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The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.

The first part of this master thesis is focused on the personality of Lorenzo deʼ Medici and his inclusion in the period and cultural contexts. The literary background of Italy in the 15th century is introduced, as well as the Lorenzo's life, the summary of his literary output and his contribution as a patron of the Florentine culture and arts. The second part analyzes four of the Lorenzoʼs works related to mythological themes going back until the ancient writers. Lorenzoʼs evident influence by these authors is illustrated with the specific quotations but at the same time his own innovations in texts and stories are referred to. The conclusion compares an extend of this influence on him and the contribution of his own invention to the particular works. It points out the uniqueness of the personality of Lorenzo deʼ Medici both in the cultural and literary spheres as well.

Univ., Diss. u.d.T.: Jahn, Stefanie: Aeternaque Pergama servas--Düsseldorf, 2006.

Thesis (Ph. D.)--Universität zu Köln, 1990. / Includes bibliographical references (p. [252]-262) and index.

Abstracts in Afrikaans and English / Aangesien die konsep van kleur vaag en abstrak is, verskil die ervaring én beskrywing daarvan van individu tot individu en van kultuur tot kultuur. Aldus word die waarneem van kleur dikwels ʼn persoonlike en subjektiewe ervaring. In die geval van historiese tale, egter, is die uitdaging om kleurbeskrywing korrek oor te dra, nie sielkundig of esteties van aard nie, maar kultureel, aangesien daar onderliggend aan hierdie tale ʼn unieke linguistiese sisteem gekoppel is. So byvoorbeeld moet die ontleding van Latynse kleurwoorde en die toewysing van relevante betekenismoontlikhede op ʼn besondere wyse aan die Afrikaanse idioom geanker word, sonder om die uniekheid van elk van hierdie tale in te boet. Dit is gevolglik die taak van die navorser om moderne wetenskaplike beskouings oor kleuraanwending met sensitiwiteit en oordeelkundig op die antieke kleursisteme toe te pas. Die bestudering van kleur en kleurgebruik in die Oudheid was vir ʼn lang tyd in omstredenheid gehul. Navorsing in hierdie verband het aanvanklik slegs op die tegniese en argeologiese aspekte van kleurproduksie en -gebruik in die Griekse en Romeinse kuns en argitektuur gefokus. Daarenteen is teoretiese kwessies oor die funksie van kleur in die non-tegniese, estetiese letterkunde selde aangespreek, veral weens die invloed van linguisties-semantiese en kleur-psiogologiese vraagstukke. In hierdie proefskrif val die kollig op Vergilius se keuse en aanwending van dié kleurterme wat beide eksplisiet en implisiet in die Georgica voorkom. Aangesien ʼn sinvolle analise van hierdie digter se kleurgebruik nie tot die Georgica beperk kan word nie, moet die ooreenstemmende terme nie net in sy Eclogae en Aeneïs nie, maar ook in die werke van sy voorgangers, die digters Lucretius en Catullus, betrek word. Uit ʼn beperkte omvang selekteer en gebruik Vergilius kleurwoorde met ʼn delikate presisie van betekenis. Hoewel die stelselmatige ontleding van hierdie terme se betekenismoontlikhede kontekstueel beperk is, toon hierdie benadering in watter mate Vergilius innoverend en verbeeldingryk voorkom. Hierdie inligting dien vervolgens as parateks vir die studie wat volg: Vergilius se gebruik van kleurterme deur die verloop van die vier boeke van die Georgica met die fokus op die letterkundige impak en literêre effekte wat deurgaans as ‘eg Vergiliaans’ beoordeel kan word. . Sou hierdie kleurterme geïgnoreer of net nie raakgelees word nie, kan die leser nie daarop aanspraak maak dat die Georgica waarlik verstaan word nie. Dit is dus die doel van hierdie navorsing om die leser toe te rus met middele tot die vind van ʼn dieper insig in en groter waardering vir hierdie werk as uitnemende poësie. / Since the concept of colour is vague and abstract, the perception of colour differs from individual to individual and from culture to culture to become a highly personal and subjective experience. In the case of historical languages, however, the description of colour is challenging. Conveying colour description correctly is not a psychological or aesthetic exercise, but cultural, as each language has a unique underlying linguistic sensitivity. Consequently, in this dissertation which is written in Afrikaans, the analysis of Latin colour words must be anchored to the Afrikaans idiom in such a unique way as not to detract from the differences in cultural feel between these two languages. Therefore, and in spite of obvious differences, it is the task of the researcher to apply modern scientific views discerningly and sensitively to any ancient colour system. The study of colour and its application in antiquity has long been controversial. Initially research on these aspects of Greek and Roman societies focused only on the technical and archaeological aspects of colour production and its application in their art and architecture. In the wide array of theories regarding linguistic-semantic issues, colour-psychology and also colour aesthetics, theoretical issues regarding the function of colour in non-technical (‘literary’) works were rarely addressed, This dissertation focuses on those colour terms which Vergil uses both explicitly and implicitly in the Georgica. A meaningful analysis of this poet's use of colour must of necessity also include the application of the corresponding terms in his Eclogae and Aeneid, as well as those in the works of his poetic predecessors, Lucretius and Catullus. Selected from a limited range, Vergil applies colour words with a delicate precision of meaning. Although the systematic analysis of these words indicates a range of meaning which can be contextually limited, this approach highlights Vergil’s innovative and imaginative use of colour. With these findings as basis the focus shifts to the consecutive use of colour terms throughout the four books to indicate extraordinary and innovative literary effects which can only be described as ‘thoroughly Vergilian’. If these colour strategies were to escape the reader’s attention, it would result in a poorer understanding of the poem. It is therefore the purpose of this research to equip readers with strategies that will lead to a greater appreciation of the Georgics as exceptional poetry. / Classics and World Languages / D. Litt. et Phil. (Klassieke Studies)

