DOCSLIB.ORG

University Micrdnlms International 300 N

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University Micrdnlms International 300 N INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University Micrdnlms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8518951 Hauck, Evan William VERGIL'S CONTRIBUTION TO EKPHRASIS The Ohio State University P h .D. University Microfilms International300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1985 by Hauck, Evan William All Rights Reserved VERGIL'S CONTRIBUTION TO EKPHRASIS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Evan William Hauck, B.A., M.A. * * * * * The Ohio State University 1985 Reading Committee: Appro John T. Davis, Ph.D. Charles L. Babcock. Ph.D. Jane M. Snyder, Ph.D. Adviser ifepdrtment of Classics Copyright by Evan William Hauck 1985 This is dedicated to my Mother and Father, who did so much to make it possible. ii ACKNOWLEDGEMENTS I want to thank the people who have helped me with this dissertation. Professor John T. Davis, my adviser, first suggested the topic and has guided me diligently through four years of research and writing. Professors Charles L. Babcock and Jane M. Snyder, my second and third readers, have provided many helpful comments and suggestions. Professor June Allison loaned me her copy of Vergil when mine was stolen. Professor Philip Lockhart of Dickinson College has inspired and encouraged my work in the classics for well over a decade. Finally, I want to thank two friends whose moral support has helped me through the last few months of work and worry: Curt Schieber, who gave me a place to stay whenever I came to Columbus, and Lori Custer, who was my first student when I started teaching, but who has become one of my best teachers. VITA August 25. 1953 Born - Phoenixville, Pennsylvania 1975 B.A., Dickinson College Carlisle; Pennsylvania 1976-1982 Teaching Associate, Department of Classics. The Ohio State University, Columbus. Ohio 1978 M.A. The Ohio State University. Columbus, Ohio 1984 Adjunct Instructor, Department of Classics. Gettysburg College Gettysburg. Pennsylvania Fields of Study Major Field: Classical Languages and Literature Studies in Latin Poetry. Professors John T. Davis and Charles L. Babcock. Studies in Greek Poetry. Professors Robert Lenardon, Jane Snyder and June Allison. TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ....................................... iii VITA .................................................... iv LIST OF ABBREVIATIONS................................ vii INTRODUCTION ........................................... 1 CHAPTER ONE: HOMER. APOLLONIUS AND CATULLUS ........... 7 I. The Shield of Achilles (Iliad 18. 478-607) 8 II. The Cloak of Jason (Arqonautica 1.721-773) 11 III. The Bedspread of Peleus and Thetis (Catullus 64.50-226) ..................... 14 TWO: THE GANYMEDE CLOAK. THE BALDRIC OF PALLAS AND THE SHIELD OF AE N E A S .......... 24 I. The Cloak and the B a l d r i c .............. 25 II. The Shield of Aeneas (8.625-731) .... 36 THREE: THE PICTURES ON THE TEMPLE WALL AT CARTHAGE .................................. 47 I. Subject Matter and Arrangement ......... 47 II. T h e m e s .................................... 56 III. The Italian W a r ......................... 64 IV. D i d o ....................................... 78 v FOUR: THE RELIEFS ON THE TEMPLE DOORS AT CUMAE ....................................... 89 I. Subject Matter andArrangement .......... 89 II. T h e m e s .................................... 94 III. Aeneas and the Temple Do o r s ............ 102 FIVE: CARTHAGE AND C U M A E ......................... 121 BIBLIOGRAPHY ............................................. 