Roman Love Poetry Research Papers (original) (raw)

2025, مؤسسة منصات للأبحاث والدراسات الاجتماعية

This study included a representative sample of 1528 participants (male and female), distributed across the twelve administrative regions of Morocco, taking into account representativeness according to the variables of gender, age groups, and type of residence. This study aimed to monitor the perceptions and practices of the studied sample regarding women's presence in public spaces, the wearing of the hijab, harassment, and the perceived safety of public places for women. It also addressed other issues such as the relationship between laws and individual freedoms, and the extent of participants' knowledge of laws related to women's rights in Morocco, whether at the level of the constitution, the Family Code (Moudawana), or laws criminalizing violence and harassment.
شملت هذه الدراسة عينة تمثيلية مكونة من 1528 مشاركا ومشاركة، موزعين على الجهات الإدارية الاثني عشر للمغرب مع مراعاة التمثيلية وفقًا لمتغيرات الجنس والفئات العمرية ووسط وجهات الإقامة. حيث عملت هذه الدراسة على رصد تمثلات وممارسات العينة المدروسة بخصوص حضور النساء في الفضاء العام، ارتداء الحجاب، والتحرش، ومدى أمان الأماكن العامة بالنسبة للنساء. كما تناولت أيضا قضايا أخرى من قبيل العلاقة بين القوانين والحريات الفردية، ومدى معرفة المشاركين بالقوانين المتعلقة بحقوق النساء في المغرب، سواء على مستوى الدستور، أو مدونة الأسرة، أو القوانين التي تجرم العنف والتحرش.

2025

Noons of dryness see you fed by the involuntary powers W. H. Auden, Another Time 2 Cic. de orat. II 194 saepe enim audiui poetam bonum neminem -id quod a Democrito et Platone in scriptis relictum esse dicunt -sine inflammatione animorum existere posse et sine quodam adflatu quasi furoris. Cf. anche diu. I 38, 80 negat enim sine furore Democritus quemquam poetam magnum esse posse, quod idem dicit Plato. 3 Plat. Phaedr. 245a triv th de; aj po; Mousw' n katokwchv te kai; maniv a. Plat. Ion. 533a pav nte" ga; r oi{ te tw' n ej pw' n poihtai; oiJ aj gaqoi; ouj k ej k tev cnh" aj ll∆ e[ nqeoi o[ nte" kai; katecov menoi pav nta ta; kala; lev gousi poihv mata. D-K, Vorsokratiker II 68B,18, Clem. Strom. VI 168 (II 518, 20 St.) kai; oJ Dhmov krito" oJ moiv w" 'poihth; " de; a[ ssa me; n a[ n grav fhi meq∆ ej nqousiasmou' kai; iJ erou' pneuv mato", kala; kav rta ej stiv n…'. Per un'informazione basilare sulla concezione irrazionalistica della poesia è d'obbligo il riferimento a Dodds 2003, 120ss. 4 Arist. Poet. 1459a, VIII 22-24. 5 Gli elementi di somiglianza tra la poetica aristotelica e quella callimachea, specialmente per quanto concerne la fondamentale disposizione razionalistica e la preminenza della tecnica sul talento naturale, si trovano discussi in D'Anna 1994, 254s. Per una trattazione approfondita delle differenze e di un'opposizione della poetica callimachea rispetto a quella aristotelica, rimando a Serrao 1977, 223ss.

2025, Revista do Centro de Estudos Portugueses

Compreendida como um dos principais gêneros da poesia antiga, a elegia foi amplamente lida e imitada pelos poetas dos séculos XV e XVI, adotando procedimentos, temas e estruturas rítmicas de outros gêneros e subgêneros da prosa e da lírica escrita em língua vernacular. Neste trabalho, propomos uma leitura da recepção do gênero elegíaco nas letras portuguesas do século XVI, tomando como objeto de análise as escritas pelos poetas António Ferreira e Sá de Miranda, organizadas em uma correspondência epistolar.

2024, Academia.edu

is a public university located in Constanța, Romania. Founded in 1961, the university is named after the ancient Roman poet Ovid, who was exiled to Tomis (now Constanța) in the 1st century AD.

2024, Classica

This paper consists in an anthology and study of Pompeii’s
graffiti which preserve direct or indirect quotations to verses of Propertius,
a Roman elegiac poet from the Augustan period. Assuming that wall
inscriptions manifest a dynamic layer of popular culture, it analyzes how
five inscriptions – CIL 4.1520, 1894, 1950, 4491 e 9847 –, when examined
in both their archaeological context and literary reformulations, inform
popular appropriations of Propertius’ poetry.

