DOCSLIB.ORG

The Reader and the Poet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. These novel forms of poetry are all structurally dependent upon their reader. The fourth chapter turns to a particularly Late Antique form of allusion, in which the poet reproduced the exact words of his source in a different sense. This transpositional mode of allusion is characteristic of the Late Antique creation of a classical past; for it allows the poet to be, in a radical sense, a reader. Because the text’s struggle to mean was of central importance in Late Antiquity, poets came to create space for reading. The fragmented surface of a Late Antique poem draws attention to the necessary presence of the reader, and it draws that reader in. BIOGRAPHICAL SKETCH Aaron David Pelttari was born on 28 December 1982 in Rockford, Illinois to Kal and Carole Pelttari. He graduated with a BA in Classical Studies from Hillsdale College in 2004. In 2006, he graduated from the University of California Santa Barbara with an MA in Classics, and he began the PhD program at Cornell University in August of 2006. He has been married to Natalia Tobar since May of 2004 and has two sons, David Timoteo and Lucas Samuel. iii For Natalia iv ACKNOWLEDGEMENTS I am glad to have accumulated many debts in writing this dissertation. Éric Rebillard read more drafts than either of us probably care to remember. His incisive reading lies behind whatever structure and clarity the final form possesses. Michael Fontaine was a careful and enthusiastic reader, and he corrected my thought and language in many places. Joseph Pucci was the best of external readers. His kindness and encouragement reminded me to enjoy the long days of working on Late Antique Latin poetry. Hayden Pelliccia improved the whole of my dissertation with his perceptive questioning. Erik Kenyon, Zachary Yuzwa, and Jeffrey Leon read early drafts of each chapter. A number of other friends and colleagues read or discussed with me various parts of this dissertation at various stages in my writing of it. In particular, my thanks go out to Kim Bowes, Kim Haines-Eitzen, Gavin Kelly, Cillian O’Hagan, Christopher Polt, Suzanne Rebillard, and Catherine Ware. Despite the wise counsel I received, I stubbornly stuck to my ideas more often than I probably should have. Any faults of fact or judgment that remain are entirely my own. My greatest debt is to my wife, who encouraged me to begin, continue, and finish this project. My son David has grown with this dissertation, and Lucas was born just as I was completing the final draft. I owe them many sleepless nights and countless joys. v TABLE OF CONTENTS Acknowledgments v Introduction: Late Antique Poetry and the Figure of the Reader 1 Chapter one: Text, Interpretation, and Authority 13 I. Jerome and Augustine on Scriptural Interpretation 14 a. Jerome and the Writing of Scriptural Commentary 14 b. Augustine and the Reader’s Involvement 19 II. Macrobius and the Reading of Vergil 27 a. Macrobius on Authority and Imitation 28 b. Interpreting Vergil in Late Antiquity 35 III. Conclusion 48 Chapter two: Prefaces and the Reader’s Approach to the Text 50 I. Prefaces and Post-Classical Poetry 54 II. The Allegorical Prefaces of Claudian and Prudentius 62 III. The Prose Prefaces of Ausonius 70 a. The Rules of the Game 70 b. Distant Texts 73 c. The Reader’s Control 76 IV. Conclusion 80 Chapter three: Open Texts and Layers of Meaning 82 I. The Figural Poetry of Optatianus Porphyrius 84 a. Pattern Poems 85 b. A Proteus Poem 86 c. Versus Intexti 90 II. Prudentius’ Psychomachia 96 a. The Predecessors of Prudentius 97 b. The Allegory of the Psychomachia 103 III. The Latin Centos 109 a. The Reader and the Cento 112 b. The Cento in Late Antiquity 119 IV. Conclusion 128 Chapter four: The Presence of the Reader: Allusion in Late Antiquity 131 I. The Referentiality of Classical Allusion 132 II. Current Approaches to Allusions in Late Antique Poetry 145 III. Non-Referential Allusions 150 IV. Juxtaposed Allusions 157 V. The Apposed Allusion in Late Antiquity 163 VI. The Canon of Classical Literature 171 VII. Towards a New Theory of Appropriation 176 VIII. Conclusion 181 Conclusion: The Space that Remains 184 Bibliography 189 vi LIST OF ABBREVIATIONS For the poems of Ausonius, Claudian, and Prudentius, I have used the abbreviations employed by Cunningham, Hall, and Green, in their separate editions. For other authors and texts, I have used the abbreviations in the third edition of the Oxford Classical Dictionary. For authors and texts not cited by the OCD, I turned to the second edition of the Index to the Thesaurus Linguae Latinae. vii Introduction Late Antique Poetry and the Figure of the Reader Claudian began the De raptu Proserpinae by asking the gods of the underworld to uncover for him their deepest secrets (vos mihi sacrarum penetralia pandite rerum / et vestri secreta poli, Rapt. 25-6). He imagines poetry as something