137 vi LIST OF ABBREVIATIONS I. Ancient and Medieval Sources All quotes from and references to Vergil are based upon R.A.B. Mynors. ed.. P. Verqili Maronis: Opera. Oxford University Press, Oxford (1976). Quotes from and references to other ancient and medieval sources are based upon the following texts: Apollodorus = Sir James G. Frazer, ed. and trans., Apollodorus: The Library. 2 vols.. Loeb Classical Library. G.P. Putnams, New York (1921). Apollonius Rhodius = R.C. Seaton, ed. and trans.. Apollonius Rhodius: The Argonautica. Loeb Classical Library, G.P. Putnam's. New York (1912). Catullus = Kenneth Quinn, ed., Catullus: The Poems. 2nd ed.. Macmillan, London (1973). Dictys Cretensis = Richard M. Frazer, ed. and trans.. The Troian War: The Chronicles of Dictvs of Crete. Indiana University Press. Bloomington (1966). Diodorus Siculus = C.H. Oldfather, ed. and trans.. Diodorus Siculus. 12 vols.. Loeb Classical Library. G.P. Putnam’s. New York (1933). Euripides = Arthur S. Way. ed. and trans.. Euripides. 4 vols., Loeb Classical Library. Harvard University Press. Cambridge (1959). Eustathius = Marchinus Van der Valk, ed., Eustathii: Commentarii ad Homeri Iliadem. 3 vols., E.J. Brill. Leiden (1971). Homer = David B. Monro and Thomas W. Allen, eds., Homeri Opera, vols. 1 and 2. 3rd ed.. Oxford University Press. Oxford (1920). Horace = Charles E. Bennett and John C. Rolfe, eds.. Horace: Odes and Epodes. Allyn and Bacon, boston (1934). Ovid = Frank Justus Miller, ed. and trans.. Ovid: Metamorphoses. 2 vols., Loeb Classical Library, Harvard University Press. Cambridge (1916). Pausanius = W.H.S. Jones, ed. and trans.. Pausanias: Description of Greece. 4 vols., Loeb Classical Library. G.P. Putnam’s. New York (1918). Philostratus = Ludo De Lannoy. ed.. Flavii Philostrati; Heroicus. B.G. Teubner, Leipzig (1977). Plautus = Paul Nixon, ed. and trans., Plautus. 5 vols.. Loeb Classical Library. Harvard University Press. Cambridge (1965). Plutarch = Bernadotte Perrin, ed. and trans.. Plutarch: The Parallel Lives. 11 vols., Loeb Classical Library. Harvard University Press. Cambridge (1958). Scholiast on Homer's Iliad = Hartmut Erbse. ed., Scolia Graeca in Homeri Iliadem, 6 vols., Walter de Gruyter. Berlin (1969). Servius = Geroge Thilo and Herman Hagen, eds.. Servii Grammatici: qui feruntur in Verqilii carmina commentarii. 2nd ed., B.G. Teubner. Leipzig (1923). II. Modern Sources The titles of journals are abbreviated according to the system used in L'Annee Philologique. Alfonsi. "II mito di Pasifae" = L. Alfonsi. "II raito di Pasifae in Virgilio." in Mvthos. Scripta in hon. M. Untersteiner. Genova (1970) pp. 33-36. Atchity. Homer1 s Iliad -• Kenneth J. Atchity. Homer1 s Iliad. Southern Illinois University Press. Carbondale (1978). Austin. Aeneidos liber I. = R.G. Austin, ed.. Aeneidos liber i. with commentary. Oxford University Press. Oxford (1971). Austin. Aeneidos liber VI = R.G. Autin, ed.. Aeneidos liber VI with commentary. Oxford University Press, Oxford (1977). Beye, Iliad. Odyssey and Epic Tradition = Charles R. Beye. The Iliad, the Odyssey and the Epic Tradition. Doubleday. Garden City (1966). Beye, Epic and Romance in Argonautica = Charles R. Beye. Epic and Romance in the Argonautica of Apollonius. Southern Illinois University Press, Carbondale (1982). Duckworth. Foreshadowing and Suspense = George E. Duckworth, Foreshadowing and Suspense in the Epics of Homer. Apollonius and Vergil. Princeton University Press. Princeton (1933). Eden, "Salii on Shield of Aeneas" = P.T. Eden. "The Salii on the Shiedl of Aeneas: Aeneid VIII. 663-666." RhM 116 (1973) pp. 78-83. Fowler. Aeneas at Site of Rome = W. Warde Fowler, Aeneas at the Site of Rome. B.H. Blackwell, Oxford (1918). x George. "Poet and Character in Apollonius" = E.V. George. "Poet and Character in Apollonius Rhodius' Lemnian Episode," Hermes 100 (1972) pp. 47-63. Griffith, Again the Shield = J.G. Griffith. "Again the Shield." PVS 7 (1967-1968) pp. 54-65. Kilroy. "Dido Episode and Sixty-Fourth Poem of Catullus" = Gerard Kilroy, "The Dido
