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Catulle, dans le poème 64, invente une ekphrasis d’un nouveau genre : au lieu de décrire une œuvre d’art dans sa matérialité pour la mettre sous les yeux des lecteurs selon la tradition rhétorique, il fait parler son personnage principal, Ariane. En quoi la figure d’Ariane a-t-elle permis à Catulle d’entériner une évolution de l’ekphrasis entamée par la littérature hellénistique, à savoir la focalisation non sur la matérialité de l’objet, mais sur son sens, une réflexion sur les liens entre vision et diction ? Il convient d’éclairer ce poème majeur de la littérature latine en le réintégrant, d’une part, aux multiples représentations figurées d’Ariane dans l’Antiquité et, d’autre part, à la lignée des ekphraseis précédentes, concept entendu au sens de « texte consacré à une œuvre d’art » pour inclure descriptions mais aussi narrations ou courts dialogues comme ceux des épigrammes ecphrastiques. En particulier, la prise de parole de l’objet d’art se révèle un topos épigrammatique hellénistique qui nécessite une étude systématique. Ce motif, baptisé topos de l’illusionnisme de l’art, mesure la qualité d’une œuvre d’art à sa capacité à sembler sur le point de parler, se mouvoir ou prendre vie. La typologie de ce topos met en évidence l’évolution de l’esthétique et de la relation entre poésie et arts figurés. Le poème 64 de Catulle se révèle alors reprendre ce topos – comme de nombreux textes après lui – pour constituer une surenchère illusionniste dans l’ekphrasis où l’œuvre d’art prend vie. La poétique de Catulle trouve un éclairage nouveau qui permet de mieux tracer la réception de l’esthétique alexandrine à Rome et l’influence de Catulle sur les poètes latins postérieurs. / This interdisciplinary dissertation uses text and image studies, intertextuality and metapoetics to analyze the relationships between vision and diction in ekphraseis understood as texts devoted to works of art, and particularly in Catullus’s canonical poem 64. Poem 64 has puzzled many critics by its “disobedient ekphrasis” of a coverlet: not only does it scarcely describe its subject, but it turns into a long monologue by Ariadne, the main figure woven into the coverlet. I argue that, far from disregarding the coverlet, Catullus elaborates on a topos of Hellenistic ekphrastic epigrams that measures an artwork’s value by its illusionist capacity to “seem about to speak” and “come to life”. My extensive classification of the epigrammatic variants of this topos reveals its presence in Catullus through specific keywords. Ariadne’s representation on the coverlet is so lifelike that it starts to speak. Instead of following the critical tradition which considers Ariadne’s speech as another instance of epic or tragic monologue, I analyze it as a major Catullan innovation, in dialogue with the aesthetic debates of his day. Bringing together Hellenistic and Roman figurative arts and literatures sheds a new light on Catullan poetics and, more generally, on the reception of Alexandrian aesthetics in Rome and on Catullus’s influence on posterior Latin poets.

Orientador: Paulo Sergio de Vasconcellos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-10T17:42:32Z (GMT). No. of bitstreams: 1 Cesila_RobsonTadeu_D.pdf: 10532161 bytes, checksum: 16f113874c7d5297c0fc39d84b7ec810 (MD5) Previous issue date: 2008 / Resumo: Como todo e qualquer texto, os epigramas do poeta latino Marco Valério Marcial (c. 38 d.C.- c. 104) são formados pela absorção e assimilação de outros textos, com os quais dialogam e aos quais aludem das mais diversas formas e por meio dos mais diferentes mecanismos. Tais alusões ou intertextos, ao incorporarem, aos textos de Marcial, elementos temáticos ou formais trazidos dos textos aludidos, geram novos significados nos epigramas do autor, tornando a sua leitura mais rica e instigante. Paralelamente, a leitura dos textos aludidos ¿ os modelos ¿ também é enriquecida e influenciada. Nosso recorte, no presente trabalho, contempla o estudo dos intertextos que relacionam os epigramas de Marcial com as obras dos poetas latinos Catulo, Virgílio e Ovídio, buscando mostrar como se dá a incorporação, pelo poeta de Bílbilis, dos elementos emprestados dos textos desses autores e como tais elementos enriquecem com novos sentidos a leitura de todos os textos envolvidos / Abstract: Like any text, the epigrams of the Latin poet Martial (c. A.D. 38 ¿ c. 104) are composed by the absorption and assimilation of other texts, with which they dialogue and to which they allude in very different ways and in very different mechanisms. When these allusions or intertexts incorporate into the Martial¿s texts elements of form or content brought from the texts alluded, they create new meanings in the poet¿s epigrams, so that reading grows richer and gripping. At the same time, the reading of the texts alluded ¿ the models ¿ is also enriched and influenced by the epigrams. In this thesis, we study the intertextual relationships between the Martial¿s epigrams and the works of the Latin poets Catullus, Virgil and Ovid; then, we try to show how the poet from Bilbilis incorporated into his texts borrowed material from those authors and how that material enriches the reading of all texts involved with new meaning / Doutorado / Linguistica / Doutor em Linguística

