DOCSLIB.ORG

Politik Der Kleinen Form. Paraklausithyron Und Recusatio Bei

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Politik Der Kleinen Form. Paraklausithyron Und Recusatio Bei Politik der kleinen Form Eva María Mateo Decabo Politik der kleinen Form Paraklausithyron und Recusatio bei Properz, Tibull, Horaz und Ovid Diese Untersuchung ist die überarbeitete Fassung meiner Dissertation, die im Sommersemester 2017 der Sprach- und literaturwissenschatlichen Fakultät der Humboldt-Universität zu Berlin vorgelegen hat. Die Fertigstellung dieser Arbeit wurde gefördert durch ein Abschlussstipendium des Caroline von Humboldt-Stipendiatinnenprogramms der Humboldt- Universität zu Berlin. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. Dieses Werk ist unter der Creative-Commons-Lizenz 4.0 (CC BY-SA 4.0) veröffentlicht. Der Umschlag unterliegt der Creative-Commons-Lizenz CC-BY-ND 4.0. Publiziert bei Propylaeum, Universitätsbibliothek Heidelberg 2020. Diese Publikation ist auf https://wwww.propylaeum.de dauerhaft frei verfügbar (open access). URN: urn:nbn:de:bsz:16-propylaeum-ebook-472-3 DOI: https://doi.org/10.11588/propylaeum.472 Text © Eva María Mateo Decabo 2020 Umschlagabbildung: Monumento a Octavio Augusto in Augusta Emerita (heute: Mérida, Badajoz, Spanien), eine Kopie der Augustus-von-Primaporta-Statue. Fotografie: Eva María Mateo Decabo, Digital Art: Rosemarie Stankiewicz. ISBN 978-3-947450-38-1 (PDF) ISBN 978-3-948465-08-7 (Hardcover) Petro Christiano carissimo οὐδεὶς λόγος ἀσχημάτιστος οὐδὲ ἁπλοῦς λόγος οὐδείς. (Dion. Hal. rhet. 9,1) Und hat Form nicht zweierlei Gesicht? Ist sie nicht sittlich und unsittlich zugleich? (Thomas Mann, Der Tod in Venedig) Inhaltsverzeichnis Danksagung ........................................................................................................ 11 1 Einleitung und Forschungsdiskussion ..................................................... 13 Das Paraklausithyron ................................................................................ 25 Die Recusatio ............................................................................................ 27 2 Theorie ...................................................................................................... 31 2.1 Form ................................................................................................. 31 2.2 Artistik .............................................................................................. 46 2.2.1 Abriss artistischer Epochen ................................................... 50 2.3 Politizität ......................................................................................... 63 2.3.1 Rancière ................................................................................. 70 3 Textanalysen ............................................................................................. 77 3.1 Das Paraklausithyron ...................................................................... 78 3.1.1 Properz ................................................................................... 92 1,16: Türmonolog .................................................................. 92 3.1.2 Tibull .................................................................................... 106 1,2: Postparaklausithyron ................................................... 106 3.1.3 Horaz .................................................................................... 125 epod. 11: poeta amator iambi gegen poeta amator elegiae .................................................................................. 126 carm. 1,25: „Antiparaklausithyron“ .................................... 135 carm. 3,10: Paraklausithyron-Abbruch ............................... 140 3.1.4 Ovid ...................................................................................... 147 am. 1,6: Klage an den Türsklaven ....................................... 147 3.1.5 Zusammenfassung .............................................................. 163 3.2 Die Recusatio ................................................................................. 168 3.2.1 Properz ................................................................................. 186 2,1: Die Epos-Neuschreibung ‚Properziade‘ ....................... 186 2,13a: tunc ego ..................................................................... 201 9 Inhaltsverzeichnis 2,34: Properz als alter Vergilius ........................................... 208 3,9: Die Mimesis des Recusatio-Verursachers .................... 219 3.2.2 Horaz .................................................................................... 229 carm. 1,6: Die Mimesis des Zurückgewiesenen (Homer) ... 229 carm. 2,12: Das eigene Erotikon .......................................... 237 carm. 4,2: Die Mimesis des Zurückgewiesenen (Pindar) .... 