2024, Filologia Antica e Moderna

The paper proposes the hypothesis that in 2, 11, a short farewell poem to Cynthia (depicted elsewhere with the features of the docta puella), Propertius was more or less precisely and consciously inspired by Sappho’s poems dedicated to the connection between song and otherworldly fame. The presence of Sapph. fr. 55 v. seems more consistent in this framework, but in the reservoir of Propertius’ poetic memory other verses of the poetess of Lesbos may be lodged (at a more or less unconscious level) that can be related to the fragment cited (ffr. 58b Neri, 65 v., 147 v.).

2024

Forty years of scholarship in the history of sexuality and gender studies have delivered a considerable amount of knowledge, framed by an encompassing premise: power is paramount. A preferred object of this kind of attention are the erotic cultures of ancient Greece and Rome. The focus on power leads contemporary scholars to adopt binary thinking, namely the attribution to ancient writers and thinkers of dichotomies such as domination versus subjection, or activity versus passivity. This is a fixist view that obliterates the dialectic of desire and, therefore, its fundamental mobility. Desire aims at the other person's desire; roles are exchanged; age and social status can play in surprising ways; hyperactivity can become subjugation. It is time for a change. It is time to look at what mattered for the Ancients themselves: the subjective experience of sensations, bodies and situations; the felicitous, ironic, or tragic reversals of intersubjective games. More importantly: the quest for pleasure, rather than the use of pleasures. The Greeks thought the sexual experience as sensuality. And sensuality inflects what they thought about gender. In poetry, narrations and philosophy, concrete details draw our attention to the felt phenomena of lived bodiesin the plural. When we look for the logic of gender, we discover that bodies can be compared, not as totalities, but as bundles of multiple discreet qualities, ready to be combined and recombined, allotted and exchanged. Qualities can be bits and pieces of anatomy, manners and garments; but also fragments of experience, moments of sensory awareness. The logic of the concrete meets the phenomenal body. For the body is a challenge, to be taken upas a cinematic life, frame after frame. Sensations can be shared across the boundaries of female and male, which are adjectives, not substances. A granular, corpuscular, pointilliste redistribution of traits, distinctiveor not. Sensuality is queer.

2024, Prace Filologiczne. Literaturoznawstwo

This paper traces the reception of two towering figures of Ancient Greek literature, namely Homer and Sappho. Although both are viewed as epitomes of poetic talent, the fact that Sappho is a woman makes her stand out in the literary tradition and as a female poet she is perceived as an extraordinary phenomenon. The analysis of the reception of Sappho in antiquity, especially in Hellenistic and early Imperial epigrams in which her gender is often underlined, aims to show that while both Homer and Sappho are authority figures for subsequent generations of poets, they are not regarded in the same way. At the same time, Sappho's unique position as a woman in the literary world results in a double effect: on the one hand, she is confined to the realm of poetry written by women, which almost amounts to a distinct category of literature, but on the other hand, the position makes it possible for her to become the fundamental literary figure and inspiration that she has been for women writers, artists, and activists for centuries, and even millennia, afterwards.

2024, Noster delectat error. L’errore tra filologia e letteratura

The stories of Byblis and Myrrh in Ovid’s Metamorphoses constitute examples where error is presented to the reader in the form of moral guilt. Significantly, however, the two episodes show, beyond common points, some important differences. In the first part of the contribution, we examine the weight that literary genres have in the representation of guilt within the two episodes. In the second part, we are interested in how the author manages to inscribe these stories coherently within the poem. The violation of the moral norm represented by incest is in fact not associated with a transgression of the literary code imposed by the poem.

2024, Akroterion

A selection of Catullus' Carmina translated for a contemporary, multilingual South African audience.

