LATN 202: Intermediate Latin II
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The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17Th-First Half of the 18Th Century
The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Siedina, Giovanna. 2014. The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065007 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2014 Giovanna Siedina All rights reserved. Dissertation Advisor: Author: Professor George G. Grabowicz Giovanna Siedina The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century Abstract For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace’s Ars poetica. -
Meter of Classical Arabic Poetry
Pegs, Cords, and Ghuls: Meter of Classical Arabic Poetry Hazel Scott Haverford College Department of Linguistics, Swarthmore College Fall 2009 There are many reasons to read poetry, filled with heroics and folly, sweeping metaphors and engaging rhymes. It can reveal much about a shared cultural history and the depths of the human soul; for linguists, it also provides insights into the nature of language itself. As a particular subset of a language, poetry is one case study for understanding the use of a language and the underlying rules that govern it. This paper explores the metrical system of classical Arabic poetry and its theoretical representations. The prevailing classification is from the 8th century C.E., based on the work of the scholar al-Khaliil, and I evaluate modern attempts to situate the meters within a more universal theory. I analyze the meter of two early Arabic poems, and observe the descriptive accuracy of al-Khaliil’s system, and then provide an analysis of the major alternative accounts. By incorporating linguistic concepts such as binarity and prosodic constraints, the newer models improve on the general accessibility of their theories with greater explanatory potential. The use of this analysis to identify and account for the four most commonly used meters, for example, highlights the significance of these models over al-Khaliil’s basic enumerations. The study is situated within a discussion of cultural history and the modern application of these meters, and a reflection on the oral nature of these poems. The opportunities created for easier cross-linguistic comparisons are crucial for a broader understanding of poetry, enhanced by Arabic’s complex levels of metrical patterns, and with conclusions that can inform wider linguistic study.* Introduction Classical Arabic poetry is traditionally characterized by its use of one of the sixteen * I would like to thank my advisor, Professor K. -
Teaching Latin Love Poetry with Pop Music1
Teaching Classical Languages Volume 10, Issue 2 Kopestonsky 71 Never Out of Style: Teaching Latin Love Poetry with Pop Music1 Theodora B. Kopestonsky University of Tennessee, Knoxville ABSTRACT Students often struggle to interpret Latin poetry. To combat the confusion, teachers can turn to a modern parallel (pop music) to assist their students in understanding ancient verse. Pop music is very familiar to most students, and they already trans- late its meaning unconsciously. Building upon what students already know, teach- ers can reframe their approach to poetry in a way that is more effective. This essay shows how to present the concept of meter (dactylic hexameter and elegy) and scansion using contemporary pop music, considers the notion of the constructed persona utilizing a modern musician, Taylor Swift, and then addresses the pattern of the love affair in Latin poetry and Taylor Swift’s music. To illustrate this ap- proach to connecting ancient poetry with modern music, the lyrics and music video from one song, Taylor Swift’s Blank Space (2014), are analyzed and compared to poems by Catullus. Finally, this essay offers instructions on how to create an as- signment employing pop music as a tool to teach poetry — a comparative analysis between a modern song and Latin poetry in the original or in translation. KEY WORDS Latin poetry, pedagogy, popular music, music videos, song lyrics, Taylor Swift INTRODUCTION When I assign Roman poetry to my classes at a large research university, I re- ceive a decidedly unenthusiastic response. For many students, their experience with poetry of any sort, let alone ancient Latin verse, has been fraught with frustration, apprehension, and confusion. -
The Poetry Handbook I Read / That John Donne Must Be Taken at Speed : / Which Is All Very Well / Were It Not for the Smell / of His Feet Catechising His Creed.)
