Since her first appearances, Venus has captivated the minds of poets. Her depictions in poetry are tied to each generation’s ideals of sexuality and beauty, and as morals and expectations of female behaviour change, so too do portrayals of the goddess. This thesis examines the shifting portrayals of Venus in poetry during a time of great social upheaval: the age of Augustus. The social and moral discourse of the period influenced the portrayals of Venus as the post-Civil War generation grappled with the newfound peace, a staunchly moralistic emperor who claimed descent from the goddess, and a series of legislations that reshaped the image of an ideal Roman woman. While the age of Augustus is overflowing with Latin poets, this thesis will dedicate itself to three: Vergil, Horace, and Ovid. Within their works, we can see the importance of the goddess’ portrayals and how their evolution can reflect Rome’s social, political, and moral climate. Vergil presents a transformed goddess, a morally upstanding mother who engages in the political and domestic spheres. Horace stands on the precipice of change, his Venus straddling the edges of elegy and epic. He recognizes and responds to a political, Augustan goddess before returning to more traditional elegiac matters. Our final source, Ovid, is seemingly traditional in his portrayals of the goddess. Closer examination of his works, however, reveals how Ovid’s Venus transformed from the traditional goddess of love and sexuality to become an empress in her own right. After the introduction of the lex Julia and Augustus’ portrayals of the goddess, the poets of his age used Venus as an exemplum of moral (or immoral) behaviour, motherhood, and dynastic pursuit.