2024, G. Valerii Catulli Carmina / Гай Валерий Катулл. Стихотворения. — Москва: Текст, 2010

The Poems of G. Valerius Catullus: A Bilingual Edition. Russian Translation, with Commentary, by Maxim Amelin

2024

Załącznik 5. Wykaz nazw gatunków zwierząt (dane z oryginalnych etykiet) zebranych podczas wyprawy do Algierii przechowywanych w zbiorach Muzeum i Instytutu Zoologii PAN. Pająki Actinopus algeriensis Agalene canariensis Ammaurobius sp. Araneus alsine Araneus angulatus Araneus citricola Araneus cornutus Cheiracanthium sp. Clubiona sp. Dysdera angustata, Dysdera erythrina Epeira adianta Epeira sp. Epeiridae Mesiotelus sp. Micaria sp. Singa conica Owady (chrząszcze) Agaphantia irrorata Ammocleonus hieroglyphicus Copris hispanus (fot. 1) Lebia fulvicollis (fot. 2) Perotis lugubris Perotis unicolor Phacephorus nubeculosus Rhizotrogus euphytus (fot. 3) Ryby Barbus callensis Box boops Gadus luscus Gobius jozo Sciaena cirrhosa Tellia apoda Trachurus trachurus Gady Cerastes cornutus Macroprotodon mauritanicus Psammophis sibilans Tropidonotus viperinus Ptaki Aegialites cantianus Agrodroma campestris Alauda arvensis Ammomanes isabellina (fot. 9) Argya numidica Ascalaphia savoignyi Athene noctua Bubulcus ibis Bucanetes githagineus (fot. 11) Caccabis petrosa (fot. 4) Calandrella brachydactyla Calandrella rebaudia Certhia familiaris Certhilauda desertorum Certhilauda jessei Cetia sericea Chaulelasmus strepera Circus macrourus Cisticola schoenicola Columba livia Corvus tingitanus Cotyle rupestris Curruca conspicillata Curruca melanocephala Cursorius gallicus (fot. 6) Cyanistes ultramarinus Dromolaea leucura Elanus caerulus Emberiza cia (fot. 12) Emberiza cirlus Falco calidus Fregilus graculus Fringilla spodiogenia Fringillaria striolata Fulica cristata Galerida arenicola Galerida cristata Galerida isabellina Galerida macrorhyncha Garrulus cervicalis Gecinus vaillanti Houbara undulata (fot. 5) Lanius algeriensis (fot. 8) Lanius dealbeatus

2023, Terminus

The paper presents the first Polish translation of a mini-series of six short poems about Hyella by Andrea Navagero (1483-1529). The selected works are part of Navagero's famous Latin poetry collection entitled Lusus. The translation is supplemented by an introduction and commentary notes. The Latin text reproduced in the paper is based on the edition of Lusus by Claudio Griggio (2001). The introduction presents the author's biography and includes a brief description of the whole collection. Navagero was a diplomat, a poet and the official historian of the Republic of Venice. Collected by friends in Orationes duae, carminaque nonnulla, his poems were edited posthumously in Venice in 1530. The most important part of Lusus are bucolic epigrams, a new form of Neo-Latin pastoral developed by Navagero. This minor lyric form called "pastoral play" (lusus pastoralis) gained recognition quickly and was widely imitated in 16th century. The collection also includes other literary genres-bucolic poems, elegies, and erotic poems. However, the most famous is the series of epigrams whose heroine or addressee is Hyella, a girl impossible to identify. The introduction presents a discussion about the sources and the interpretation of the love poems about Hyella (poems 21, 22, 28, 31, 32 and 37). The most important literary tradition from which Navagero draws inspiration is the Greek and Latin ancient epigram. For poem 21, the source is the Anacreontea 19, while poem 22 uses the motifs of the lamp and the night as the guardians of lovers, both popular in The Greek Anthology. For two other pieces, the direct source is the poetry of Catullus: poem 31 uses Catullus's carmen 5, while poem 32 combines motifs from Catullus's carmina 82, 92 and 109. In addition, in poem 28 we find similarities with Ausonius's epigram 9. Other important sources for Navagero were the poetry of Petrarch and the neo-Catullan poets, mostly Giovanni Pontano, Michele Marullo, and Cristoforo Landino.

2023, Rónai

A partir da observação do repertório lexical da nudez nos poetas elegíacos, Propércio, Ovídio e Tibulo, o presente trabalho objetiva encontrar elementos que corroborem a sua interpretação metapoética nas elegias latinas. As figuras femininas das puellae elegíacas, associadas aos poetas amantes, confundem-se com a própria poesia e não raramente são indicadas pela ausência de vestes ou vestes transparentes. A pesquisa contextualiza, portanto, o tema prevalente das elegias romanas, no microcosmo elegíaco-amoroso, o par amoroso, os rivais amorosos e os êmulos poéticos, além dos termos específicos relativos à ambientação da nudez. Em seguida, observa-se o viés de interpretação ambígua a respeito da figura da puella e da poesia, pautado no glossário previamente construído.

