Im Bade werden sonst verdeckte körperliche Besonderheiten sichtbar, und körperliche Besonderheiten sind natürlich ein beliebtes Thema für Epigrammatiker und Satiriker.

Vergil’s Georgics was published in 29 BCE, at a critical point in the political life of Octavian-Augustus. Although his position at the head of state had been confirmed by victory at Actium in 31, his longevity was threatened by his reputation for causing bloodshed during the civil wars. This thesis argues that Vergil, in the Georgics, presents a defence of Octavian against criticism of his past, in order to safeguard his future, and the future of Rome. Through a complex of metaphor and allusion, Vergil engages with the weaknesses in Octavian’s public image in order to diminish their damaging impact. Chapter One examines the way in which the poet invokes and complements the literary tradition of portraying young men as destructive, amorous creatures, through his depiction of iuvenes in the Georgics, in order to emphasise the inevitability of youthful misbehaviour. Since Octavian is still explicitly a iuvenis, he cannot be held accountable for his actions up to this point, including his role in the civil wars. The focus of Chapters Two and Three of this thesis is Vergil’s presentation of the spring season in the Georgics. Vergil’s preoccupation with spring is unorthodox in the context of agricultural didactic; under the influence of the Lucretian figure of Venus, Vergil moulds spring into a symbol of universal creation in nature, a metaphor for a projected revival of Roman affairs under Octavian’s leadership which would subsequently dominate the visual art of the Augustan period. Vergil’s spring is as concerned with the past as it is the future. Vergil stresses the fact that destructive activity can take place in spring, in the form of storms and animal violence; the farmer’s spring labor is characterised as a war against nature, which culminates in the horrific slaughter of oxen demanded by bugonia. In each case destruction is revealed as a necessary prerequisite for some form of creation: animal reproduction, increased crop yield, a renewed population of bees. Thus, the spring creation of a new Rome under Octavian will come as a direct result of the bloodshed of the civil wars, a cataclysm whose horrors are not denied, but whose outcome will ultimately be positive. Octavian is assimilated to Jupiter in his Stoic guise: a providential figure who sends fire and flood to Earth in order to improve mankind.

Rédigé vraisemblablement à la fin du IVe siècle, à une époque où l’enseignement traditionnel des écoles romaines se maintient et où le paganisme cherche à conserver sa place face au christianisme, le commentaire de Servius à l’Énéide de Virgile, dont le livre V fait l’objet du présent travail, est une œuvre particulièrement importante. Il est destiné à ouvrir à ses auditeurs (les élèves de la classe de Servius), puis à ses lecteurs, la possibilité de mieux comprendre le texte virgilien, et il offre au spécialiste moderne de multiples traces de rites, croyances, pratiques et récits mythologiques qui, sans la richesse de ses développements, resteraient inconnus. Le commentateur laisse parfois percevoir au fil de ses remarques sa vision de l’époque de Virgile et de la sienne propre, et il livre aussi des éléments d’information concernant la réception de l’Énéide dans l’Antiquité tardive. L’intérêt de l’ouvrage est doublé du fait que s’y sont entremêlés ensuite des ajouts d’origines diverses transformant pour ainsi dire le commentaire de Servius en un second commentaire, connu sous l’appellation de « Servius Danielis », présent dans certains manuscrits médiévaux. C’est pour toutes ces raisons que nous proposons, après une introduction consacrée à ses thématiques centrales, une traduction complète de ce double commentaire servien au livre V de l’Énéide de Virgile, en accompagnant et documentant cette traduction par les notes nombreuses et détaillées que réclament la richesse et la complexité de ce travail caractéristique des savants que l’Antiquité appelait des « grammairiens ». / Most certainly written at the end of the 4th century, at a time when traditional teaching from roman school persists and when paganism tries to keep its position facing Christianity, Servius’ Commentary on Virgil’s Aeneid, whose book V is the subject of this study, is a particularly significant work. It is intended to permit the listener (Servius’ students), then the reader, to better understand Virgil’s text and offers to modern specialists many vestiges of rituals, beliefs, practices and mythology’s stories that, without the richness of its body, certainly wouldn’t be known nowadays. The commentator sometimes suggests, throughout his remarks, the vision he has of the Virgil’s time as being his own time and he also gives some information about the Aeneid’s reception in the last Antiquity. The interest of the book is doubled because the text is mixed with elements from diverse origins; it turned the commentary into a second one, known as “Servius Danielis” text and present in some manuscripts. That is why we offer, after an introduction devoted to the main themes of the book, a complete translation of this double servian commentary at the Virgil Aeneid, book 5; this translation goes with many detailed commentaries needed due to the richness and the complexity of expert’s typical work which Antiquity called “grammarian”.