242 carm. 4,15: Das eigene Politikon ......................................... 253 3.2.3 Tibull .................................................................................... 261 2,4: Elegie-Recusatio ........................................................... 261 3.2.4 Ovid ...................................................................................... 273 am. 1,1: Amor vs. Apoll ........................................................ 273 am. 2,1: Amor vs. Jupiter ..................................................... 283 am. 3,1: Tragödie vs. Elegie ................................................. 294 3.2.5 Zusammenfassung mit typologischem Überblick ............. 310 3.2.6 Die Recusatio-Gottheit Apoll ............................................... 314 4 Schlussbemerkungen ............................................................................. 327 Artistische Form als Reflexionsmedium des Form-Inhalt- Verhältnisses ........................................................................................... 327 Artistische Texte als Reflexionsmedium von Rhetorik .......................... 330 Artistische Texte als Reflexionsmedium der Literatur- und Gattungsgeschichte ................................................................................ 331 Artistische Texte als Reflexionsmedium von Politik .............................. 335 5 Bibliographie ........................................................................................... 341 Verwendete Ausgaben ............................................................................ 341 Verwendete Literatur .............................................................................. 343 10 Danksagung Das vorliegende Buch, das sich der Frage nach dem politischen Gehalt auguste‐ ischer ‚kleiner Formen‘ widmet (also der sogenannten Liebeselegie des Properz, Tibull und Ovid sowie der erotischen Dichtung des Horaz), entspricht der geringfügig überarbeiteten Fassung meiner Dissertation „Politik der kleinen Form“, die im Sommersemester 2017 der Sprach- und literaturwissenschaftli‐ chen Fakultät der Humboldt-Universität zu Berlin vorgelegen hat. Mein erster Dank gilt meinem Doktorvater Prof. Dr. Markus Asper für die Betreuung meines Projekts, die langjährige Unterstützung und die inspirie‐ rende Zusammenarbeit. Herrn PD Dr. Felix Mundt danke ich für die Über‐ nahme des Zweitgutachtens und seine vielen förderlichen Anregungen. Die Untersuchung hat davon profitiert, dass ich mit grundlegenden Ideen zur Politizität von Literatur bereits als Hilfskraft und später wissenschaftliche Mitarbeiterin im Teilprojekt C2 des Sonderforschungsbereichs 626 an der Freien Universität Berlin vertraut geworden bin. Dafür möchte ich mich herz‐ lich bei dem Leiter des Teilprojekts Prof. Dr. Bernd Seidensticker bedanken sowie insbesondere bei Anna-Maria Gasser und Prof. Dr. Antje Wessels, die auch weiterhin neue Gedanken angestoßen und die Freude an der Arbeit erheb‐ lich gefördert haben. Meinen Kollegen und Freunden am Institut für Klassische Philologie der Humboldt-Universität zu Berlin, insbesondere PD Dr. Darja Šterbenc Erker, PD Dr. Nina Mindt, Dr. Friderike Senkbeil, Dr. Ulrike Stephan (†) und Dr. Martin Stöckinger, gilt mein herzlicher Dank für den produktiven fachlichen Aus‐ tausch und wertvolle Anregungen. Einen großen Dank verdient Dr. Laura Gemsemer für das aufmerksame Lektorat dieses Buchs. Das Caroline von Humboldt-Stipendiatinnenprogramm hat mir in der Endphase der Promotion wichtige Freiräume ermöglicht. Auch hierfür möchte ich mich herzlich bedanken. 11 1 Einleitung und Forschungsdiskussion Diese Arbeit untersucht das Potential der literarischen Form für politische Semantik in der erotischen Dichtung von Properz, Tibull, Horaz und Ovid. Die Fokussierung auf die Formsemantik mehr denn auf die alleinige Gehaltsemantik soll dazu beitragen, einige grundlegende Fragen zu klären, wel‐ che den politischen Gehalt der augusteischen erotischen Dichtung betreffen. Trotz der umfangreichen Forschungsliteratur1 gibt es nach wie vor keine wirk‐ lich befriedigende Antwort auf eine Anzahl bedeutender Fragen. Ich beschränke mich hier auf die Skizzierung der drei grundlegenden Fragen, von deren Beantwortung wiederum die meisten anderen Aspekte abhängen: 1) Warum entsteht diese erotische Literatur just zu einem Zeitpunkt, als mit dem Prinzipat unter Augustus2 mittels einer vorgeblichen Rückbesinnung auf traditionelle Werte strengere moralische Ideale eingefordert werden? Das Spannungsverhältnis zwischen den nicht nur in ästhetischer Hinsicht ‚freien‘ Beschreibungen römischen Liebeslebens und einer Gesellschaft, die durch Ehe‐ gesetze3 nicht nur zu Zucht und Moral, sondern zu quasi-eugenischer Prokrea‐ tion4 gebracht
Load more

Recommended publications
  • Banished to the Black Sea: Ovid's Poetic
    BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies By Christy N. Wise, M.A. Georgetown University Washington, D.C. October 16, 2014 BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 Christy N. Wise, M.A. Mentor: Charles A. McNelis, Ph.D. ABSTRACT After achieving an extraordinarily successful career as an elegiac poet in the midst of the power, glory and creativity of ancient Rome during the start of the Augustan era, Ovid was abruptly separated from the stimulating community in which he thrived, and banished to the outer edge of the Roman Empire. While living the last nine or ten years of his life in Tomis, on the eastern shore of the Black Sea, Ovid steadily continued to compose poetry, producing two books of poems and epistles, Tristia and Epistulae ex Ponto, and a 644-line curse poem, Ibis, all written in elegiac couplets. By necessity, Ovid’s writing from relegatio (relegation) served multiple roles beyond that of artistic creation and presentation. Although he continued to write elegiac poems as he had during his life in Rome, Ovid expanded the structure of those poems to portray his life as a relegatus and his estrangement from his beloved homeland, thereby redefining the elegiac genre. Additionally, and still within the elegiac structure, Ovid changed the content of his poetry in order to defend himself to Augustus and request assistance from friends in securing a reduced penalty or relocation closer to Rome.
    [Show full text]
  • And Type the TITLE of YOUR WORK in All Caps
    IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND (Under the Direction of Sarah Spence) ABSTRACT Though Ovid presents readers of his Metamorphoses with countless episodes of lovers uniting in a temporary physical closeness, some of his characters find themselves so affected by their love that they become inseparably merged with the ones they desire. These scenarios of “merging bodies” recall Lucretius’ explanations of love in De Rerum Natura (IV.1030-1287) and Aristophanes’ speech on love from Plato’s Symposium (189c2-193d5). In this thesis, I examine specific episodes of merging bodies in the Metamorphoses and explore the verbal and conceptual parallels that intertextually connect these episodes with De Rerum Natura and the Symposium. I focus on Ovid’s stories of Narcissus (III.339-510), Pyramus and Thisbe (IV.55-166), Salmacis and Hermaphroditus (IV.276-388), and Baucis and Philemon (VIII.611-724). I also discuss Ovid’s “merging bodies” in terms of his ideas about poetic immortality. Finally, I consider whether ancient representations of Narcissus in the visual arts are indicative of Ovid’s poetic success in antiquity. INDEX WORDS: Ovid, Metamorphoses, Intertextuality, Lucretius, De Rerum Natura, Plato, Symposium, Narcissus, Pyramus, Thisbe, Salmacis, Hermaphroditus, Baucis, Philemon, Corpora, Immortality, Pompeii IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND B.A., Denison University, 2012 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2014 © 2014 Jaclyn Rene Friend All Rights Reserved IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND Major Professor: Sarah Spence Committee: Mark Abbe Naomi Norman Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2014 ACKNOWLEDGEMENTS I would like to thank Dr.
    [Show full text]
  • Orpheus and Eurydice in the Middle Books of the Faerie Queene The
    Orpheus and Eurydice in the Middle Books of The Faerie Queene The commendatory sonnet by ‘W. S.’ appended to the first edition of The Faerie Queene hails Spenser as the ‘Brittayne Orpheus,’ and modern critics have thought the author was onto something. Thomas Cain in 1971 made the case that Spenser ‘use[s]...the Orpheus- figure to assert and assess his own role as poet’ across his works; more recently Patrick Cheney has talked about Spenser’s ‘Orphic career’.1 In Spenser criticism at large, the idea that Spenser wants to present himself as another Orpheus is frequently mentioned, though rarely discussed in much detail. Given all this attention to the importance of Orpheus in Spenser’s self-presentation, it is remarkable that an extremely curious feature of Spenser’s treatment of the Orpheus-myth has received so little comment, and its implications for our understanding of Spenser’s conception of his own role and powers remain unexplored. It concerns his treatment of Orpheus’ greatest exploit, his katabasis in the attempt to recover his wife Eurydice from the Underworld. In the version best known today, the episode ends in tragic failure: though Orpheus with his enchanting song succeeds in charming the gods of the Underworld to consent to Eurydice’s return, he breaks the condition imposed on him that he should not look back at her before they are both safely again in the upper world, and so loses her a second time, and irrevocably. Spenser refers to the myth several times across his works, but consistently presents Orpheus’ attempt as successful, and Eurydice as restored to life.
