As the only extant detailed world map of the Anglo-Saxon period, the Anglo-Saxon map, c. 1025, presents a unique opportunity to explore a sense of Anglo-Saxon social identity as evidenced in this graphic worldview. The Anglo-Saxon map has most often been dismissed as an ill-fitting illustration when viewed solely in its manuscript context or an equally poor navigational tool when considered in the context of modern cartography. The purpose of this thesis is to present the argument that the Anglo-Saxon world map is neither simply a bad illustration nor a poorly rendered map intended for travel, but is rather a richly articulated graphic and linguistic representation of a particularly Anglo-Saxon sense of social identity as it is explored in the midst of a belief in a divine creation, secular origin, and inevitable social apocalypse. This reading of the map is supported by a comparative study of these same three foundational themes as they occur in Old English elegiac literature. The goal of this study is to read the Anglo-Saxon world map in the context of the theoretical framework of social identity demonstrated in Old English elegiac literature. In so doing, a concept of Anglo-Saxon social identity, a cultural expectation of the pull of history and the future, will be presented as it is expressed across artistic genres in Anglo-Saxon England. When viewed in the context of this greater elegiac artistic tradition, the Anglo-Saxon map can be seen as a participatory exploration of Anglo-Saxon identity in the context of the themes of creation, origin, and apocalypse. As such, the map can rightly be viewed as an artifact which was created to be, and remains even now, a carrier of the memory of Anglo-Saxon identity for future generations.

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.

No description available.

This is a collection of poems that are confrontations with the self – the self as a vessel of memory (hence the “Post” in the title, in addition to its double-meaning of “Post,” as in online self-revelation), as writer, as mother of a young child, as wife, as lover, writer, psyche, self-reflexive animal. The voice is private, heightened, direct, and colloquial, engaging in unexpected imagery, figurative language, and grammatical-play, and drawing from all levels of language and culture. The poems often record the process of trying to untangle the complexity of the self at the moment of writing, and they incorporate the particulars of the moment of writing, or associations at the moment of writing, as scaffolding for self-reflection. They are philosophical in a personal sense. Some of areas of concern explored or touched on in the poems include place, privilege, God, music, contradiction, ambivalence, the intersections of pain and pleasure, family, community, isolation, connection/disconnection, romantic love, gender, sexuality, victimization, morality language, and depression, but most of all, the state and degree and struggle for self-awareness vis-à-vis these issues. Most of these poems come through a self or a self-persona, and that self is a sensitive, even volatile character – through childhood, adolescence, marriage & martial separation, and motherhood. Often, in these poems, this self seeks refuge, escape, and redemption through language and through the body. The poet also explores form and poetic mode, in disrupted or reimagined narrative, villanelle, elegy, and sonnet form. / Master of Fine Arts

This thesis examines the hair imagery that runs through the works of Propertius, Tibullus, and Ovid. Comparative analysis of the elegists’ approaches to the motif, with particular emphasis on determining where and how each deviates from the cultural assumptions and literary tradition attached to each image, sheds light on the character and purposes of elegy as a genre, as well as on the individual aims and innovations of each poet. The Introduction provides some background on sociological approaches to the study of hair, and considers the reasons why hair imagery should have such a prominent presence in elegy. Chapter 1 focuses on the elegists’ engagement with the idea of cultus (‘cultivation’), and their manipulation of the connotations traditionally attached to elaborate hairstyles, of sophistication on the one hand, and immorality on the other, to suit an elegiac context. Chapter 2 looks at how the complexities of the power relationship between the lover and his mistress play out in references to violent hair-pulling. Chapter 3 focuses on the sometimes positively and sometimes negatively spun image of grey-haired lovers, as a reflection of the lover-poet’s own contradictory wishes for his relationship with his mistress; it also considers grey hair as a symbol of physical mortality, as contrasted with poetic immortality. Chapter 4 examines the use of images of loose hair (especially images of dishevelled mourning) to suggest connotations ranging from the erotic to the pathetic, and focuses on the effects the elegists achieve by using a single image to communicate multiple implications. The Conclusion considers the ‘afterlife’ of elegiac hair imagery: the influence that their approaches had on later authors’ handling of similar images.

Master of Music / Department of Music / Frank C. Tracz / This document was written after examination, research, score analysis, and lesson planning in preparation for the Graduate Conducting Recital of Travis M. Johnson. This recital was held on Monday, March 8, 2010 at the Cheney High School Auditorium at 6:00 pm. A philosophy of Music Education and criteria for quality literature selection is followed by the theoretical and historical analysis of four works; Flourish for Wind Band by Ralph Vaughn Williams, Air for Band by Frank Erickson, An American Elegy by Frank Ticheli, and Rough Riders by Karl King arranged by James Swearingen. Lesson plans, rehearsal aids, warm up exercises, and student assignments are included in the examination of this process.

Este trabalho propõe uma leitura da qînh (elegia) que Davi escreveu em homenagem a Saul e Jônatas (2 Sm 1:17-27). Parte da investigação desse gênero no interior da Bíblia Hebraica, identificando os principais traços dele e comparando-o a gêneros próximos numa tentativa de compreender a sua função social nos tempos bíblicos e descobrir possíveis razões para a sua reduzida presença na Bíblia Hebraica. Também constata de que modo esse lamento torna evidentes certos traços do personagem Davi, o que enriquece o entendimento dos relatos, contidos nos livros de Samuel, que narram a sua ascensão ao trono e o seu reinado. Finalmente, apresenta uma análise do poema eleito e do espaço narrativo em que ele emerge. / This paper proposes a reading of the qînh (\"elegy\") that David wrote in honor of Saul and Jonathan (2 Samuel 1: 17-27). Begins with research of this genre within the Hebrew Bible, identifying the main features of it and comparing it to related genres in an attempt to understand its social function in biblical times and find possible reasons for its reduced presence in the Hebrew Bible. Also notes how this lament becomes evident traits of the character David, which enhances understanding of the reports contained in the books of Samuel, which tell his ascension to the throne and his reign. Finally, it presents an analysis of the chosen poem and the narrative space in which it emerges.