hidden that needs to be uncovered. In contrast, Vergil began the Aeneid by asking the Muse to remind him of the reasons why Juno hated the Trojans (Musa, mihi causas memora, Aen. 1.8). In the Aeneid, the poet asks for a reminder and not for a revelation of some deeper truth. Between the first century BCE and the fourth century CE there occurred a broad shift in how poets conceived of the reader’s role in making meaning of the words on the page. In Late Antiquity, poets came to describe their material as needing interpretation, recovery, and activation. The figure of the reader structures the poetry of the period, and so my focus upon the reader will reveal how a series of fragmentary and performative tropes work for poets such as Ausonius, Claudian, and Prudentius. I focus upon the long fourth century, because that period saw the full development of this characteristically Late Antique aesthetics, in which poets constructed their identity in and through their readers’ presence. When I describe the reader as central to Late Antique poetics, I am making a comparative and historical claim. Excellent scholars have suggested both that Late Antique aesthetics is a misleading category and that such literary historical arguments are not worth making. Before Michael Roberts published The Jeweled Style (1989), it was common for authors writing in 1 English to describe imperial poetry as having declined from a high point under the rule of Augustus.1 But rather than change or decline, some scholars have preferred to see a continuity between earlier and later imperial poetry. Thus, John Hall rejected Roberts’ arguments concerning Late Antique style, because some later authors (he names Prudentius and Claudian) “are fine writers, have something to say, and know how to say it.”2 In this view, all Latin poets of quality aspire to the same Classical ideals. We would, he implies, be better off to avoid talk of aesthetic change since some authors could still meet the standards of Vergil, or at the least of Statius. But if we remove historical change from our understanding of later Latin poetry, we remove the context that gave it life. If we describe Ancient Latin poetry as an ideal space, essentially continuous from Livius Andronicus to Claudian, we ignore the individual contours within that tradition. To be sure no one has actually argued for continuity in so extreme a form as this.3 However, I do think it important to balance explanations of similarity with arguments for difference. While the historical arguments in this dissertation point to a series of differences between Classical and Late Antique poetics, I would never want to suggest that there are not also important similarities. And, if we knew more about the literature of the second and third centuries CE, we would probably be able to say more about the historical development of Latin poetry.4 Nor do I want to suggest that Late Antique poetry is itself uniform. Ausonius and Claudian are quite different authors, and much work remains to be done on the relation between individual poets within Late Antiquity.
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]
  • Succeeding Succession: Cosmic and Earthly Succession B.C.-17 A.D
    Publication of this volume has been made possiblej REPEAT PERFORMANCES in partj through the generous support and enduring vision of WARREN G. MOON. Ovidian Repetition and the Metamorphoses Edited by LAUREL FULKERSON and TIM STOVER THE UNIVE RSITY OF WI S CON SIN PRE SS The University of Wisconsin Press 1930 Monroe Street, 3rd Floor Madison, Wisconsin 53711-2059 Contents uwpress.wisc.edu 3 Henrietta Street, Covent Garden London WC2E SLU, United Kingdom eurospanbookstore.com Copyright © 2016 The Board of Regents of the University of Wisconsin System Preface Allrights reserved. Except in the case of brief quotations embedded in critical vii articles and reviews, no part of this publication may be reproduced, stored in a retrievalsystem, transmitted in any format or by any means-digital, electronic, Introduction: Echoes of the Past 3 mechanical, photocopying, recording, or otherwise-or conveyed via the LAUREL FULKERSON AND TIM STOVER Internetor a website without written permission of the University of Wisconsin Press. Rightsinquiries should be directed to rights@>uwpress.wisc.edu. 1 Nothing like the Sun: Repetition and Representation in Ovid's Phaethon Narrative 26 Printed in the United States of America ANDREW FELDHERR This book may be available in a digital edition. 2 Repeat after Me: The Loves ofVenus and Mars in Library of Congress Cataloging-in-Publication Data Ars amatoria 2 and Metamorphoses 4 47 BARBARA WElDEN BOYD Names: Fulkerson, Laurel, 1972- editor. 1 Stover, Tim, editor. Title: Repeat performances : Ovidian repetition and the Metamorphoses / 3 Ovid's Cycnus and Homer's Achilles Heel edited by Laurel Fulkerson and Tim Stover. PETER HESLIN Other titles: Wisconsin studies in classics.