Load more

Recommended publications
  • Some Devices of Drama Used in Aeneid 1—4 a Paper Read to the Virgil Society, February 1974, # by Jonathan Foster, M.A., B.Phil
    Some Devices of Drama used in Aeneid 1—4 A paper read to the Virgil Society, February 1974, # by Jonathan Foster, M.A., B.Phil.' # That the episode of Dido (one might say the whole unit books 1 —4 of the Aeneid) is worked out very much in the spirit of Greek tragedy was remarked by Henry Nettleship ninety-nine years ago. * I cannot therefore lay claim to novelty in my choice of subject, nor yet do I intend simply to rearrange kaleidoscopically the many detailed discussions of this subject which can be found in various places, notably in what I like to think of as Pease’s Chrestomathy, that is to say his introduction to his massive commentary on book 4. 2 Austin’s and Williams’s commentaries on the individual books, Austin’s article on the Wooden Horse, 3 and Michael Wigodsky’s ‘Vergil and Early Latin Poetry,’4 (which has some helpful remarks on Virgil and Greek tragedy also) are all distinguished contributors in this field. At the same time, and with the greatest possible respect to one of our Vice- Presidents, Dr Michael Grant, I feel bound to protest in the strongest terms at the suggestion which he makes twice on one page of his recent book ‘Roman Myths’ 5, that there may have been some tragic play on the subject of Dido and Aeneas in existence when Virgil wrote: better to accept his reservation that such an hypothesis may well be an unfounded reflection on Virgil’s originality. True, we all recognize that the Aeneid is an inspired synthesis, and I shall presently make a suggestion of my own about Virgil’s relationship to contemporary Roman drama.
    [Show full text]
  • Le Crocodile Trompeur – Didon Et Énée
    « APRÈS LA REPRÉSENTATION DE » Le Crocodile trompeur – Didon et Énée D’APRÈS L’OPÉRA DE Henry Purcell ET D’AUTRES MATÉRIAUX, MISE EN SCÈNE Samuel Achache ET Jeanne Candel, DIRECTION MUSICALE Florent Hubert 31 MARS -1ER AVRIL 2014 // THÉÂTRE FIRMIN GÉMIER – LA PISCINE CARNET DE CRÉATION PROLONGEMENTS RUINES DE LA PASSION • Écoutez ou regardez un extrait d’une représentation classique (1) de Ce livret britannique du début du XVIIe siècle n’est pas soumis à la Didon et Énée de Purcell et comparez-le(s) avec Le Crocodile trom- règle de l’unité du lieu, à l’instar du goût de son époque en France. peur – Didon et Énée. Selon votre perception, qu’apporte la liberté Au premier acte, l’action se passe à Carthage, dans le palais de la musicale de cette mise en scène à la partition d’origine par rapport reine Didon. Au deuxième acte, la grotte des sorcières et le bosquet au ressenti des émotions des personnages ? Que pensez vous de la dans lequel Didon et Énée chassent lorsqu’éclate l’orage provoqué scénographie à la lecture de l’histoire de Didon et Énée aujourd’hui ? par les sorcières (pour qu’Énée puisse rencontrer « l’esprit ») se situent à l’extérieur, ainsi que le port maritime, avant le retour au • Quel est, selon vous, le rapport entre le rôle d’un personnage et palais et le dénouement final. l’ensemble de la troupe, le « chœur » dans ce spectacle ? Prenez Les metteurs en scène ont choisi, eux, une certaine unité des des exemples de rôles (pas seulement Didon et Énée) en cherchant lieux en créant un espace dramatique qui évolue, mais où tous les dans le livret (2) et décrivez leur jeu.