Introduction his book is for anyone who wants to read poetry with a better understanding of its craft and technique ; it is also a textbook T and crib for school and undergraduate students facing exams in practical criticism. Teaching the practical criticism of poetry at several universities, and talking to students about their previous teaching, has made me sharply aware of how little consensus there is about the subject. Some teachers do not distinguish practical critic- ism from critical theory, or regard it as a critical theory, to be taught alongside psychoanalytical, feminist, Marxist, and structuralist theor- ies ; others seem to do very little except invite discussion of ‘how it feels’ to read poem x. And as practical criticism (though not always called that) remains compulsory in most English Literature course- work and exams, at school and university, this is an unwelcome state of affairs. For students there are many consequences. Teachers at school and university may contradict one another, and too rarely put the problem of differing viewpoints and frameworks for analysis in perspective ; important aspects of the subject are omitted in the confusion, leaving otherwise more than competent students with little or no idea of what they are being asked to do. How can this be remedied without losing the richness and diversity of thought which, at its best, practical criticism can foster ? What are the basics ? How may they best be taught ? My own answer is that the basics are an understanding of and ability to judge the elements of a poet’s craft. Profoundly different as they are, Chaucer, Shakespeare, Pope, Dickinson, Eliot, Walcott, and Plath could readily converse about the techniques of which they are common masters ; few undergraduates I have encountered know much about metre beyond the terms ‘blank verse’ and ‘iambic pentameter’, much about form beyond ‘couplet’ and ‘sonnet’, or anything about rhyme more complicated than an assertion that two words do or don’t. -
Sappho's Aesthetics by Lauren R. W. Vanderdeen Submitted in Partial
Sappho’s Aesthetics by Lauren R. W. Vanderdeen Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2020 © Copyright by Lauren R. W. Vanderdeen, 2020 ἀεροβατῶ καὶ περιφρονῶ τὸν ἥλιον. ii Table of Contents Abstract .............................................................................................................................. iv Acknowledgments............................................................................................................... v Chapter 1. Introduction ....................................................................................................... 1 (i) Lyric poetry: problems and contexts .......................................................................... 2 (ii) Ideas of beauty .......................................................................................................... 3 Chapter 2. Beauty................................................................................................................ 6 (i) Situating κάλος in Sappho .......................................................................................... 6 (ii) Adjacent aesthetic language .................................................................................... 17 (iii) “the most beautiful thing on the dark earth” .......................................................... 27 Chapter 3. Nature .............................................................................................................. 34 (i) Fullness -
Imitatio and Intertextuality in Sixteenth- Century English Receptions of Classical Latin Love Elegy
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output Turning others leaves: imitatio and intertextuality in sixteenth- century English receptions of classical Latin love elegy http://bbktheses.da.ulcc.ac.uk/74/ Version: Full Version Citation: Grant, Linda (2014) Turning others leaves: imitatio and intertextuality in sixteenth-century English receptions of classical Latin love elegy. PhD thesis, Birkbeck, University of London. c 2014 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email 1 ‘Turning others’ leaves’: imitatio and intertextuality in sixteenth-century English receptions of classical Latin love elegy Linda Grant PhD Thesis Birkbeck, University of London 2014 2 Statement of originality I declare that this thesis is the product of my own work, and that any work used from other authors has been properly acknowledged. ------------------------------------------------------ Linda Grant, April 2014 3 Abstract This thesis situates itself within the field of classical reception, and explores the appropriation and imitation of Latin erotic elegy (Catullus, Propertius, Ovid, Sulpicia) in the love poetry of sixteenth-century England. It shows imitatio to be a dynamic, rich and sophisticated practice, one which may be productively read as both a form of intertextuality and reception, terms which capture its contingent and active nature. The readings here re-calibrate Petrarch’s canzoniere suggesting that this influential sequence of love sonnets is itself a moralised re- writing of Roman erotic elegy. By re-framing the ‘Petrarchan’ love poetry of Thomas Wyatt, Philip Sidney, John Donne and Mary Sidney as elegiac receptions, the readings here re-open these familiar texts and offer fresh interpretations of how they can be made to mean. -