    [Show full text]
  • Colin Mcallister Regnum Caelorum Terrestre: the Apocalyptic Vision of Lactantius May 2016
    Colin McAllister Regnum Caelorum Terrestre: The Apocalyptic Vision of Lactantius May 2016 Abstract: The writings of the early fourth-century Christian apologist L. Caecilius Firmianus Lactantius have been extensively studied by historians, classicists, philosophers and theologians. But his unique apocalyptic eschatology expounded in book VII of the Divinae Institutiones, his largest work, has been relatively neglected. This paper will distill Lactantius’s complex narrative and summarize his sources. In particular, I investigate his chiliasm and the nature of the intermediate state, as well as his portrayal of the Antichrist. I argue that his apocalypticism is not an indiscriminate synthesis of varying sources - as it often stated - but is essentially based on the Book of Revelation and other Patristic sources. +++++ The eminent expert on all things apocalyptic, Bernard McGinn, wrote: Even the students and admirers of Lactantius have not bestowed undue praise upon him. To Rene Pichon [who wrote in 1901 what is perhaps still the seminal work on Lactantius’ thought] ‘Lactantius is mediocre in the Latin sense of the word - and also a bit in the French sense’; to Vincenzo Loi [who studied Lactantius’ use of the Bible] ‘Lactantius is neither a philosophical or theological genius nor linguistic genius.’ Despite these uneven appraisals, the writings of the early fourth-century Christian apologist L. Caecilius Firmianus Lactantius [c. 250-325] hold, it seems, a little something for everyone.1 Political historians study Lactantius as an important historical witness to the crucial transitional period from the Great Persecution of Diocletian to the ascension of Constantine, and for insight into the career of the philosopher Porphyry.2 Classicists and 1 All dates are anno domini unless otherwise indicated.
    [Show full text]
  • 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.
    [Show full text]
  • The Evolution of the Roman Calendar Dwayne Meisner, University of Regina
    The Evolution of the Roman Calendar Dwayne Meisner, University of Regina Abstract The Roman calendar was first developed as a lunar | 290 calendar, so it was difficult for the Romans to reconcile this with the natural solar year. In 45 BC, Julius Caesar reformed the calendar, creating a solar year of 365 days with leap years every four years. This article explains the process by which the Roman calendar evolved and argues that the reason February has 28 days is that Caesar did not want to interfere with religious festivals that occurred in February. Beginning as a lunar calendar, the Romans developed a lunisolar system that tried to reconcile lunar months with the solar year, with the unfortunate result that the calendar was often inaccurate by up to four months. Caesar fixed this by changing the lengths of most months, but made no change to February because of the tradition of intercalation, which the article explains, and because of festivals that were celebrated in February that were connected to the Roman New Year, which had originally been on March 1. Introduction The reason why February has 28 days in the modern calendar is that Caesar did not want to interfere with festivals that honored the dead, some of which were Past Imperfect 15 (2009) | © | ISSN 1711-053X | eISSN 1718-4487 connected to the position of the Roman New Year. In the earliest calendars of the Roman Republic, the year began on March 1, because the consuls, after whom the year was named, began their years in office on the Ides of March.
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/166705 Please be advised that this information was generated on 2021-09-29 and may be subject to change. Epic Architecture: Architectural Terminology and the Cities of Bethlehem and Jerusalem in the Epics of Juvencus and Proba* Roald DIJKSTRA Soon after Constantine’s seizure of power, splen- pear as classical as possible while treating biblical did basilicas were built in Rome and the Holy content, he omitted many references to Jewish Land.1 Constantine had created the conditions culture, including topographical details.4 He necessary for the emergence of a rich Christian was anxious not to alienate his Rome-oriented architecture. At the same time, Christian po- audience in a poem that was a daunting liter- etry now also fully emerged. The first classiciz- ary innovation. Words referring to the world of ing yet openly Christian poets – Juvencus and architecture, however, are certainly not absent Proba – took the Roman epic tradition and in from his epic.5 Most of them can be explained particular Vergil as their main literary examples. by remarks in the biblical text of the gospels: In this tradition – and also in Rome’s national they either denote (groups of) dwellings, graves, epic the Aeneid – monuments played an impor- ‘spiritual’ buildings outside the world of earthly tant role.2 Moreover, the Aeneid ultimately told realia, or function as building metaphors. the story of the foundation of Rome.