El objetivo de la tesis es estudiar las profecías en <i>Eneida</i> de Virgilio, es decir, analizar aquellos discursos emitidos por un personaje divino o dotado de conocimiento divino (fantasmas, sacerdotes) y dirigidos a otro personaje, divino o humano, para comunicarle algún evento futuro inscripto en la trama del <i>fatum</i>. Tomando en consideración los aportes de G. Manetti (1987, 2010), se ha adoptado una perspectiva semiótica que considera la transmisión de profecías, y la adivinación antigua en general, como un modo particular de comunicación y de producción de significado. La tesis consta de una introducción, tres partes centrales y una sección final en la que se exponen las conclusiones de la investigación. La primera parte, titulada “El <i>fatum</i> en <i>Eneida</i>”, constituye un estudio acerca de este término en el poema de Virgilio, atendiendo a su empleo en los diferentes niveles narrativos. Se incluye un estado de la cuestión y se realiza una propuesta de interpretación del <i>fatum</i> en <i>Eneida</i> en relación con la lectura postulada por Ovidio en el libro 15 de <i>Metamorfosis</i>. La segunda parte, “Las profecías en el relato del narrador”, incluye el estudio de los siguientes anuncios de <i>Eneida</i>: 1.223-296 (Júpiter a Venus), 1.387-401 (Venus a Eneas), 5.719-778 (fantasma de Anquises a Eneas), 5.779-826 (Neptuno a Venus), 6.42-155 (Sibila de Cumas a Eneas), 6.752-892 (fantasma de Anquises a Eneas), 7.81-101 (Fauno a Latino), 8.15-85 (Tiberino a Eneas), 8.616-731 (escudo de Vulcano), 9.641-663 (Apolo a Ascanio) y 10.234-245 (Cimodocea a Eneas). Esta sección está dividida en tres capítulos: en el primero se estudian las profecías con destinatarios divinos; en el segundo, las que tienen destinatarios humanos; el tercer capítulo se ha reservado al análisis de la écfrasis del escudo. En la tercera parte, “Las profecías en el relato de Eneas”, se analizan los discursos referidos por el héroe en Cartago: 2.268-297 (fantasma de Héctor), 2.771-794 (fantasma de Creúsa), 3.84-120 (Apolo), 3.147-179 (Penates), 3.192-269 (Celeno) y 3.356-471 (Héleno). El empleo de una perspectiva semiótica ha permitido, en primer lugar, realizar un análisis de la totalidad de las profecías en <i>Eneida</i>, entendidas como elementos estructurales del texto. Se superan así las lecturas optimistas y pesimistas del poema, interesadas exclusivamente en las connotaciones políticas de los anuncios con referencias al futuro de Roma. En segundo lugar, la investigación ha demostrado que la comunicación constante entre los dioses y Eneas y la transmisión del futuro mediante las profecías se presentan como rasgos centrales en la definición de los enéadas como ancestros de los romanos. Participan, en consecuencia, de la configuración de la identidad romana en el período augusteo. / The aim of the thesis is to examine the prophecies in Vergil’s <i>Aeneid</i>, i. e., to analyse those speeches delivered by a divine character or a character endowed with divine knowledge (ghosts, priests) and addressed to another divine or human character, in order to communicate any future event belonging to the plot of <i>fatum</i>. Taking into account G. Manetti’s contributions (1987, 2010), a semiotic perspective has been adopted. It considers the transmission of prophecies, and ancient divination as a whole, as a particular way of communication and of production of meaning. The thesis consists of an introduction, three main parts and a final section in which the conclusions of the research are presented. The first part, entitled “El <i>fatum</i> en <i>Eneida</i>” (<i>Fatum</i> in <i>Aeneid</i>), examines the use of this term in different narrative levels throughout Vergil’s poem. A status of the issue is included. Considering Ovid’s interpretation in Book 15 of the <i>Metamorphoses</i>, an interpretation of <i>fatum</i> in the <i>Aeneid</i> is suggested. The second part, “Las profecías en el relato del narrador” (Prophecies in the narrator’s account), includes the examination of the following forewarnings: 1.223-296 (Jupiter to Venus), 1.387-401 (Venus to Aeneas), 5.719-778 (Anchises’ ghost to Aeneas), 5.779-826 (Neptune to Venus), 6.42-155 (Sibyl of Cumae to Aeneas), 6.752-892 (Anchises’ ghost to Aeneas), 7.81-101 (Faunus to Latinus), 8.15-85 (Tiberinus to Aeneas), 8.616-731 (Vulcan’s shield), 9.641-663 (Apollo to Ascanius) and 10.234-245 (Cymodocea to Aeneas). This section is divided into three chapters: in the first one prophecies with divine addressees are examined; in the second one, those having human addressees; the third chapter is devoted to the analysis of the ekphrasis on the shield. In the third part, “Las profecías en el relato de Eneas” (Prophecies in Aeneas’s account), speeches delivered by the hero at Carthage are considered: 2.268-297 (Hector’s ghost), 2.771-794 (Creusa’s ghost), 3.84-120 (Apollo), 3.147-179 (Penates), 3.192-269 (Caeleno) y 3.356-471 (Helenus). The adoption of a semiotic viewpoint has enabled, in the first place, an analysis of all prophecies in the <i>Aeneid</i>, considered as structural components of the text. Optimistic and pessimistic readings of the poem, interested exclusively in the political connotations of prophecies referring to the future of Rome, are thus surpassed. Secondly, the research has shown that constant communication between gods and Aeneas and the transmission of future by means of prophecies are presented as central characteristics in the definition of Aeneadae as ancestors of the Romans. They therefore participate in the configuration of Roman identity in Augustan times.

This study explores the relationship between poetry and politics in Books 1 and 15 of Ovid’s Metamorphoses. Vergil had refashioned the concept of the golden age to better resonate with Roman values, and Ovid in turn responds to Vergil by making his own golden age free from law, seafaring, and warfare (Met. 1.89-112). Ovid’s golden age clearly foils his ‘praise’ of Augustus in Book 15 (819-70), and thus challenges Vergil’s innovations. Ovid closely connects his demiurge (opifex, 1.79), who created the conditions necessary for the existence of the golden age, to himself (15.871-9); they together display the potency of poetic power. Poesis is different than the power of empire, which is inherently destructive: Jupiter terminates the golden age (1.113), and Augustus’ accomplishments are only ostensibly ‘peaceful’ (15.823, 833). Ovid suggests that the power of poesis remains beyond the destructive reach of Augustus, since Rome’s power is limited to the post-golden, chaotic world, and that poesis enjoys the status of eternality which Rome and Augustus claimed to possess themselves.