    [Show full text]
  • The Reader and the Poet
    THE READER AND THE POET THE TRANSFORMATION OF LATIN POETRY IN THE FOURTH CENTURY A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aaron David Pelttari August 2012 i © 2012 Aaron David Pelttari ii The Reader and the Poet: The Transformation of Latin Poetry in the Fourth Century Aaron Pelttari, Ph.D. Cornell University 2012 In Late Antiquity, the figure of the reader came to play a central role in mediating the presence of the text. And, within the tradition of Latin poetry, the fourth century marks a turn towards writing that privileges the reader’s involvement in shaping the meaning of the text. Therefore, this dissertation addresses a set of problems related to the aesthetics of Late Antiquity, the reception of Classical Roman poetry, and the relation between author and reader. I begin with a chapter on contemporary methods of reading, in order to show the ways in which Late Antique authors draw attention to their own interpretations of authoritative texts and to their own creation of supplemental meaning. I show how such disparate authors as Jerome, Augustine, Servius, and Macrobius each privileges the work of secondary authorship. The second chapter considers the use of prefaces in Late Antique poetry. The imposition of paratextual borders dramatized the reader’s involvement in the text. In the third chapter, I apply Umberto Eco’s idea of the open text to the figural poetry of Optatianus Porphyrius, to the Psychomachia of Prudentius, and to the centos from Late Antiquity.
    [Show full text]
  • THE PARAKLAUSITHYRON MOTIF in HORACE's ODES by W. J
    THE PARAKLAUSITHYRON MOTIF IN HORACE'S ODES by W. J. Henderson (Rand Afrikaans University, Johannesburg) No substantial research on the 1tapmcf.aucrieupov or exclusus amator motif in Greek and Latin literature has followed in the wake of Copley's monograph of 1956. 1 His study and the earlier work of De la Ville de Mirmont, Canter, Pasquali, Burck, Copley himself, and Elizabeth Haight, 2 have to a large extent compensated for the apparent lack of interest in the motif among classical scholars, as evidenced by the mere paragraph by Paul Maas in the Real­ encyclopiidie3 and the three-and-a-halflines by the unnamed contributor in the Oxford Classical Dictionary. This lack of interest is not limited to classical scholars. One searches in vain for an entry on the motif in the standard dic­ tionaries ofliterary terms and in the encyclopaedias of various languages. What attention has been focused on the motif has for the most part been of the 'Motivgeschichtliche' kind, where the origins and development of the motif have been traced from social custom to literary genre and motif, and the various ingredients and features of the motif established. Relatively little attention has been turned on the problem of how this highly stylised literary motif has been exploited by individual poets.4 Yet the frequency of the motif in poetry5 of different countries and ages proclaims its popularity and a certain topicality or relevancy to actual social custom. Even in its most literary form among, for example, the Roman elegists, 1. F. 0. Copley, Exclusus Amator. A Study in Latin Love Poetry, American Philological Association Monographs 17, New York, 1956.