2023, New England classical journal

2023, Roman Love Poetry

Most of the simple innovations and discoveries that have made our life easier were made during the period of early civilizations. In order to be more familiar with the early innovations and discoveries, we have to look for traces of the early civilizations to take learn from their discoveries and obtain more knowledge about their daily life experiences. We can understand the historical periods and daily life of the early civilizations in a much better way by referring to the primary sources. The significance of primary sources is that they have been incurred and created during the period of civilization. In my research, I will be using two primary sources, which are a poem and an artifact.

2023

The collected works of the Roman lyric poet Catullus (ca 84 - ca 54 BCE) in the original Latin.

2023

The daughters of Lycambes in Greek epigrams
Abstract
The article is devoted to the presentation of the suicides of Lycambes’ daughters in Greek epigrams. This is represented in five works: Dioscorides (A.P. 7.351), Meleager (A.P. 7.352), Gaetulicus
(A.P. 7.71) and Julian (A.P. 7.69 and 70). The author refers in his introduction to the ancient historical tradition of the love between Archilochus and Neobule, one of Lycambes’ daughters. After the
engagement was broken off by Lycambes, the poet took revenge on his daughters, describing his
amorous adventures with them and their sexual preferences. In accordance with the ancient legend,
the daughters of Lycambes, unable to live with the shame which befell their family as a result of Archilochus’ defamatory iambs, committed suicide. The above-mentioned epigrams include the motif
of the daughters’ tragic deaths. Only in Gaetulicus do we have a clear reference to their suicides.
This is also suggested by Julian, especially in the second work of his cited above. All the epigrams
also contain a critical assessment of Archilochus’ iambs as excessively harsh and cruel towards Lycambes’ daughters. Archilochus’ harshest critic was Gaetulicus, for whom the poet from Paros was
a ‘murderer’, who using his iambs as a weapon drove innocent girls to their deaths.

2023

Miser Catulle, desinas ineptire, Et quod vides perisse perditum ducas. Fulsere quondam candidi tibi soles, Cum ventilabas quo puella ducebat Amata nobis quantum amabitur nulla. Ibi illa multa cum iocosa fiebant, Quae tu volebas nec puella nolebat, Fulsere vere candidi tibi soles. Nunc iam illa non volt: tu quoque inpotens noli, Nec quae fugit sectare, nec miser vive, Sed osbtinata mente perder, obtura. Vale, puella. Iam Catullus obdurat, Nec te requiret nec rogabit invitam. At tu dolebis, cum rogaberis nulla. Scelesta, vae te, quae tibi manet vita? Quis nunc te adibit? Cui videberis bella? Quem nunc amabis? Cui labella mordebis? At tu, Catulle, destinatus obdura.

2023, Mnemosyne

Mentula moechatur. moechatur Mentula? certe. hoc est, quod dicunt: ipsa olera olla legit. Der Hexameter des Catullischen Epigramms 94 besteht aus drei Teilen: (1) der Behauptung, eine Person namens Mentula 1) begehe Ehebruch (moechatur); (2) der-wohl erstaunten-Nachfrage eines Dialogpartners, ob Mentula tatsächlich Ehebruch begehe; (3) der Bestätigung der Frage (certe). Der Pentameter enthält die Gedichtpointe in Form eines Sprichwortes (hoc est, quod dicunt 2), eine Praktik, die seit Kallimachos weit verbreitet ist 3). Was bedeutet jedoch das sonst völlig unbekannte Sprichwort ipsa olera olla legit? 4) Formal betrachtet, gewinnt es zunächst einen gewissen Reiz durch den Anklang von olla an olera 5). Der aktive Teil des

2023, Dos Santos, e. C. P. (et al.) (orgs.). O feminino na literatura grega e latina.

Este artigo se coloca como uma tentativa de contribuir para o debate que circunda a figura da poetisa romana Sulpícia (c. I a.C.), visando sobretudo oferecer novas interpretações no que toca à persona poética que se projetaria a partir de dois poemas selecionados, a saber, os poemas de número 8 e 13 do livro 3 do Corpus Tibullianum. Após uma breve introdução cujo objetivo, entre outras coisas, é abordar aspectos do estado da questão, gostaríamos de sugerir em nossa leitura que a figura que aparece descrita em 3.8 pode ser entendida como uma antecipação da persona que fala em 3.13, e que o liame entre essas duas personae traçaria algumas diretrizes de leitura da imagem autoral de Sulpícia. Conforme tentaremos argumentar, parece-nos que interessantes relações podem ser inferidas dos dois poemas escolhidos, não só por se tratar de composições programáticas (ambos iniciam os dois ciclos do corpus associados à Sulpícia), mas também pelo fato de compartilharem figuras semelhantes. Concluiremos, enfim, que uma representação autoral elegíaca e feminina em Roma Antiga parece se desenvolver dentro dos preceitos do gênero que está se exercitando.