La notion de personnage est problématique dans le contexte de l’épopée antique, en particulier pour les dieux et pour le héros virgilien, Énée. Réhabiliter cette notion afin de mieux cerner le personnage épique et, avec lui, le Lecteur Modèle de l’épopée, nécessite donc une étude de la terminologie. La première partie s’attache ainsi à définir les critères et les limites à donner à l’effet-personnage dans l’Énéide en envisageant notamment la tradition d’interprétation allégorique des dieux. Les deux parties suivantes sont centrées chacune sur un personnage et l’on y examine les rapports qui s’établissent entre narrateur, personnage et lecteur en partant du postulat selon lequel le narrateur, en tant que relais d’une identification primaire, apparaît comme un guide dans la réception du personnage. Énée, parce qu’il est l’élu du destin, se voit parfois dénier le titre de personnage ; par sa nature de demi-dieu, il se situe en outre à la croisée des deux mondes, humain et divin. La déesse Junon offre l’occasion d’appliquer les principes définis dans la première partie pour l’attribution du statut de personnage aux dieux ; en outre, c’est son action qui constitue la matière de l’action racontée et confère son rythme au récit. / The litterary concept of character considered in the context of Ancient Epic is a source of controversial, especially for the gods and Vergil’s hero, Aeneas. Reconsidering this notion, in order to figure out more clearly the epic character and the epic « Model Reader », requires a close study of the terminology. The first part of this thesis tries to determine the criteria defining the « character-effect » in the Aeneid and the limits of this notion, surveying, among others, the allegoric traditions about the gods in Ancient Epic. Each of the two following parts focuses on a single character and analyses of the relationship between the narrator, the character and the reader, starting from the premise that the reader identifies primarily with the narrator, who will guide him in his reception of the characters. To Aeneas, as the Elected of fate, the title of character is sometimes denied ; as a demi-god, he stands at the intersection of the divine and the human worlds. A study of Juno then brings the opportunity to assess the principles defined in the first part about the gods and their status as characters of the epic ; moreover, Juno’s actions supply the narrative material, and contribute to define its tempo.

No description available.

C’est au IVe siècle que le grammairien romain Maurus Servius Honoratus compose son commentaire sur l’Énéide de Virgile. Ce recueil de commentaires, ou scholia, a notamment comme objectif l’enseignement d’une langue normative guidé par les principes de la latinitas : le latin conforme aux principes grammaticaux. Malgré la place centrale qu’occupe depuis longtemps l’Énéide dans l’éducation et la culture latine, Servius voue une grande partie de son commentaire à l’explication des tournures de langue irrégulières que présente le texte de Virgile. S’il excuse ces irrégularités en raison du langage poétique ou de l’antiquité du texte, le grammairien en proscrit toutefois l’usage à ses étudiants. La reconnaissance de l’autorité du texte entretient alors une tension constante avec les règles synthétiques qu’a établies la discipline grammaticale. Cette recherche se propose d’explorer d’abord cette tension sous deux aspects précis : le traitement de la syntaxe des prépositions et le déploiement du langage technique définissant les différentes expressions jugées irrégulières. Pour comprendre de quelle manière langage constitue aux yeux du grammairien le socle du savoir objectif sur le monde antique, un troisième chapitre est consacré à l’apport notionnel et pédagogique des étymologies savantes pour le commentaire. Servius est héritier d’une longue tradition intellectuelle, ce qu’il ne rend pas toujours apparent dans ses notices. Cette recherche s’est fait un souci de déterminer l’origine de principes sur lesquels s’appuie la composition des scholies serviennes. / In the 4th century, Roman grammarian Maurus Servius Honoratus composed his commentary on Virgil's Aeneid. One of the aims of this collection of commentaries, or scholia, was to teach a normative language guided by the principles of latinitas: Latin in accordance with grammatical principles. Despite the Aeneid's long-standing centrality in Latin education and culture, Servius devotes much of his commentary to explaining the irregular turns of language in Virgil's text. Although he excuses these irregularities on the grounds of poetic language or the antiquity of the text, the grammarian nonetheless forbids their use by his students. Recognition of the text's authority thus maintains a constant tension with the synthetic rules established by the discipline of grammar. This research will explore this tension from two specific angles: the syntactic treatment of prepositions and the deployment of technical language to define various expressions deemed irregular. To understand how the grammarian sees language as the foundation of objective knowledge about the ancient world, a third chapter is devoted to the notional and pedagogical contribution of learned etymologies to commentary. Servius is heir to a long intellectual tradition, which he does not always make apparent in his notes. The aim of this research is to determine the origin of some principles underlying the composition of Servian scholia.