The Poems of Catullus As They Went to the Printer for the first Time, in Venice 400 Years Ago
1.Catullus, Poems 1/12/05 2:52 PM Page 1 INTRODUCTION LIFE AND BACKGROUND We know very little for certain about Catullus himself, and most of that has to be extrapolated from his own work, always a risky procedure, and nowadays with the full weight of critical opinion against it (though this is always mutable, and there are signs of change in the air). On the other hand, we know a great deal about the last century of the Roman Republic, in which his short but intense life was spent, and about many of the public figures, both literary and political, whom he counted among his friends and enemies. Like Byron, whom in ways he resembled, he moved in fashionable circles, was radical without being constructively political, and wrote poetry that gives the overwhelming impression of being generated by the public aªairs, literary fashions, and aristocratic private scandals of the day. How far all these were fictionalized in his poetry we shall never know, but that they were pure invention is unlikely in the extreme: what need to make up stories when there was so much splendid material to hand? Obviously we can’t take what Catullus writes about Caesar or Mamurra at face value, any more than we can By- ron’s portraits of George III and Southey in “The Vision of Judgement,” or Dry- den’s of James II and the Duke of Buckingham in “Absalom and Achitophel.” Yet it would be hard to deny that in every case the poetic version contained more than a grain of truth. -
Attis and Lesbia: Catullus' Attis Poem As Symbolic Reflection of the Lesbia
71-7460 GENOVESE, Jr., Edgar Nicholas, 1942- ATTIS AND LESBIA; CATULLUS’ ATTIS POEM AS A SYMBOLIC REFLECTION OF THE LESBIA CYCLE. iPortions of Text in Greek and Latin]. The Ohio State University, Ph.D., 1970 Language and Literature, classical • University Microfilms, A XEROX Company, Ann Arbor, Michigan Copyright by Edgar Nicholas Genovese, Jr. 1971 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED ATTIS AND LESBIA: CATULLUS' ATTIS POEM AS A SYMBOLIC REFLECTION OF THE LESBIA CYCLE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of Hie Ohio State University By Edgar Nicholas Genovese, Jr., A.B. The Ohio State University 1970 Approved by ^ \ Adviser Dc^^rtment of Classics ACKNOWLEDGMENTS John T. Davis, cui maximas gratias ago, mentem meam ducebat et ingenium dum hoc opusculum fingebam; multa autern addiderunt atque cor- rexerunt Clarence A. Forbes et Vincent J. Cleary, quibus ago gratias. poetam uero Veronensem memoro laudoque. denique admiror gratam coniugem meam ac diligo: quae enim, puellula nostra mammam appetente, ter adegit manibus suis omnes litteras in has paginas. ii PARENTIBVS MEIS XXX VITA September 18, 1942 . Born— Baltimore, Maryland 1960-1964 .............. A.B., Classics, Xavier University, Cincinnati, Ohio 1964-1966 .............. Instructor, Latin, Kenwood Senior High School, Baltimore, Maryland 1966-1968 .............. Teaching Assistant, Teaching Associate, Department of Classics, The Ohio State University, Columbus, Ohio Summer 1968 ............ Instructor, Elementary Greek, Department of Classics, The Ohio State University, Columbus, Ohio 1968-1970 ........ N.D.E.A. Fellow, Department of Classics, The Ohio State University, Columbus, Ohio Summer 1969, 1970 . Assistant, Latin Workshop, Department of Classics, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major field; Latin and Greek poetry Latin literature. -
HORACE's ODES AS AIDE MÉMOIRE S Thom
http://akroterion.journals.ac.za CELEBRATING THE PAST: HORACE’S ODES AS AIDE MÉMOIRE S Thom (Stellenbosch University) In Travels with Herodotus Ryszard Kapuscinski writes: Herodotus admits that he was obsessed with memory, fearful on its behalf. He felt that memory is something defective, fragile, impermanent – illusory, even. That whatever it contains, whatever it is storing, can evaporate, simply vanish without a trace. His whole generation, everyone living on earth at that time, was possessed by that same fear. Without memory one cannot live, for it is what elevates man above beasts, determines the contours of the human soul; and yet it is at the same time so unreliable, elusive, treacherous. It is precisely what makes man so unsure of himself ... In the world of Herodotus, the only real repository of memory is the individual (2008:75-76). In this discussion of memory, Kapuscinski does not ask what memory is. He simply assumes a very basic definition namely that memory’s primary function is to preserve what has gone before.1 However, Kapuscinki’s reflection on why an “unsuccessful process” such as memory is so fundamental, is more interesting. Memory provides a starting point. One cannot step into the same river twice, but at least the river of memory is there. Without memory no progress of any kind would be possible. Memory establishes what the past contained so that the present can move forward. This is the very basis for all human development. The fact is, as individuals and collectively, we cannot and do not have to start over all the time. -