2023

Il lavoro di tesi consiste nell’edizione critica di una porzione di testo del Truculentus di Plauto (vv. 1-254/5), strutturata secondo le caratteristiche dell’Editio Plautina Sarsinatis. Si basa pertanto su un’indagine di prima mano sui manoscritti e sulle edizioni di Plauto, dalla princeps in poi, e si struttura in un apparato, rigidamente positivo, che tenga conto delle problematiche relative (1) al paratesto, (2) alla colometria dei cantica, (3) alle varianti testuali e congetture. All’edizione segue una proposta di traduzione e un commento filologico-stilistico sui versi presi in considerazione, spesso indispensabile per affrontare i passi piu corrotti. In appendice si e scelto poi di riservare spazio alle scene che vedono in azione il seruus truculentus (vv. 256-321 e 669-698), un personaggio in realta del tutto secondario e poco rilevante ai fini della trama se non per il fatto che conferisce il titolo alla commedia. Di queste se ne fornisce l’edizione critica, una proposta di...

2023, Vox Patrum

The author analyses the beginning of the poetic work of Prudentius (Praefatio) in whom the poet does the self-examination over his own previous life. The poet runs short his own past: the childhood, the beginning of rhetorical studies , errors of the youth, the lawyer’s career , finally the development of the public career. This are quick scenes from following stages of his life. The poet considers, how to live the period of the old age. One ought to talk with himself, to perform the dialogue with the own soul. The old age is the time which man should think about God. The poet wants to laud God with his own word, with her own poetry. Prudentius expresses the conviction that his poesy, lauds God with the day and by night, praises apostles and martyrs, fights with the idolatry and heresies and explains Catholic faith. Such poetry will assure him the salvation.

2023, Graeco-Latina Brunensia

In his Civil War, Lucan enters into intertextual game not only with epic and tragedy, but also with love poetry. A number of references to Roman elegy, the Heroides, and Ariadne's lament in Catullus (64) have been noted in Book 5, when Caesar arrives in Epirus and summons his troops from Italy. The aim of this article is to examine the functions of these elegiac references related to Caesar and to propose an interpretation slightly different from that found in earlier studies. Using elegiac vocabulary, motifs, and topoi (servitium and militia amoris) in 5.476-497, Lucan makes his audience perceive Caesar in the role of an elegiac mistress (domina), who thereby imposes the role of lover on his soldiers. However, those roles do not correspond to their real meaning in the poem as Caesar is quickly forced to transform into a lover. This shift is crucial for the intertextual game with love poetry. Nevertheless, the troops do not notice the change, standing by the role they were previously cast in (5.678-699). In this way, they allow their leader to become a mistress again and continue the war.

2023, Catullus. Lyriek.

Annotaties bij geselecteerde gedichten van Catullus voor het gymnasiaal onderwijs

2022

The present book is dedicated to the image of the Iranian world emerging from the extant Roman poetry written in the Republican and Augustan Ages. The scope of the source material stretches thus from the comedies of Plautus to the Ovidian... more

2022

Acon is one of the six eclogues written by Giovanni Pontano, one of the most remarkable humanists of the Italian Quattrocento. In this work, the author presents an image of conjugal love by the usage of a bucolic context, a model of shepherd love and some myths from Ovid’s Meta- morphoses. He also refers to some facts from his own biography (marriage with Adriana Sassone). The pastoral figures who speak in the eclogue Acon are Petasillus and Saliuncus. They reminisce their master Meliseus (Pontano’s alter ego) who used to sing beautiful songs for his beloved wife Ariadna. The topics of those songs were the period of engagement, the first days of marriage and the pain caused by the separation of the spouses

2022, Religion

Poets like Horace, Tibullus, Propertius, and Ovid spoke about
emotional and explicitly sexual relationships with Venus in a
language mobilising towards radical ways to live. Criminal actions
from prayer attacks to the use of poisons were considered and
imagined as being performed in this literature. Whereas the
phenomenon of militia amoris – sexual relationships of men to
women framed as military service – has been studied extensively,
it has never been analysed in a framework of the History of
Religion. Given the widespread reception of such texts and the
rise of concepts of militia Christiana in the later Empire, a closer
look at these texts is necessary. Focusing on Horace, Odes 4.1,
this article inquires into his construction of the interplay of total
devotion and emotions, which lies at the basis of performances
of this text, and into the coherency of the religious framework
developed in the poetry.