    [Show full text]
  • Vergil's Nisus and the Language of Self-Sacrifice In
    Vergil’s Nisus and the Language of Self-Sacrifice in Paradise Lost LEAH WHITTINGTON Princeton University When the Son of God offers to die for mankind in book 3 of Paradise Lost (1667), readers who have been tempted to join the devil’s party for the first two books of the poem confront an unsettling dramatic scene: the assembly in heaven is staged as a mirror image of the demonic council at Pandemonium. The listening host suddenly grows quiet, and a solitary hero figure emerges out of the silence to take on the burden of raising the collective fortune. Placed beside the Son’s promise to atone for man’s sin with his death, Satan’s exploratory mission to earth comes into focus as a fallen reflection of self-sacrifice, a self-aggrandiz- ing perversion of the poem’s heroic ideal now articulated in the Son. This moment of internal self-reference has often been identified as part of Milton’s didactic strategy to confront the reader with proof of his own fallenness,1 but it is less often recognized that the Son’s speech to the angelic host makes use of an allusion that gives it a central place in the story of Milton’s engagement with classical epic.2 When the Son 1. See Stanley Fish, Surprised by Sin (Berkeley: University of California Press, 1971). Fish famously argues that the heroic portrayal of Satan is part of a larger narrative strategy by which Milton provokes the reader ‘‘with evidence of his corruption’’ and forces him ‘‘to refine his perceptions so that his understanding will be once more proportionable to truth’’ (xiii).
    [Show full text]
  • The Laodamia Myth
    APPENDIX: THE LAODAMIA MYTH Most of the testimony we have on the Laodamia myth is from relative­ ly late sources. While we know of treatments that predate poem 68, it is not possible to establish in any detail which versions of the myth these represented. Homer (//. 2. 698-701) gives no details beyond Protesilaus' death and does not even name the widow, describing her only as ~1L~t8pucp7Ji;. According to Pausanias ( 4.2. 7), Protesilaus' wife was called Polydora in the Cypria. Pausanias says that in this poem the widow took her own life but does not make it clear whether this act followed Pro­ tesilaus' death or his return to the Underworld after the reunion. The word Pausanias uses of her suicide, lmxot'tota~!i(uv, "to slay over or in succession to a corpse,'' makes it unlikely that the Cypn·a dealt with the version in which she dies following the image of her husband into the fire. The few surviving fragments from Euripides' tragedy Protesilaus, of uncertain date, do little to shed light on the episodes and incidents of the play. According to the brief synopsis of the play that has been preserved (Schol. Aristid. p. 671 ), Protesilaus left Laodamia on their wedding day. After his death he obtained permission to return to his wife for a single day. The synopsis makes no mention of Laodamia's suicide or of the image. One fragment is especially tantalizing (fr. 655, Nauck2): oux &v 1tpo80£11v xot£1tEp <i~uxov ~O..ov. If <i~uxov means ''inanimate'' here, it could be a reference to the image that Laodamia made.