Lyric Genres 57 Andrew Ford
Genre in Archaic and Classical Greek Poetry: Theories and Models Mnemosyne Supplements monographs on greek and latin language and literature Executive Editor C. Pieper (Leiden University) Editorial Board A. Chaniotis (Institute for Advanced Study, Princeton) K.M. Coleman (Harvard University) I.J.F. de Jong (University of Amsterdam) T. Reinhardt (Oxford University) volume 428 The titles published in this series are listed at brill.com/mns Genre in Archaic and Classical Greek Poetry: Theories and Models Studies in Archaic and Classical Greek Song, Vol. 4 Edited by Margaret Foster Leslie Kurke Naomi Weiss LEIDEN | BOSTON This is an open access title distributed under the terms of the CC-BY-NC-ND 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Library of Congress Cataloging-in-Publication Data Names: Foster, Margaret, 1977- editor. | Kurke, Leslie, editor. | Weiss, Naomi A., 1982- editor. Title: Genre in archaic and classical Greek poetry : theories and models / edited by Margaret Foster, Leslie Kurke, Naomi Weiss. Other titles: Studies in archaic and classical Greek song ; v. 4. Description: Boston : Brill, 2019. | Series: Mnemosyne supplements, 0169-8958 ; volume 428 | Includes bibliographical references and index. Identifiers: LCCN 2019032900 (print) | LCCN 2019032901 (ebook) | ISBN 9789004411425 (hardback) | ISBN 9789004412590 (ebook) Subjects: LCSH: Greek poetry–History and criticism. | Literary form–History–To 1500. Classification: LCC PA3095 .G46 2019 (print) | LCC PA3095 (ebook) | DDC 881/.0109–dc23 LC record available at https://lccn.loc.gov/2019032900 LC ebook record available at https://lccn.loc.gov/2019032901 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. -
Double Consciousness in Sappho's Lyrics
Figure 2 Sappho and Alcaeus. Detail. Attic red figure kalathos, attrib- uted to the Brygos Painter, c.470 BCE. Staatliches Antikensammlungen und Glyptothek, Munich, 2416. Sappho stands next to her contemporary, the lyric poet Alcaeus, also from the island of Lesbos. 2 DOUBLE CONSCIOUSNESS IN SAPPHO'S LYRICS J. J. Winkler Monique Wittig and Sande Zeig in their Lesbian Peoples: Material for a Dictionary1 devote a full page to Sappho. The page is blank. Their silence is one quite appropriate response to Sappho's lyrics, particularly refresh- ing in comparison to the relentless trivialization, the homophobic anx- ieties and the sheer misogyny that have infected so many ancient and modern responses to her work.2 As Mary Barnard (34) puts it: I wanted to hear Sappho's laughter and the speech of her stringed shell. What I heard was whiskered mumble- ment of grammarians: Greek pterodactyls and Victorian dodos. The very eminent classical scholars from F. G. Welcker to Denys Page who have assembled and sifted through so much of what can or might be known of Sappho, and whose work is indispensable to us, had their own matrices of understanding, their own concerns and commitments, which were, I should think, no more and no less time-bound and culture- specific than are ours.3 But I doubt that those scholars would have understood our matrices (feminist, anthropological, pro-lesbian), given 40 J. J. WINKLER that their expertise was in such things as ancient metrics (``pterodactyls'') rather than in ancient mores, whereas we are able in some good measure to understand theirs. -
Dissertation Finalized2
GYNAIKOS LOGOS : FEMININE VOICE IN ARCHAIC GREEK POETRY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Aikaterini Ladianou, M.A * * * * * The Ohio State University 2009 Dissertation Committee: Professor William Batstone, Adviser Approved by Assistant Professor Thomas Hawkins Professor Bruce Heiden ________________________________ Adviser Greek and Latin Graduate Program ABSTRACT This dissertation argues that feminine voice can be found in Archaic Greek poetry. Attempting to answer this question, I tried to build a case for a feminine voice that is historically contextualized, since it is constructed within the context of archaic Greece. For this thesis, such a voice is not as a natural, physical voice but a constructed gendered voice. In the beginning, Sappho’s construction of feminine voice is considered as dialogic. Sappho re-reads, re-writes Homeric epic as a feminine epic: polyphonic, against dichotomies and hierarchies. In the case of Sappho, feminine voice is constructed as the voice of the persona loquens, be that Sappho or the female performer. In Homer, a similar feminine voice is constructed as the voice of Helen, a poetic female figure. Thus, Homer constructs a double, unfixed, polyphonic feminine voice that functions as an alternative poetic discourse within the Iliad . Finally, in Alcman the female voice of the chorus proves to be essentially masculine. Thus, emphasizing hierarchical models, or male models of desire, the chorus is reinforcing patriarchal structures. Building on French feminist theory and late Bakhtinian discussions, this thesis attempts to map down polyphony, multiplicity, fluidity and mutability as the main characteristics of a feminine voice.