2022, Homosexuality in Greece and Rome: A Sourcebook of Basic Documents, ed. Thomas K. Hubbard

A verse translation of Tibullus 1.9

2022, Homosexuality in Greece and Rome: A Sourcebook of Basic Documents, ed. Thomas K. Hubbard

A verse translation of Tibullus 1.4

2022

À minha família e meus amigos, cujos nomes não caberiam nesta página, os quais das mais diferentes formas concedem-me o apoio para seguir em frente. Ao Marcelino, Gabriele, Edi, Vera Lúcia e Ivan, pela amizade e o apoio. À Alice e Oscarina, por tudo. Ao Lucas, por ser a mais presente e paciente companhia dos últimos anos. O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior-Brasil (CAPES)-Código de Financiamento 001, e com o apoio da Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)-Projeto n° 2016/16627-0, às quais agradeço. As opiniões, hipóteses e conclusões ou recomendações expressas neste material são de responsabilidade do autor não necessariamente refletem a visão da CAPES ou da FAPESP. RESUMO ARRUDA, M. O. L. As artes de Vênus e as artes de Minerva na configuração da puella elegíaca de Propércio. Dissertação (Mestrado).

2022, Editura pentru Literatură Universală, București, 1969

În româneşte, cu un studiu introductiv şi note de Teodor Naum.
Ilustraţii de Vasile Kazar.

2022

The purpose of this paper is to draw attention first and foremost to the synesthetic richness of the sensual experience in the interplay of two erotic desires, in Longus' Daphnis and Chloe. But there is more. Sensuality, I will argue, is represented disingenuously in Daphnis and Chloe. Sensation is both obvious and mysterious, spontaneous and maddeningly resistant to an interpretive explanation. Arousal is both an event that automatically occurs in a body, and a hermeneutical conundrum. Falling in love comes as a surprise and can yield to puzzlement, hesitation and inaction. The human desirable body, so it seems, offers a particular challenge to the senses. Both females and males may freeze in a situation of uncertainty about what to do, but even more fundamentally about what exactly they are beginning to feel. Perceptual insecurity complicates the erotic situation. This philosophical sophistication, therefore, thematises a dilemma: is love a natural and self-evident phenomenon, or is it a matter of recondite technique? Which brings to the fore a question of cultural background, namely the hypothesis that two well-known Roman discourses might be part of the textual layering: Ovid’s Ars amatoria and the epistemology of Academic skepticism.

2022

This epic is all about the trial of Roman virtus through labores, giving these Roman ideas the dignified garb of Stoicism; 967: Thus he combines the epic tradition of klea andron […] with the gloria of virtus in the vein of Roman... more

2022, Le attrazioni fatali di Giuseppe Giangrande, le “Muse inquietanti” di Cornelio Gallo e un Addendum Sull’elegia amorosa romana

Si analizzano qui due motivi critici che hanno fatto molto discutere sul papiro di Gallo: da un lato la posizione di Giuseppe Giangrande circa l’ “erit” del v. 3 del papiro; e dall’altro il controverso “verso” “Tandem fecerunt carmina... more

2022, Prace Filologiczne. Literaturoznawstwo

W artykule przedstawiono najwcześniejsze greckie sposoby myślenia o zbieraniu, zestawianiu i wyliczaniu w odniesieniu do literatury i jej funkcjonowania. Obecna od początków dziejów greckiej poezji skłonność do posługiwania się katalogami jako integralnymi częściami utworów, porządkującymi różne rzeczy, sprawy i zjawiska i ułatwiającymi ich zapamiętywanie, już w V w. p.n.e. znalazła wyraz w tworzeniu zbiorów (syllogai) poetyckich dokonań, które były układane według różnorakich kryteriów (tematycznych, gatunkowych, autorskich, funkcjonalnych). Towarzysząca zbieraniu utworów aksjologiczna postawa redaktorów syllogai wobec tych utworów doprowadziła w czasach hellenistycznych do powstania antologii, czyli wyborów dzieł uznanych za artystycznie najlepsze, a więc dostarczające odbiorcy przyjemności przede wszystkim estetycznej. Prześledzenie najwcześniejszych dziejów antologizowania pokazuje, że wszechobecne w życiu Greków zasady: użyteczności i przyjemności odgrywały znaczącą rolę w kszt...