    [Show full text]
  • The Terms Komos and Paraclausithyron Francis Cairns
    The Terms komos and paraclausithyron Francis Cairns OR SOME SIXTY YEARS the starting point for all studies of the lover who in Greek and Latin poetry attempts to gain access to his/her beloved’s house has been Frank O. F 1 Copley’s Exclusus Amator, a work which greatly benefited schol- arship by bringing to general attention an important ancient literary genre. However, the many new and valid insights to be found in Exclusus Amator and its successors have been accom- panied by a measure of terminological muddle, lack of informa- tion, and downright inaccuracy. To be precise: the terms used to specify the genre involved, komos and paraclausithyron, are often employed in confused and self-contradictory ways; there is little awareness of the textual insecurity of the Plutarchan hapax legomenon παρακλαυσίθυρον; and an incorrect rendering of παρα- κλαυσίθυρον is pervasive in classical scholarship. These issues, and their consequences for the study of the genre in question, are addressed here. 1. Paraclausithyron or komos? Four of the eight chapter headings of Exclusus Amator contain the term paraclausithyron, which Copley used throughout to refer to the entire sequence of events surrounding the excluded lover:2 1 F. O. Copley, Exclusus Amator: A Study in Latin Love Poetry (Baltimore 1956); some earlier studies are listed at 144 n.1; for subsequent contributions see (inter alia) F. Cairns, Generic Composition in Greek and Roman Poetry (Edinburgh 1972), Index of Genres and Examples s.v. KOMOS; M. S. Cummings, Ob- servations on the Development and Code of the Pre-Elegiac Paraklausithuron (diss. Univ.
    [Show full text]
  • The Role of Internal Politics in American Diplomacy
    Horace’s Mythological Lexicon: Repeated Myths and Meaning in Odes 1-3 Blanche Conger McCune Augusta, Georgia B.A., Wheaton College, 2007 M.A., University of Virginia, 2009 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Classics University of Virginia May, 2014 i ©Copyright by Blanche Conger McCune All rights reserved May 2014 ii ABSTRACT This dissertation examines repeated mythological references in the first three books of Horace’s Odes. Several mythological figures occur more than once in the Odes; those studied in this dissertation are Daedalus and Icarus, Prometheus, Tantalus, Hercules, and Castor and Pollux. I argue that in Odes 1-3 recurrent myths constitute part of a personal lexicon, a mythological vocabulary Horace uses to speak about themes such as hubris, poetry, and immortality; for example, Daedalus and Icarus, Prometheus, and Tantalus are consistently linked with immoderation, and Hercules and the Dioscuri are consistently emblematic of complementary aspects of Augustus’ rule and of his future deification. This mythological lexicon can be read across poems so that the interpretation of a mythological figure in one poem can aid in understanding the use of the same mythological figure in another poem, and the collective effect of all of the uses of that figure is itself something that can be analyzed and interpreted. iii ACKNOWLEDGEMENTS The first word of thanks goes to my advisor, Jenny Strauss Clay, whose Odes seminar in the spring of 2010 first taught me how to love this seemingly impenetrable poet. She has consistently supported and guided me, since I first embarked on this project, even during one year when neither of us was in residence in Charlottesville.
    [Show full text]
  • Neue Forschungen Zu Ovid - Teil II
    Originalveröffentlichung in: Gymnasium 110 (2003) 147-182. Gymnasium 110,2003 147 BERICHTE UND DISKUSSIONEN ULRICH SCHMITZER • ERLANGEN Neue Forschungen zu Ovid - Teil II „Das Universum (das andere die Bibliothek nennen) setzt sich aus einer unbegrenzten und vielleicht unendlichen Zahl sechseckiger Galerien zusammen ... Von jedem Sechs­ eck aus kann man die unteren und oberen Stockwerke sehen: ohne ein Ende ... Eine der freien Wände öffnet sich auf einen schmalen Gang, der in eine andere Galerie, ge­ nau wie die erste, genau wie alle einmündet", so schreibt Jorge Luis Borges in seiner durch Umberto Ecos Adaption in den Rang eines Symbols erhobenen Erzählung „Die Bibliothek von Babel". Auf niedrigerer Ebene sieht sich auch der Berichterstatter über die Ovid-Forschung vor eine vergleichbare Situation gestellt: Er mag lesen, so viel er will, er wird nie zum Ende kommen. Dennoch sei im folgenden der aufgrund des vorlie­ genden Materials recht umfangreiche Versuch unternommen, die „Neuen Forschungen zu Ovid" (Gymnasium 109, 2002, 143-166) durch Addenda, zwischenzeitlich zugäng­ lich Gewordenes und Neuerscheinungen zu ergänzen und abzurunden.1 Editionen Von den Ovid-Ausgaben pflegt man hierzulande außer den Texten aus Oxford und der Bibliotheca Teubneriana allenfalls die Tusculum-Reihe zur Kenntnis zu nehmen, die mit Ausnahme der Heroides- und der Ibis-Editionen von Bruno Häuptli2 inzwischen durch Niklas Holzberg3 betreut wird. Doch es lohnt sich, den Blick nach Italien zu richten (un­ bestritten sind die Verdienste der französischen Collection Bude, doch sind keine aktu- 1 Vgl. auch die Berichte von E. M. Ariemma, II punto sull'Ars amatoria di Ovidio (1991-2000), BollStud Lat 31 (2001) 579-599 (mir dank der Freundlichkeit des Verfas­ sers druckfrisch zugegangen) und E.