Este trabalho desenvolve algumas reflexões sobre o bucolismo de Virgílio e sua originalidade. Discorreremos sobre a origem deste gênero, como também sobre os temas característicos da poesia bucólica que são o cenário bucólico, o amor heterossexual, homossexual e o amor-veneração e os elementos mitológicos. Dividimos o estudo sobre o estilo virgiliano em três partes. Na primeira, mostraremos a presença dos helenismos nas Bucólicas. Na segunda, veremos as estruturas sintáticas que mais aparecem em sua poesia: o paralelismo sintático, o uso do vocativo, o uso do imperativo e a presença de elipses e zeugmas. Num último momento, focalizaremos o ritmo, a musicalidade e as figuras de harmonia, de construção, de repetição e quiasmo, de pensamento e os tropos. As alusões políticas em Virgílio também serão registradas e exemplificadas nesta dissertação. Na conclusão, focalizaremos dois gêneros literários especiais que estão presentes nas Bucólicas - o canto amebeu e o epigrama - gêneros esses que contribuem para acentuar o hibridismo no poema de Virgílio. Outrossim, podemos afirmar que As Bucólicas de Virgílio serviram de paradigma para as literaturas posteriores das civilizações contemporâneas de ascendência greco-latina. / This research introduces some reflections about Virgil\'s bucolic poetry and his originality. Considerations are made about the origins of this genre, as well as about the themes which are recurrent in bucolic poetry, such as bucolic landscape, heterosexual and homosexual love, love-admiration, and mythological elements. We have divided the study of Virgilian style in three parts. In the first part, the presence of Hellenic traits in the work Bucolics is suggested. In the second part, recurrent syntactic structures in his poetry are explored: syntactic parallelism, the use of the vocative, the use of the imperative form, ellipsis and zeugma. Finally, focus is given to rhythm, musicality and figures of harmony, repetition and chiasm, of thinking and tropes. Political allusions in Virgil are also discussed and exemplified in this dissertation. In the conclusion, two special literary genres are introduced, which feature in Bucolics - the amebeu chant and the epigram, which contribute to Virgil\'s poem being a text in which one can notice hybridism, in generic terms. Virgil\'s Bucolics became a paradigmatic work to literature in civilizations of both Greek and Latin ascent.

No presente trabalho, estudamos as relações passíveis de ser estabelecidas entre três obras à primeira vista muito diferentes: as Bucólicasde Virgílio, Paludesde André Gide e Manderre, de Georges Perec. Nosso objetivo é mostrar uma espécie de percurso potencial de um personagem, Títiro, por meiodos textose as transformações por ele sofridas. Por meio de uma análise que leva em consideração o ponto de vista intertextual, tentamos compreender a apropriação feita por cada um dos autores, e as implicações causadas pelos diferentes contextos literários nos quais o personagem se insere. / In this research, we study the relations that can be established between three works at first sight very different: Virgils Eclogues, André Gides Paludesand Georges Perec Manderre. Our aim is to show some sort of potential path followed by acharacter, Tityrus, through the textsand the transformations undergone by him. Through an analysis that considers an intertextual point of view, we try to understand the appropriation made by each author, and the implications caused by different literary contexts in which the character is inserted.