    [Show full text]
  • The Use of Tactical Absurdity in (Post-)Conceptual Art Practice
    University of Southampton Faculty of Arts and Humanities Winchester School of Art The Use of Tactical Absurdity in (Post-)Conceptual Art Practice by Dave Ball Thesis for the degree of Doctor of Philosophy Sep 2020 1 University of Southampton Abstract Faculty of Arts and Humanities, Winchester School of Art The Use of Tactical Absurdity in (Post-)Conceptual Art Practice by Dave Ball The ‘tactical absurdity’ forwarded in this research emerged out of my own practice. I, like many other artists working in a conceptual tradition, was producing work that appeared to operate through some sort of absurdity, and with some sort of intentionality. There was, however, almost nothing in the literature that could account for this approach. The term ‘absurdity’ is deployed by artists, critics, and curators alike with little precision or consistency; usages borrowed from literature or existential philosophy sit alongside everyday understandings, and frequently fail to discriminate between absurdity as a formal device and absurdity as a subject-matter. Its meaning is treated as self-evident. Adopting an emergent and autoethnographic practice-based methodology, this research furnishes a practical and theoretical understanding of the operation of tactical absurdity deployed as a device in (post-)conceptual art practice. Over the course of the research, five objectives are achieved: (i) to define the concept of absurdity; (ii) to establish a context for the use of tactical absurdity in contemporary (post-)conceptual art practice; (iii) to develop a body of work that operates through tactical absurdity; (iv) to account for its emergence within a practice; and (v) to forward a theoretical analysis of its functionality and value modelled through notions of relativity, generativity, and criticality.
    [Show full text]
  • ROMAN ARCHITEXTURE: the IDEA of the MONUMENT in the ROMAN IMAGINATION of the AUGUSTAN AGE by Nicholas James Geller a Dissertatio
    ROMAN ARCHITEXTURE: THE IDEA OF THE MONUMENT IN THE ROMAN IMAGINATION OF THE AUGUSTAN AGE by Nicholas James Geller A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Associate Professor Basil J. Dufallo, Chair Associate Professor Ruth Rothaus Caston Professor Bruce W. Frier Associate Professor Achim Timmermann ACKNOWLEDGEMENTS This dissertation would not have been possible without the support and encouragement of many people both within and outside of academia. I would first of all like to thank all those on my committee for reading drafts of my work and providing constructive feedback, especially Basil Dufallo and Ruth R. Caston, both of who read my chapters at early stages and pushed me to find what I wanted to say – and say it well. I also cannot thank enough all the graduate students in the Department of Classical Studies at the University of Michigan for their support and friendship over the years, without either of which I would have never made it this far. Marin Turk in Slavic Languages and Literature deserves my gratitude, as well, for reading over drafts of my chapters and providing insightful commentary from a non-classicist perspective. And I of course must thank the Department of Classical Studies and Rackham Graduate School for all the financial support that I have received over the years which gave me time and the peace of mind to develop my ideas and write the dissertation that follows. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………………ii LIST OF ABBREVIATIONS……………………………………………………………………iv ABSTRACT……………………………………………………………………………………....v CHAPTER I.
    [Show full text]
  • Missional Apologetics Draft
    Liberty University Rawlings School of Divinity Missional Apologetics: An Examination of Essential Elements in the Apologetic Approaches of Early Christian Era Apologists in Light of the Mission of Christ to a Pluralistic World. A Dissertation Presented to the Faculty of Liberty University Rawlings School of Divinity in Candidacy for the Degree of Doctor of Philosophy by George B. Bannister, Sr. Lynchburg, Virginia December 2018 Copyright © 2018 by George Benjamin Bannister, Sr. All rights reserved Approval Sheet MISSIONAL APOLOGETICS: AN EXAMINATION OF ESSENTIAL ELEMENTS IN THE APOLOGETIC APPROACHES OF EARLY CHRISTIAN ERA APOLOGISTS IN LIGHT OF THE MISSION OF CHRIST TO A PLURALISTIC WORLD. George Benjamin Bannister, Sr. Read and approved by: Chairperson: ____________________________________ Date: ______________________________ To the Lord Jesus Christ, my Savior and Lord, whose grace never ceases to amaze me. To Lisa, my bride, best friend, and holder of my heart; who has loved and supported me for many years and has been the best wife and partner and ministry co-laborer any man could wish for. Without you, I would not have achieved this milestone. To my sons and their brides who have encouraged me to stay the course and pursue the goal of completing this task. Thank you, Ben and Cindy, Dan and Liliana, and Bob and Deborah. I am a man who has been blessed beyond measure and far more than I could ever deserve! Contents Figures .........................................................................................................................................