    [Show full text]
  • Graduate Handbook for the Master of Studies and Master of Philosophy in Greek And/Or Latin Languages and Literature 2020
    UNIVERSITY OF OXFORD Board of the Faculty of Classics Graduate Handbook for the Master of Studies and Master of Philosophy in Greek and/or Latin Languages and Literature 2020 Faculty of Classics Ioannou Centre for Classical & Byzantine Studies 66 St Giles’ Oxford OX1 3LU www.classics.ox.ac.uk Contents Dates of Full Terms . 4 Disclaimer . 4 Course Details . 5 Useful Links . 5 Statement from the Humanities Division regarding the impact of Covid-19. 6 1. Introduction . 7 2. Aims and Objectives of the MSt and MPhil . 7 3. Supervisors. 8 4. Master of Studies. 9 5. The Structure of the MSt. 10 6. Choice of Options (MSt). 12 7. Examinations (MSt). 15 8. Timetable for the Proposal and Submissions of Academic Written Work (MSt). 15 9. Master of Philosophy. 17 10. The Structure of the MPhil . 17 11. Choice of Options (MPhil). 19 12. Examinations (MPhil). 22 13. Timetable for the Proposal and Submissions of Academic Written Work (MPhil). 24 14. The Graduate Studies Committee. 25 15. Presubmitted Essays and Dissertations . 25 16. Guidelines and Conventions for the Presentation of Theses and Extended Essays for the MSt and MPhil in Classical Literature. 27 17. Plagiarism. 30 18. Classes and Seminars. 30 19. Lectures. 30 20. Modern Language Classes . 31 2 21. Graduate Forum. 31 22. Financial Support . 31 23. Going on to a Doctorate after the MSt or MPhil . 31 Annexe A. Equality and Diversity at Oxford . 33 Annexe B. Faculty Guidelines on Plagiarism. 35 Annexe C. Prescribed Editions. 37 Annexe D. List of Graduate Forms and Deadlines . 39 3 Dates of Full Terms Michaelmas 2020: Sunday 11 October – Saturday 5 December 2020 Hilary 2021: Sunday 17 January – Saturday 13 March 2021 Trinity 2021: Sunday 25 April – Saturday 19 June 2021 Michaelmas 2021*: Sunday 10 October – Saturday 4 December 2021 Hilary 2022*: Sunday 16 January – Saturday 12 March 2022 Trinity 2022*: Sunday 24 April – Saturday 18 June 2022 * provisional Disclaimer This handbook applies to students starting the MSt or MPhil in Greek and/or Latin Languages and Literature in October 2020.
    [Show full text]
  • PDF, Also Known As Version of Record
    Edinburgh Research Explorer The representation and misrepresentation of Virgilian poetry in Propertius 2.34 Citation for published version: O'Rourke, D 2011, 'The representation and misrepresentation of Virgilian poetry in Propertius 2.34', American Journal of Philology, vol. 132, no. 3, pp. 457-497. https://doi.org/10.1353/ajp.2011.0030 Digital Object Identifier (DOI): 10.1353/ajp.2011.0030 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: American Journal of Philology Publisher Rights Statement: © O'Rourke, D. (2011). The representation and misrepresentation of Virgilian poetry in Propertius 2.34. American Journal of Philology, 132(3), 457-497. 10.1353/ajp.2011.0030 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 23. Sep. 2021 The Representation and Misrepresentation of Virgilian Poetry in Propertius 2.34 Donncha O'Rourke American Journal of Philology, Volume 132, Number 3 (Whole Number 527), Fall 2011, pp. 457-497 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/ajp.2011.0030 For additional information about this article http://muse.jhu.edu/journals/ajp/summary/v132/132.3.o-rourke.html Access provided by University of Edinburgh (26 Mar 2014 10:27 GMT) THE REPRESENTATION AND MISREPRESENTATION OF VIRGILIAN POETRY IN PROPERTIUS 2.34 DONNCHA O’ROURKE Abstract.