This thesis explores the influence of the legend of Troy on Sir Gawain and the Green Knight, Chaucer's Troilus and Criseyde, and Lydgate's Troy Book. This study seeks to understand why medieval English Christians held the pagan myth of Troy in such high regard beyond the common postcolonial critique of Trojan ancestry as a justification for political power. I begin by demonstrating how Vergil's Aeneid presents a new heroic ideal much closer to Christian virtue than Homeric values, Aeneas submitting his will to fate and earning his piety through suffering. I then turn to Sir Gawain and the Green Knight, assessing how Gawain is not only descended from Aeneas but how the major events of his quest echo Aeneas' journey, especially in both heroes' submission of their wills to fate. Next, I reveal how Chaucer's Troilus enacts a platonic ascent from a state of ignorance to a state of truth, but as Troilus' name is also linked to the city of Troy itself, the fate of Troilus becomes the fate of Troy. In this way, Chaucer dramatizes the spiritual ascent of his Trojan ancestors in that they move from sin to salvation as a culture. Finally, I investigate how Lydgate refashions Troy into an earthly manifestation of Augustine's City of God. In doing so, Lydgate not only remembers his people's past but prophesies the fate of Trojan descendants. Such an analysis helps late antique and medieval scholars understand not only why such classical myths were popular in a predominantly Christian era, but also how the legends of Troy gave medieval English society a myth-history through which to dramatize their spiritual lives.

The presentation of pietas in Lucretius has often been overlooked since he dismisses all religious practice, but when we consider the poem’s overall theme of growth and decay, a definition for pietas emerges. For humans, pietas is the commitment to maintaining the foedera naturae, “nature’s treaties.” Humans display pietas by procreating and thereby promoting their own atomic movements into the future. In the “Hymn to Venus,” Lucretius uses animals as role models for this aspect of human behavior because they automatically reproduce come spring. In the “Attack on Love,” Lucretius criticizes romantic love because it fails to promote the foedera naturae of the family. Lucretius departs from Epicurus by expressing a concern for the family’s endurance into the future, or for however long natura will allow. It becomes clear that Lucretius sees humans as bound to their communities since they must live together to perpetuate the foedera naturae of the family. / text