Consoante aos estudos recentes sobre a lírica grega arcaica, hoje podemos aduzir a ocasião de performance como um elemento central para a definição de um gênero poético. A partir dessa concepção mais ampla de gênero, este trabalho visa à tradução e estudo dos fragmentos elegíacos de Tirteu, tendo em vista o caráter estritamente político de suas elegias narrativas e marciais e seus vínculos temáticos com a tradição épica, de modo que possamos ensejar uma reflexão outra sobre a função e estatuto dessa poesia em suas determinadas ocasiões de performance. / According to modern studies on archaic greek lyric, occasion of performance was a main feature to the definition of a poetic genre. Thus, this work seeks to translate and analyze the elegiac fragments of Tyrtaeus, considering the strictly political aspect of his martial and narrative elegies and its thematic resemblances with epic tradition, in order to raise a different comprehension on the function and meaning of this poetry, given its occasions.

Este trabalho propõe uma leitura da qînh (elegia) que Davi escreveu em homenagem a Saul e Jônatas (2 Sm 1:17-27). Parte da investigação desse gênero no interior da Bíblia Hebraica, identificando os principais traços dele e comparando-o a gêneros próximos numa tentativa de compreender a sua função social nos tempos bíblicos e descobrir possíveis razões para a sua reduzida presença na Bíblia Hebraica. Também constata de que modo esse lamento torna evidentes certos traços do personagem Davi, o que enriquece o entendimento dos relatos, contidos nos livros de Samuel, que narram a sua ascensão ao trono e o seu reinado. Finalmente, apresenta uma análise do poema eleito e do espaço narrativo em que ele emerge. / This paper proposes a reading of the qînh (\"elegy\") that David wrote in honor of Saul and Jonathan (2 Samuel 1: 17-27). Begins with research of this genre within the Hebrew Bible, identifying the main features of it and comparing it to related genres in an attempt to understand its social function in biblical times and find possible reasons for its reduced presence in the Hebrew Bible. Also notes how this lament becomes evident traits of the character David, which enhances understanding of the reports contained in the books of Samuel, which tell his ascension to the throne and his reign. Finally, it presents an analysis of the chosen poem and the narrative space in which it emerges.

MARTINS, Maria Helena Aguiar. A elocução do amor em Tibulo. 2016. 98f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-09-23T15:52:49Z No. of bitstreams: 1 2016_dis_mhamartins.pdf: 841895 bytes, checksum: 186a2ed60552b4b83f31c9b60604c867 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-09-24T17:33:37Z (GMT) No. of bitstreams: 1 2016_dis_mhamartins.pdf: 841895 bytes, checksum: 186a2ed60552b4b83f31c9b60604c867 (MD5) / Made available in DSpace on 2016-09-24T17:33:37Z (GMT). No. of bitstreams: 1 2016_dis_mhamartins.pdf: 841895 bytes, checksum: 186a2ed60552b4b83f31c9b60604c867 (MD5) Previous issue date: 2016 / This dissertation investigates the elocution of eleven poems from Albius Tibullus (c. 55-19 BC) work: poems 1.1-6, 1.8-9, 2.3-4 and 2.6. The demilitation of this corpus of analysis is based on the erotic subject and it is also based on the characters to which the poems are addressed: Delia, Marathus and Nemesis; the formal investigation of the elocution sustains the discussion about some aspects from this subject; therefore, we divided the poems analyzed in three cycles; the elocution of those cycles is going to be analyzed separately and compared to each other. In order to develop this research, as theoretical foundation we use research and commentaries on the work of Tibullus, rhetorical texts from Greco-Roman Antiquity, and researches about rhetoric, especially those woks that develop the elocution. The analysis is based mainly on Ad Herennium and also on Manual de Retórica Literária, from Lausberg. A further discussion of Latin poetry requires an examination of the elocution, since the Latin poets had rhetoric as their foundation. It is noticeable, that Tibullus selection and arrangement of the words in his verses utilizes figures of speech in order to mimic their content; moreover the disposition rise up the erotic content of the poems. / A presente dissertação investiga a elocução de onze poemas da obra atribuída ao poeta latino Álbio Tibulo (c. 55-19 a.C.): os poemas 1.1-6, 1.8-9, 2.3-4 e 2.6. A delimitação desse corpus de análise baseia-se na temática erótica e nos personagens aos quais os poemas são direcionados, Délia, Márato e Nêmesis; a investigação formal da elocução ampara a discussão de aspectos dessa temática; em função disso, dividimos em três ciclos os poemas a serem analisados; a elocução de cada ciclo será examinada em separado e depois comparada com a dos demais. Para desenvolver esta pesquisa, utilizamos como fundamentação teórica estudos e comentários da obra de Tibulo, textos de retórica da Antiguidade greco-latina e estudos de retórica, especialmente os que abordam a elocução. A análise dos poemas foi fundamentada principalmente na Retórica a Herênio e no Manual de Retórica Literária, de Lausberg. Uma discussão mais aprofundada de poesia latina requer um exame da elocução, pois os poetas latinos tinham o estudo da retórica como formação básica. Na obra de Tibulo, é perceptível que a seleção e a disposição de palavras nos versos servem-se de figuras de linguagem em consonância com o conteúdo e ainda sublevam o teor erótico dos poemas.