    [Show full text]
  • Curriculum Vitae
    Richard F. Thomas Curriculum Vitae Richard F. Thomas George Martin Lane Professor of the Classics Department of the Classics Harvard University 221 Boylston Hall Cambridge, MA 02138 (617) 496-6061 [email protected] EDUCATIONAL BACKGROUND B.A. Univ. of Auckland, Auckland, New Zealand, 1972 M.A. (1st Class Hons.) Univ. of Auckland, Auckland, New Zealand, 1973 Ph.D. Univ. of Michigan, Ann Arbor, Michigan, 1977 TEACHING APPOINTMENTS Assistant Professor of Classics, Harvard University, 1977–82 Associate Professor of Classics, Harvard University, 1982–84 Associate Professor of Classics, University of Cincinnati, 1984–86 Professor of Classics, Cornell University, 1986–87 Professor of Greek and Latin, Harvard University, 1987–2011 Harvard College Professor 2009–14 George Martin Lane Professor of the Classics, 2011– Visiting Professor of Latin, University of Venice, May, 1991 TEACHING EXPERIENCE Graduate Seminars Roman Elegy, 1977; Greek and Roman Epigram, 1979; Virgil, Georgics, 1983, 1984, 1987; Livy, 1985; Virgil, Aeneid, 1986; Latin Palaeography, 1986; Roman Epyllion, 1987; Menander, 1990; Hellenistic Poetry, 1991; Roman Didactic 1992; Intertextuality and Genre 1993; Reception of Virgil, 1994; Callimachus from Alexandria to Rome, 1999, Greek and Latin Epigram and Elegy, 2001; Horace, Odes, 2002; Pastoral, 2005; Catullus, 2008; Virgil and Horace and their reception in the 17th and 18th centuries, 2010; Aesthetics in Hellenistic and Augustan Poetry, 2012, 2014; Tacitus, Annals 2015; Intertextuality and Reception from Alexandria to Rome and Beyond 2019 NEH Seminar for School Teachers Virgil's Aeneid, June/July, 1995 Advanced Latin Prose Composition 1978–2004, 2010 Upper-level undergraduate Greek and Latin courses Aristophanes, 1978; Livy, 1978; Horace, Odes and Epodes, 1975, 1985; Satires and Epistles, 1993, 1995, 1997, 2019; History of Latin Literature (beginnings to Aeneid) 1981, 1983, 1989, 1991; 1984–5; 1986–87, 1995, 1997, 1999, 2004 2018; Latin Lyric (Catullus and Horace), 1982, 1988; Hellenistic Poetry, 1983, 1988, 1991; August 12, 2020 1 Richard F.
    [Show full text]
  • 1 Making Love, Making Reality: Propertius, Prosopopoeia
    MAKING LOVE, MAKING REALITY: PROPERTIUS, PROSOPOPOEIA, AND POETRY’S POWER OF CREATION By RANDALL LAWRENCE CHILDREE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2007 1 © 2007 Randall Lawrence Childree 2 For Lawrence Childree e pluribus unum 3 ACKNOWLEDGEMENTS My greatest thanks are owed to my chairman, Timothy Johnson. He was patient with a student whose writing patterns and work habits were, no doubt infuriatingly, very different from his own. All the same he provided encouragement when it was needed, motivation when it was, and new perspectives when they were. His advice on life matters counted no less. I am an improved scholar and person because of his efforts. Robert Wagman, Jennifer Rea, Karelisa Hartigan, and Gareth Schmeling have all contributed to my improvement, sometimes in ways that they probably do not realize. I also have to mention Druscilla Gurahoo, who always had a chair for me, a good story and a smile, and who also provided more than a few relaxing moments when I was exhausted. My friends and fellow students in the department have all meant a great deal to me, but particularly three. I will always owe Dustin Heinen a debt of gratitude: when I was trapped in San Giacomo, he was my only outlet to civilization and the only thing that kept me sane. Jon Zarecki has paradoxically both shown me how much fun it can be to act utterly ridiculous, and modeled what it means to succeed in our profession.
    [Show full text]