Cette thèse présente une étude historique des traductions et imitations britanniques du livre IV de l’Énéide de Virgile aux XVIe et XVIIe siècles, depuis l’Eneados de Gavin Douglas [1513] jusqu’au Dryden’s Virgil de 1697. À travers une étude comparative des traductions successives de l’épisode, on y dégage les transformations de la notion d’ imitation comme modèle de la traduction littéraire au cours de la période. À une conception de la traduction dominée au XVIe siècle par le modèle rhétorique antique de l’imitatio, et par le souci de développer l’épopée vernaculaire sur le modèle virgilien, succède dans la première moitié du XVIIe siècle une définition spécifique de l’imitation comme modalité de la traduction libre. Dans un contexte de crise politique et de compétition entre les différentes versions de l’épisode, les “imitations” deviennent le lieu de prises de position idéologiques et esthétiques, dans des interprétations contrastées du modèle épique virgilien. Les réécritures du livre IV de l’Énéide qui marquent le second XVIIe siècle témoignent d’un certain éclatement de la notion d’ imitation, qui désigne à la fois les réécritures satiriques et parodiques de l’épisode, et l’entreprise de fondation culturelle et esthétique de l’âge “augustéen”. Au modèle herméneutique hérité des traducteurs humanistes se substitue alors avec Dryden une conception esthétique de la traduction littéraire comme mimesis artistique. L’étude associe l’analyse des stratégies formelles et interprétatives propres à chaque traduction à une réflexion sur la réception britannique de l’Énéide et offre des éléments de méthode pour l’analyse historique des traductions sur la longue durée. / This thesis consists in a historical study of the translations and imitations of Virgil’s Aeneid IV in XVIth- and XVIIth century Britain. Through a comparative analysis of the many translations of the episode between Douglas’s Eneados [1513] and Dryden’s 1697 Virgil, this study highlights the main transformations of the notion of imitation as a central concept in Early Modern translation theory and practice. First dominated by the Classical model of rhetorical imitatio and by the Humanist fashioning of the vernacular epic after Virgil’s Aeneid, the concept of imitation is reinterpreted in the first half of the XVIIth century as an form of free translation. In a context of political crisis, of competing translations of the episode, and of clashing interpretations of the virgilian epic model, the practice of imitation reads as an assertion of the translators’ aesthetic and political agendas. In the second half of the XVIIth century, the rewritings of Aeneid IV reveal a paradoxical reappropriation of the notion of imitation, which is used at once to define the satirical parodies of Virgil’s epic, and to establish the political and cultural foundations of the “Augustan age”. With Dryden’s Virgil, the hermeneutic model of translation inherited from the Humanists is replaced by a specifically aesthetic theory of literary translation modelled on the neoclassical discourse on mimesis. The aim of this study is to combine a detailed analysis of the literary and interpretive strategies at work in each translation with a broader discussion of the reception of Virgil’s Aeneid, and to develop a method for the historical analysis of the translations of a given text over a long period of time.

