationship between dual temporal schemata—and the schism in representations of time that occurs between Ovid’s pre- and post-exilic works. The distinct temporal aesthetic that emerges is a constitutive element of a textual portrait of exilic consciousness. This unique temporality, moreover, is consistently defined against the temporal prescriptions of the Augustan regime. The ordering of the Augustan subject’s existence through temporal regulations—such as the Caesarian calendar and the myth-enshrined teleology of the Julian imperial line—codified imperial ideology. Although Ovid was, in one sense, a prime participant in this program as author of the Metamorphoses and Fasti, much of Ovid’s elegy ran afoul of Augustan moral codes due to its erotic content and celebration of an individualistic ethos, the emblems of which—such as inborn poetic ingenium and the private and subjective experience of the individual—feature so prominently in his poetry. In the context of Augustan-age incursions of public mores into private life, Ovid put himself at odds with the Augustan value system in his art and actions, which likely occasioned (or was a catalyst for) his exile. He thus had a vested interest in (i) resisting the dominant teleology of the Augustan regime and the self-legitimating semiotic system of which it was a part and (ii) mounting opprobrium against the regime that ousted him. The poet’s alternative vistas of temporality militate against the Augustan program by (a) reclaiming time as a subjective experience that cannot be delimited by the parameters of an official time scheme, and (b) evacuating Augustan time of its meaning within the fictional world of the poetry, thereby exposing it as a socially-constructed, rather than an absolute, reality.

The question of the relationship between modernity and poetic classicism has typically been investigated through the lens of classical-style poetry, which is to say, by examining poetry written in the modern period which adheres to existing poetic forms and eschews the European influences and free-verse style of New Poetry (xin shi). But as premodern poetry existed within a classical media ecology alongside calligraphy and painting, to understand the ways conventional poetry confronted modernity, this dissertation argues, we must also understand the way this media ecology was transformed, as well as how this constellation of modes shifted from a literati practice during imperial China to a modern, even revolutionary practice in the twentieth century. I argue that changing conceptions of the zi, or character, were central to this transformation, and to the production of poetic classicism in the modern period. I understand the zi as a material, visual, and theoretical site at which the temporal, political, and aesthetic properties of poetry are articulated, a site which transgresses the boundaries between calligraphic inscription, pictorial representation, and poetic utterance. Covering a wide variety of media, including underground literary journals, political cartoons, paintings, typography, and theatre, this study investigates the ways changing conceptions of the zi allowed writers, artists, poets, and politicians to adapt classical poetics to contemporary political concerns. At stake is more than an expanded--or even revisionist--history of twentieth-century Chinese poetry. Rather, by tracing processes of canon formation, dissolution, and rearticulation in a way that reveals the role of literature in crafting political sentiment, this project shows how so-called traditional culture has been leveraged in support—and critique—of Chinese nationalism today.