    [Show full text]
  • Horace - Poems
    Classic Poetry Series Horace - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Horace(8 December 65 BC – 27 November 8 BC) Quintus Horatius Flaccus, known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. The rhetorician Quintillian regarded his Odes as almost the only Latin lyrics worth reading, justifying his estimate with the words: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words." Horace also crafted elegant hexameter verses (Sermones and Epistles) and scurrilous iambic poetry (Epodes). The hexameters are playful and yet serious works, leading the ancient satirist Persius to comment: "as his friend laughs, Horace slyly puts his finger on his every fault; once let in, he plays about the heartstrings". Some of his iambic poetry, however, can seem wantonly repulsive to modern audiences. His career coincided with Rome's momentous change from Republic to Empire. An officer in the republican army that was crushed at the Battle of Philippi in 42 BC, he was befriended by Octavian's right-hand man in civil affairs, Maecenas, and became something of a spokesman for the new regime. For some commentators, his association with the regime was a delicate balance in which he maintained a strong measure of independence (he was "a master of the graceful sidestep") but for others he was, in < a href="http://www.poemhunter.com/john-henry-dryden/">John Dryden's</a> phrase, "a well-mannered court slave".
    [Show full text]
  • Basic Guide to Latin Meter and Scansion
    APPENDIX B Basic Guide to Latin Meter and Scansion Latin poetry follows a strict rhythm based on the quantity of the vowel in each syllable. Each line of poetry divides into a number of feet (analogous to the measures in music). The syllables in each foot scan as “long” or “short” according to the parameters of the meter that the poet employs. A vowel scans as “long” if (1) it is long by nature (e.g., the ablative singular ending in the first declen- sion: puellā); (2) it is a diphthong: ae (saepe), au (laudat), ei (deinde), eu (neuter), oe (poena), ui (cui); (3) it is long by position—these vowels are followed by double consonants (cantātae) or a consonantal i (Trōia), x (flexibus), or z. All other vowels scan as “short.” A few other matters often confuse beginners: (1) qu and gu count as single consonants (sīc aquilam; linguā); (2) h does NOT affect the quantity of a vowel Bellus( homō: Martial 1.9.1, the -us in bellus scans as short); (3) if a mute consonant (b, c, d, g, k, q, p, t) is followed by l or r, the preced- ing vowel scans according to the demands of the meter, either long (omnium patrōnus: Catullus 49.7, the -a in patrōnus scans as long to accommodate the hendecasyllabic meter) OR short (prō patriā: Horace, Carmina 3.2.13, the first -a in patriā scans as short to accommodate the Alcaic strophe). 583 40-Irby-Appendix B.indd 583 02/07/15 12:32 AM DESIGN SERVICES OF # 157612 Cust: OUP Au: Irby Pg.
    [Show full text]
  • (Updated: 12/01/2020) Department of Philosophy SO
    MARINA PAOLA BANCHETTI CURRICULUM VITAE (Updated: 12/01/2020) Department of Philosophy SO 283 – P.O. Box 3091 Florida Atlantic University 777 Glades Road Boca Raton, Florida 33431-0991 [email protected] ________________________________________________________________________ EDUCATION Ph.D. Philosophy (1991) University of Miami Dissertation: “Edmund Husserl: Intentionality and Meaning” Master of Arts Philosophy (1990) University of Miami Bachelor of Arts English, Philosophy (1985) Minors: History, Chemistry University of Miami MAJOR FIELDS • Phenomenology • Philosophy of Science • Philosophy of Language • Philosophy of Mind • Philosophical Orientation: Analytico-Phenomenological 2 LANGUAGES • Italian (Native/bilingual speaking, reading, and writing proficiency) • French (Native/bilingual speaking, reading, and writing proficiency) • Spanish (Native/bilingual speaking, reading, and writing proficiency) • Portuguese (Full reading proficiency) PROFESSIONAL EXPERIENCE 2001- Associate Professor Present Department of Philosophy Florida Atlantic University 1995- Assistant Professor 2001 Department of Philosophy Florida Atlantic University 1993- Visiting Assistant Professor 1995 Department of Philosophy Florida Atlantic University Summer Adjunct Professor of Humanities 1993 Miami-Dade Community College 1992- Adjunct Professor of Philosophy 1993 Florida A&M University 1990- Instructor, Dept. of Philosophy 1991 University of Miami 1986- Teaching Assistant, Dept. of Philosophy 1989 University of Miami ADMINISTRATIVE EXPERIENCE 2017- Chair 2019 Department
    [Show full text]