2022, Gold/A Companion to Roman Love Elegy

Quintilian names Gallus, Tibullus, Propertius, and Ovid as the canonical poets of Roman elegy. His comments are brief enough that they can be quoted in full: Elegia quoque Graecos provocamus, cuius mihi tersus atque elegans maxime videtur... more

2022, Gold/A Companion to Roman Love Elegy

2022, Dictynna

Questo documento è stato generato automaticamente il 10 settembre 2020. Les contenus des la revue Dictynna sont mis à disposition selon les termes de la Licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Pas de... more

2022, Euphrosyne

The two sister pieces that close the first Book of Propertius’ elegies (21 and 22) could be best explained as a confrontation between two irreconcilable speakers : Ego/Poet (22) and Ego/Prince (21). In both pieces, the addressee would be... more

2022, Wydawnictwo Uniwersytetu Wrocławskiego

The book is devoted to a historical-literary analysis, the chronological framework of which encompasses the period between the second half of the 14th century and the early 17th century. The author analyses works by Italian and Polish authors. Th e most frequently mentioned figure among the Italian poets is Giovanni Pontano, a master of familial poetry.
The book consists of six chapters, each of which presents a type of female heroine: 1. Little girl, 2. Adolescent daughter, 3. Mistress, 4. Wife and mother, 5. Elderly woman, 6. Virago. The arrangement of chapters is based on two criteria: age and role served. The first five chapters present women in their private life, from childhood until old age, in various roles: daughters, granddaughters, wives, mothers, grandmothers as well as nannies and mistresses (both young and old). The last chapter (Virago) examines women not conforming to the traditional roles, women trying to compete with men: brave and holding power. The chapters are preceded by an Introduction, in which the author analyses ancient and Renaissance views on the nature of women and their social status.
The portraits selected by the author include both mythical figures (e.g. Pentesilea and the Amazons) and figures who had their real-life models in the Renaissance (e.g. Adriana and other women from Giovanni Pontano’s family circle). They also represent various literary genres and are shaped by different conventions, both in an exalted and caricatural manner, with a funeral laudatio on one extreme and unrefined iambs on the other.
The Italian and the Polish poets agree in their views on the female nature and main vocation of women, i.e. motherhood. Both the Italian and the Polish heroines find
their natural environment in the family and their most important quality is fertility. This conviction conforms to the customs of the period and to views propagated by humanists in scholarly treatises.
As we know, a man of authority in the Renaissance, also in matters of gender roles, was Aristotle. In his theory, described from today’s point of view as gender polarity, the woman becomes a negative of the man. Aristotle’s theory was referred to by many humanists. We can come across attempts to treat both genders as complementary in the poetic oeuvre of some authors as well. For instance, in Giovanni Pontano’s familial poetry the spouses are partners, they complement each other creating a whole, and the death of one of them is a disaster and violation of the cosmic Order for the other.
The question of division of roles and separate duties for each gender oft en recurs in Renaissance works. Th ere also appears the question of transgression, which is a complex problem provoking various judgements.
In a later period, in the 18th century, Richard Steele, an eminent representative of the British Enlightenment, said: “A woman is a daughter, a sister, a wife and a mother, a mere appendage of the human race.” Th is is a controversial and extremely androcentric view. However, as many works analysed here suggest, the value of women is determined not only by their qualities, but above all by their relation with men: as obedient daughters, affectionate mistresses, faithful wives. Women are also
oft en treated by male authors as a pretext for analysing their own feelings and expressing their own experiences. Men are, in fact, the main protagonists of many works devoted to the fair sex (e.g. of erotic poems). Women can also be used as a means to achieve poetic fame. Thus, Renaissance poetry is marked by androcentrism, though also by huge fascination with this mysterious being, i.e. woman.