The name ‘Simonides’ has long been associated with the Persian Wars. More specifically, Simonides is famous in large part because of his commemoration of the Persian War dead in the form of epigrams. The purpose of this paper is to investigate a set of four of the most famous and most distinctively ‘Simonidean’ poems to the end of delineating their stylistic deviations from conventional epitaphic speech. This paper argues that the specific ways in which Simonides departs from the conventions of epigrammatic language serve to convey a distinctively democratic ethos. This ethos is clear in that Simonides’ epigrams privilege the mass efforts of the collective, and do not praise any particular individuals over another. Moreover, that these poems do not include the sort of identifying details that we would normally expect to find in epigrams anticipates a readership that is uniformly knowledgeable about the events of the Persian Wars. This represents another facet of the egalitarian ethos evident in this group of epigrams, as Simonides treats his readers as equally aware of the events of the Persian Wars. Thus, Simonides assumes a unified, panhellenic identity that characterizes both the subjects of his poems as well as his readers: they are all part of the same entity that defeated the Persians. Simultaneously, however, Simonides, or at the very least, the Simonidean name, achieves his own kleos as an individual poet through his distinctive commemorations of the Persian War dead. With these poems comes the emergence of a Simonidean poetic persona that renders the poet’s voice unique because of the way in which Simonides diverges from epigrammatic convention. The allotment of immortal kleos both to the anonymous, undifferentiated masses of Persian War dead and to the name ‘Simonides’ reflects two distinctive ideologies, the latter archaic and the former classical. My reading of these epigrams thus demonstrates how the commemoration of the Persian Wars is poised between two different eras and two different ideologies. / text

Partendo da un punto di vista lessicale, la ricerca si ripropone di investigare la presenza di elementi musicali all’interno della produzione epigrammatica del periodo ellenistico, con riferimenti, talora, anche ad autori più tardi. Sono stati analizzati due tipi di fonti: epigrammi di tradizione letteraria (che includono componimenti dall’Anthologia Palatina, dal Nuovo Posidippo, e dal materiale raccolto da Gow e Page) ed epigrafi (che comprendono iscrizioni dagli Steinepigramme aus dem Griechischen Osten e dalle Inscriptions métriques de l’Égypte greco-romain), in modo tale da poter agire su un campo di indagine coerente e bilanciato. Il materiale è stato articolato in due sezioni principali, “Mousikà stoikheia” e “Organikè mousa”, rispettivamente dedicate alle categorie musicali e agli strumenti musicali. L’analisi, partendo dalla ricostruzione della potenzialità semantica di ogni termine, basata sull’origine etimologica e sullo sviluppo letterario e teorico, e procedendo attraverso l’interpretazione delle occorrenze più significative all’interno dei testi epigrammatici, evidenzia una particolare sensibilità verso la componente musicale, richiamando sia la terminologia specifica musicale sia, più spesso, il tradizionale trattamento di alcuni temi appartenenti alla tradizione letteraria. Il presente lavoro include anche una Appendice finale, nella quale sono indicizzati i termini emersi durante l’indagine testuale. / Starting from a lexical point of view, this research aims at investigating the presence of musical elements within the epigrammatic production of the Hellenistic period, with references also to later authors. Two kinds of sources have been analysed: literary epigrams (including poems from the Greek Anthology, the New Posidippus, and the material collected by Gow-Page) and epigraphic epigrams (including inscriptions from Steinepigramme aus dem Griechischen Osten and Inscriptions métriques de l’Égypte greco-romain), in order to have a coherent and balanced field of investigation. The material has been divided into two main parts, “Mousikà stoikheia” and “Organikè mousa”, referred to musical categories and musical instruments. The analysis, starting from the reconstruction of the potential musical meaning of each term, based on etymology and literary and theoretical development, and going on through the interpretation of the most relevant occurrences of the term in epigrammatic texts, shows a particular sensibility towards the musical element, recalling both the terminology of musical theory and, more often, the traditional treatment of some themes belonging to the literary tradition. A final Appendix provides an index with the terms found during the textual investigation.