Literary histories of specific genres like tragedy or epic typically concern themselves with influence and deviation, tradition and innovation, the genealogical links between authors and the forms they make. Renaissance scholarship is particularly suited to these accounts of generic evolution; we read of the afterlife of Senecan tragedy in English drama, or of the respective influence of Virgil and Lucan on Renaissance epic. My study of epic poetry differs, though: by insisting on the primacy of material conditions, social organization and especially information technology to the production of literature, I present a discontinuous series of set pieces in which any given epic poem—the Iliad, the Aeneid, or The Faerie Queene—is structured more by local circumstances and methods than by authorial responses to distant epic predecessors. Ultimately I make arguments about how modes of literary production determine the forms of epic poems. Achilleus’ contradictory and anachronistic funerary practices in Iliad 23, for instance, are symptomatic of the accumulative transcription of disparate oral performances over time, which calls into question what, if any artistic ‘unity’ might guide scholarly readings of the Homeric texts. While classicists have conventionally opposed Virgil’s Aeneid to Lucan’s Bellum Civile on aesthetic and political grounds, I argue that both poets endorse the ethnographic-imperialist ideology ‘virtus at the frontier’ under the twin pressures of Julio-Claudian military expansion and the Principate’s instrumentalization of Roman intellectual life in its public library system. Finally, my chapter on Renaissance English epic demonstrates how Spenser and Milton grappled with humanist anxieties about the political utility of the classics and the unmanageable archive produced by print culture. It is my hope that this thesis coheres into a narrative of a particularly long-lived genre, the epic, and the mutations and adaptations it underwent in oral, manuscript, and print contexts.

The primary purpose of this study is to provide a transcription for solo organ of Virgil Thomson's Symphony on a Hymn Tune. The study is two-fold: first, to explore the early life and career of Thomson with a focused view on how his organ and composition studies influenced the composition of Symphony on a Hymn Tune; and second, to present an original transcription of the work in a performing score for solo organ. In addition to the final score, the study provides an analytical overview along with a description of methodology used to create the transcription, and a discussion of issues encountered by the performing organist in playing the transcription. Discussions encompass organ registration, tempi, manual suggestions, articulation, phrase markings, and dynamic expression. Musical examples both from the author's transcription and Virgil Thomson's organ works are included as necessary. Two appendices are included. Appendix 1 presents the specifications for the Aeolian Skinner organ of The Southern Baptist Theological Seminary in Louisville, Kentucky, on which the transcription was originally performed. Appendix 2 itemizes the registration lists used for the original performance of the organ transcription.

La tesi di dottorato riporta alcuni contributi (tra cui un saggio di edizione critica) riguardanti i volgarizzamenti dell'Eneide in compendio (sec. XIV), opera più volte associata con il nome del fiorentino Andrea Lancia, celebre per i suoi interessi danteschi. / The doctoral thesis quotes several studies (among which an essay of critical edition) about transmission of the Aeneid's abridgement's translations (XIVth century): these works have been often associated with the name of the Florentine notary Andrea Lancia, who is famous because of his interests in Dante.

Literary histories of specific genres like tragedy or epic typically concern themselves with influence and deviation, tradition and innovation, the genealogical links between authors and the forms they make. Renaissance scholarship is particularly suited to these accounts of generic evolution; we read of the afterlife of Senecan tragedy in English drama, or of the respective influence of Virgil and Lucan on Renaissance epic. My study of epic poetry differs, though: by insisting on the primacy of material conditions, social organization and especially information technology to the production of literature, I present a discontinuous series of set pieces in which any given epic poem—the Iliad, the Aeneid, or The Faerie Queene—is structured more by local circumstances and methods than by authorial responses to distant epic predecessors. Ultimately I make arguments about how modes of literary production determine the forms of epic poems. Achilleus’ contradictory and anachronistic funerary practices in Iliad 23, for instance, are symptomatic of the accumulative transcription of disparate oral performances over time, which calls into question what, if any artistic ‘unity’ might guide scholarly readings of the Homeric texts. While classicists have conventionally opposed Virgil’s Aeneid to Lucan’s Bellum Civile on aesthetic and political grounds, I argue that both poets endorse the ethnographic-imperialist ideology ‘virtus at the frontier’ under the twin pressures of Julio-Claudian military expansion and the Principate’s instrumentalization of Roman intellectual life in its public library system. Finally, my chapter on Renaissance English epic demonstrates how Spenser and Milton grappled with humanist anxieties about the political utility of the classics and the unmanageable archive produced by print culture. It is my hope that this thesis coheres into a narrative of a particularly long-lived genre, the epic, and the mutations and adaptations it underwent in oral, manuscript, and print contexts.