2022, Res Historica

W artykule omówiono książkę Agnieszki Dziuby, poświęconą jednej z bardziej znanych postaci kobiecych okresu Republiki Rzymskiej, Clodii Metelli, przedstawicielce jednej z potężniejszych rodzin patrycjuszowskich, gens Claudia, żonie Q. Caeciliusa Metellusa Celera, siostrze P. Clodiusa. A. Dziuba analizuje starożytną tradycję literacką narosłą wokół Clodii Metelli. W artykule przedstawiono także obecność postaci Clodii (Claudii) w słynnym numizmatycznym dziele Guillaume'a Rouillé, Promptuarium iconum insigniorum (1553). Słowa kluczowe: Clodia Metelli, Guillaume Rouillé, tradycja numizmatyczna Klodia Metelli (Clodia Metelli), przedstawicielka zasłużonego w dziejach Rzymu rodu Klaudiuszów, była jedną z córek Ap. Klaudiusza Pulchra (App. Claudius Pulcher, cos. 79) i żoną Metellusa Celera (Q. Caecilius Metellus Celer, cos. 60). W swej najnowszej książce Agnieszka Dziuba postawiła sobie za zadanie skonfrontowanie "dwóch postaci Klodii Metelli-historycznej i literackiej" (s. 9) 1. 1

2022

Before the Tristia, the first poems written in exile, Ovid mentions his wife only once, indirectly in Amores 3.13, when he relates a shared trip to Veii. He gives the following reason for this trip: as his wife was born in the Faliscan town, they came to 'the walls defeated' by Camillus (1-2). Ovid assisted in the festival in honour of Juno, which he then describes without mentioning his wife. In the Tristia and the Epistulae ex Ponto, his wife is a relatively frequent addressee of his poems 1 and the only woman to whom he writes, with the exception of a protégée, Perilla, to whom he was a mentor and tutor in poetry (Tr. 3.7). This is a very unusual situation for an elegiac poet who until then had only celebrated his puella and illicit love affairs. It is also unusual because Ovid's relationship with his wife has been affected by his exile: he expects that she protects his property and helps him to obtain his return to Italy. The elegists stage themselves and their puellae in fictitious situations, repeated from one poet to the next. First, my chapter will examine how Ovid has reused some of these situations by adapting to marital relationships certain behaviours and feelings associated with love affairs. Which selections and which changes has he made? What may we conclude about the feelings between the two spouses? In the second part, I will seek to clarify what is really at the root of their relationship. Ovid praises his wife for having all the virtues of a good wife, and he expects that she shows them in her behaviour towards him. However, progressively during his exile, he is increasingly expressing his disappointment. I will analyse how Ovid uses the notion of fama ('reputation'), his wife's and his own, in particular, to try to gain this more effective assistance he considers to be his due. I will end on the final attempt that Ovid makes in Epistulae ex Ponto 3.1, where he tries to change the too static model of the 'good spouse', by suggesting to his wife that she should adopt a more active behaviour in the political arena, of which Livia is all at once the target, the guarantor, and the implicit example. Adaptions and inadequacies of the elegiac model Ovid stages his relationship with his wife by reusing some situations borrowed from the elegiac genre. Several times before, in the Heroides and BK-TandF-CHALLET_9780367345044-211166-Chp05.indd 76

2022

The present work constitutes a scholarly edition and a translation into Polish of the Latin tragedy Carthaginenses of Denis Petau, and an introduction and commentary on the work. This tragedy, along with two other dramatic works of this author brought Petau relative fame. The author of the translation and the edition intended to familiarise a wider group of readers with this now-forgotten work, which is one the most worthwhile works - from the perspective of the tradition of humanist works by Jesuits in 17th-century Europe. As a dramatist Petau, does not conceal the great debt that he contracted from Seneca the Younger - not only does he imitate the Roman philosopher and tragedian in terms of formal and stylistic means in a fine manner but he also engages the themes of the stoic thought of this author. In the Carthaginenses, the Senecan perspective was employed in order to reinterpret the bloody episodes of the Third Punic War. Here Petau exhibited the figures of two strong women, w...

2022, Medicina y Literatura III. Ed. Esteban Torre. Sevilla: Padilla, pp. 265-275. ISBN: 84-8434-248-4

En este capítulo se analiza críticamente la recepción y articulación de motivos amatorios bajo el prisma de las enfermedades, la vejez y el envejecimiento dentro del marco de la pieza poética titulada 'Confessio Amantis' ('The Lover's Confession' o 'La confesión del amante'), escrita en inglés medio por John Gower. ******* This book chapter provides a critical analysis of the reception and articulation of love motifs as mediated by illnesses and ageing in the wider context of John Gower's Middle-English poem 'Confessio Amantis' ("The Lover's Confession").

2022, Studia Metrica et Poetica