Bien qu’il ait inspiré des contemporains plus célèbres, tels François Rabelais et Clément Marot, et fréquenté des humanistes de premier plan, bien qu’il soit l’auteur d’une forme de tragédie latine inédite et maintes fois rééditée, et d’une chronique du règne de Louis XII connue des historiens, le poète néo-latin Nicolas Barthélemy de Loches est resté parfaitement méconnu. Il est ainsi nécessaire de rassembler, corriger et compléter les données dont on peut disposer sur ce personnage et ses oeuvres, mais aussi de reconstituer le cadre social, littéraire et historique dans lequel il a vécu et composé, afin de réévaluer la diversité et la richesse poétique de ses oeuvres. Ces données suffisent à montrer que les écrits de Barthélemy ne sont pas ceux d’un moine cloîtré, mais bien plutôt ceux d’un véritable humaniste engagé dans les réformes de son temps, qu’elles soient pédagogiques, monastiques ou évangéliques. L’édition d’un des recueils poétiques de Barthélemy les plus représentatifs de sa production littéraire (le recueil varié paru à Paris en 1520) vient nourrir et confirmer cette lecture. / Although he inspired famous contemporaries like François Rabelais or Clément Marot, and spent time with leading humanists, although he wrote a new Latin tragedy form many times reprinted and a chronicle about the reign of Louis XII familiar to historians, very little is known about the Neo-Latin poet Nicolas Barthélemy de Loches. Collecting, correcting and completing existing data about the man and his writings is necessary, as well as the reconstruction of the social, literary and historical environment in which he lived and wrote, in order to reevaluate the poetic diversity and richness of his work. Such data are enough to show that Barthélemy’s works were not written by a cloistered monk, but rather by a true humanist involved in the pedagogical, monastic and evangelical reforms of his time. The edition of one of the most representative poetic collections written by Barthélemy (a varied collection printed in 1520 in Paris) supports and confirms this interpretation.

The thesis is divided into three sections. The first section discusses the manuscript Marcianus graecus 524, the second looks at the Greek text of the dedicatory epigrams on works of art from the same manuscript, and the third puts these texts in their context. In the first part, the compilation of the manuscript is analysed. I suggest that the manuscript was copied mainly by one individual scribe living in Constantinople at the end of the thirteenth century. He copied the quires individually, but at some point he put all these quires together, added new quires, and compiled an anthology of poetry. The scribe’s connection to the Planudean School and the Petra monastery in Constantinople is discussed. Although their relationship remains inconclusive, the manuscript provides evidence regarding the literary interests of late-thirteenth-century intellectuals. The second part contains thirty-five unpublished dedicatory epigrams on works of art. New readings are offered for the text of previously published epigrams. The third section analyses the dedicatory epigrams on works of art in their context. The first chapter of this section discusses the epigrams as Gebrauchstexte, i.e. texts with a practical use. The difference between epigrams intended to be inscribed and epigrams intended to be performed is highlighted. In the next chapter of this part, La poésie de l’objet, the composition of the dedicatory epigrams is discussed. The conventional character of the epigrams suggests that the poetics express the ritual aspect of the epigram. The last chapter considers the texts from a more pragmatic angle. After a short discussion of the objects on which the epigrams were written, the mechanisms of the twelfth-century art market are presented based on evidence taken mainly from the epigrams. At the end of this part, conclusions are drawn on the understanding of these texts in the twelfth century.