Cette thèse s’attache à mettre en lumière les points de rencontre entre la philosophie épicurienne et l’épopée de Virgile. Si les relations entre la philosophie d’Épicure et l’œuvre de Virgile ont fait l’objet de nombreux développements, les correspondances et les liens mis en lumière concernent pour l’essentiel ses œuvres de jeunesse, soit les poèmes des Géorgiques et des Bucoliques. A contrario, on constate que dans l’épopée d’Énée, les empreintes de l’épicurisme se trouvent bien souvent mises au second plan.Chez Virgile comme chez Lucrèce et les épicuriens, ce qui a trait à la vision et au phénomène des songes tient une place importante. Cette étude envisage de montrer dans quelle mesure le traitement littéraire des différents épisodes de songes et d’apparitions qui rythment l’épopée virgilienne constitue un reflet des considérations épicuriennes qui ont participé à la formation philosophique du jeune poète. La façon dont il aborde le sujet des rêves et des apparitions au travers d’un récit épique codifié se trouve mise en parallèle avec les écrits d’Épicure et plus spécifiquement avec de De rerum natura de Lucrèce. Les questions épistémologiques en lien avec l’épicurisme, de même qu’une analyse du vocabulaire lié aux images et aux songes sont au cœur de ce travail.S’il y avait a priori un enjeu dans le choix d’appréhender une œuvre de l’ampleur de l’Énéide du point de vue de l’épicurisme et en se limitant aux seuls textes traitant des songes et des apparitions, l’analyse des vers de Virgile à la lumière du texte de Lucrèce permet de faire émerger des affinités tant au niveau du lexique que des thématiques traitées. Les empreintes d’une influence épicurienne dans l’épopée de Virgile sont, comme les songes et apparitions, d’une nature parfois ténue, mais si on veut bien y prêter attention, elles ne sont pour autant ni impalpables ni insaisissables. / This thesis aims to highlight links between the epicurean philosophy and Vergil’s epic. If the relations between Epicurus’ philosophy and Vergil’s work have been widely discussed, the highlighted interconnections and links mainly deal with his early works, ie. Georgics and Bucolics. On the other hand, it is possible to note that in Aeneas’ epic the footprint of epicureanism are often put on a second plan.Both as in Vergil and in Lucretius and the Epicureans, the topic dealing with the vision and the dream has an important status. This study aims to demonstrate the way the literary interpretation of the differents episodes of dreams and apparitions, that punctuate Vergil’s epic, is a mirror of the epicurean considerations that took part in the philosophical background of the young poet. The way he deals with the subject of the dreams and the apparitions through a codified epic story is compared with Epicurus’ writings and more specifically with Lucretius’ De rerum natura. Epistemological questions linked with the epicureanism, as well an analysis of the vocabulary refering to images and dreams are the main point of the study.through the epicureanism, limited to the texts dealing with dreams and apparitions, the analysis of Vergil’s verses thanks to Lucretius’ work allows us to highlight affinities in terms of the lexicon as well as the topics covered.The marks of an epicurean influence in Vergil’s epic are, as the dreams and the apparitions, of a tenuous essence, but if we look at this carefully, they are nevertheless neither intangible nor elusive.

Attraverso la prospettiva della duplicità delle dimensioni dell’agire (archein e prattein, iniziativa individuale e collaborazione plurale), il presente lavoro intende rileggere sotto una veste nuova i concetti di azione libera e di politica elaborati da Hannah Arendt (Hannover 1906 – New York 1975), per giungere infine a un’esposizione critica del suo paradigma di fondazione della comunità politica. Ciò avverrà, inoltre, attraverso la considerazione di alcune delle esperienze politiche privilegiate dall’autrice: la polis greca, considerata soprattutto nel proprio rapporto con il mondo omerico, e la Repubblica americana, considerata invece nella propria relazione di continuità e innovazione rispetto alla res publica romana, e come collegata alla storia coloniale precedente. Per valutare il paradigma di fondazione politica, un rilievo particolare sarà accordato alla nozione arendtiana di “principio” dell’azione. Tra le fonti utilizzate e citate, compariranno anche molti paper ancora inediti, consultati presso la New School for Social Research (NY); si faranno inoltre riferimenti puntuali ad alcuni dei testi della Arendt Collection del Bard College (Annandale-on-Hudson, NY). / The aim of this work is to investigate Hannah Arendt’s (Hannover 1906 – New York 1975) conceptions of free action and political founding through the twofold perspective of archein and prattein (individual initiative and plural collaboration), that consents to see them under a new light, to come to a critical evaluation of Arendt’s theory of founding a political body. We’ll do it considering some of the most important political experiences indicated from our thinker: the Greek polis, considered in its relation with homeric world, and the American Republic, considered in its twofold relation – continuity and innovation – with Roman res publica, and in its relation with colonial history before revolution. To reach an evaluation of Arendt’s concept of political founding, we’ll concentrate on the notion of “principle” of action. We used and cited many unpublished papers, that we could see at New School for Social Research (NY), and we indicate some books of Arendt Collection at Bard College (Annandale-on-Hudson, NY) also.