The Thesis analyses and evaluates how Gavin Douglas (Eneados, 1513) has refocused Virgil's Aeneid, principally by giving more emphasis to the serial particularity inherent in the story, loosening the narrative structure and involving the reader in its retelling. Chapter I pieces together (from the evidence not merely of what Douglas explicitly says, but of what his words imply) what for him a "text" in general is, and what accordingly it means for a translator or a reader to be engaged with it. This sets the scene for what follows. The next four Chapters look in turn at how he re-expresses important (metaphysical) characteristics of the story. In Chapter II his handling of time is discussed, and compared with Virgil's: the Chapter sets out in detail how Douglas consistently refocuses temporal predicates, foregrounding their disjunctiveness and making them differently felt. In Chapter III spatial position and distance are analysed, and Douglas' way of dealing with space is found to display parallels with his treatment of time: networks are loosened and nodal points are accentuated. In Chapter IV the way in which he presents individuals is compared with Virgil's, and a similar repatterning and shift reveals itself: Douglas provides his persons with firmer boundaries. Chapter V deals with fate, where Douglas encounters special difficulties but maintains his characteristic way of handling the story. The aim of these four Chapters is to characterise formally how Douglas concretises and vivifies the tale of Aeneas, engaging his readers throughout in the retelling. Finally, Chapter VI looks at certain general principles of translation theory (notably connected with the ideas of faithfulness and accuracy) and argues for a way in which Douglas' translation can be fairly experienced by the reader and fairly evaluated as a lively retelling which (albeit distinctive) is fundamentally faithful to Virgil.

SUmmaries in Afrikaans and English / Text in Afrikaans / Die oogmerk van hierdie verhandeling is om te wys op die tekstuele en visuele kontraste in Georgi con 11.1 - 108. Ten aanvang word 'n bree vergelyking getreftussen Georgicon I en II om sodoende die funksie asook die effek van Boek 2 in die viertal gedigte te bepaal. Vir 'n meer indringende ontleding word Boek 2, asook die relevante verse, skematies verdeel en alhoewel die panoramiese effek versteur word, kan die problematiek van hierdie gedig alleenlik s0 noukeuriger opgelos word. Daar word getoon dat Boek 2 in drie afdelings verdeel is met 'n laus-tema wat telkens as hoogtepunt dien vir elk van die dele. Ook die oorkoepelende tema van variatio-labor en die wisselwerking daarvan kan duideliker waargeneem word. Verse I - I 08 is didakties van aard en eenvoudige patrone word saamgestel uit alledaagse objekte en idees. Vergilius slaag daarin om vergelykings af te dwing en om kontras te bewerkstellig deur die skep van imagines. Hierdie beelde kom duideliker na vore deur 'n baie noukeurige analise van die teks en s6 word vorm, lyn, kleur en tekstuur beklemtoon en gekontrasteer. W anneer die fokus verskuif vanaf die natuur na die mens, word daar gewys op die kontras in verse 3 5 - 46 tussen die landbouers en die politieke magsfiguur van Maecenas. Die onderliggende felix I fortuna/us tema word s6 beklemtoon. Die problematiek van didaktisisme word aangespreek deur die effek van die kontrastering van parallelle passasies aan te toon. As Leitmotiv word telkens gewys op die tekstuele en visuele kontraste in die digter se keuse en rangskikking van 'n ryke verskeidenheid van borne - met spesifieke verwysing na hulle aard, voorkoms, herkoms en funksie. / The aim of this dissertation is to indicate the textual and visual contrasts in Georgi con TI.l - 108. In a broad comparison between Georgica I and II the function and the effect ofBook 2 within the framework of the four poems is determined. With a view to a more penetrating analysis, Book 2 as a whole and specifically lines 1 - 108 will be dealt with schematically. Although this puts the panoramic effect at risk, it is the only way in which the complexities of this poem can be successfully resolved. Book 2 is shown to have a tripartite structure, with a taustheme as the climax of each of the three divisions. The over-arching theme of reciprocating variatio- labor also comes to light more clearly. Lines I - I 08 are of a didactic nature, and simple patterns are shaped out of everyday objects and ideas. By creating imagines Vergil manages to enforce comparisons and to bring about contrasts. A meticulous analysis of the text highlights these images more clearly and in this manner the poet accentuates colour, form, line and texture. When the focus shifts from nature to man, the contrast between the farmers and the politically powerful Maecenas in lines 3 5 - 46 is brought to the fore to emphasize the underlying theme of felix I fortunatus. The problem of didacticism is addressed by focusing on the effect of the contrasts between parallel passages. The textual and visual contrasts in the poet's choice and marshalling of a rich variety of trees, with a particular reference to their nature, occurrence, provenance and function, serve as Leitmotif for the dissertation as a whole. / Classics and Modern European Languages / M.A. (Latyn)

Thesis (doctoral)--Universität, Santiago de Compostela, 1997. / Includes bibliographical references (p. [239]-259) and index.

Thesis (doctoral)--Universität, Santiago de Compostela, 1997. / Includes bibliographical references (p. [239]-259) and index.