    [Show full text]
  • Proper Names
    PROPER NAMES Acca 820 Aurunci 318 Achaeans 266 Ausoniae 41; Ausonii 253 Acheron 23 Achilles 9f., 14-28, 438; and Hector's Bacchus, and music 737 corpse 72-7; and Patroclus 42-58; Bellipotens 8 Achilles and ritual slaughter 82; death Bitias 396 anticipated 43, 45f., 54 Butes 690 Acoetes 30 Aconteus 612 Calydon 270 Adriatic, names for 405 Camilla 432; biography 535-96; name Aeneas 2; account of earlier events 113, 543; tomb 594; guilt 586; death 114; ancestry of 305; bonus I 06; 794-835; place of, in book xi, xiif. bound to kill Tu. 178f.; burial and corpse 892; vanity of 782 Aen. I 08 -19; commander 2-4, Caphereus 260 14 -28, 36; conflict of duties 94; Casmilla 543 deification of 125; Diomedes and Aen. Catillus 640 243-95; diplomacy of I 09; and des­ Chloreus 768 tiny 232; Evander and Aen. 152; Chromis 675 fama and arma of 124; father 184; Cicero 122-32 fights Tu. 434; good king I 06; Cloelia 535-96 Hector and Aen. 289; imperator 79, Clytius 666 446; just 126; magnanimity of 127; Coras 465; 604 mementoes of Dido 72-7; mourner Cybelo 768 39f., 42 58, 34; feeling for Pallas 36; Cyclopes 263 returns to narrative 904; victorious Cyrene 535-96 4; warrior 126; warrior hero 282fi; weeps 29, 41 Dardanidis 353 Aethon 89 Dardanium 472 Agamemnon 266ff. Demophoon 675 Amasenus 547 Dercennus 850 Amaster 673 Diana 535-96, 537, 591; vengeance of Amazon 648 857 Amazones Threiciae 659 Dido and cloaks given to A en. 72-7; Amazons 535-96, 571, Appx.
    [Show full text]
  • Francesco Cavalli
    OPÉRA DE MONTPELLIER Francesco Cavalli Opéra de Montpellier Ville de 11, boulevard Victor Hugo - CS 89024 - 34967 Montpellier Cedex 2 Montpellier Tél. 04 67 60 19 99 Fax 04 67 60 19 90 Adresse Internet : http://www.opera-montpellier.com — Email : [email protected] La Didone OPÉRA EN UN PROLOGUE ET TROIS ACTES DE FRANCESCO CAVALLI LIVRET DE FRANCESCO BUSENELLO CRÉATION A VENISE EN 1641 AU THEATRE SAN CASSIANO. PRODUCTION DE L'OPÉRA DE LAUSANNE 18, 20 et 21 janvier 2002 à l'Opéra Comédie Les Talens Lyriques Choeurs de l'Opéra de La Didone Direction, clavecin et orgue Montpellier Christophe Rousset Direction musicale Didone, Creusa, Ombra di Creusa Franck Bard Christophe Rousset Juanita Lascarro ORCHESTRE Marie-Anne Benavoli Fialho Direction des choeurs Violons Elina Bordry Enea Enrico Gatti, Nathalie Cazenave Noêlle Geny Topi Lehtipuu Gilone Gaubert-Jacques Eric Chabrol Altos Christian Chauvot Réalisation larba Judith Depoutot, Ernesto Fuentes Mezco Éric Vigner Ivan Ludlow Jun Okada Josiane Houpiez-Bainvel Étienne Leclercq Costumes Flûtes à bec Paul Quenson Anna, Cassandra Jacques Maresch Héloïse Gaillard, Katalin Varkonyi Hervé Martin Lumières Meillane Wilmotte Christophe Delarue Jean-Claude Pacuil Venere, una damigella Cornets Béatrice Parmentier Anne-Lise Sollied Frithjof Smith, Sherri Sassoon-Deschler David Gebhard, Dramaturgie et surtitres Olga Tichina Rita de Letteriis Doron Sherwin Ascanio, Amore Trombones Assistant à la direction musicale Valérie Gabail Jean-Marc Aymes Franck Poitrineau, Junon, una damigella Stefan Legée,
    [Show full text]
  • Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars.
    [Show full text]
  • The Roman Poets of the Augustan Age: Virgil by W
    The Project Gutenberg EBook of The Roman Poets of the Augustan Age: Virgil by W. Y. Sellar This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Roman Poets of the Augustan Age: Virgil Author: W. Y. Sellar Release Date: October 29, 2010 [Ebook 34163] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL*** THE ROMAN POETS OF THE AUGUSTAN AGE: VIRGIL. BY W. Y. SELLAR, M.A., LL.D. LATE PROFESSOR OF HUMANITY IN THE UNIVERSITY OF EDINBURGH AND FELLOW OF ORIEL COLLEGE, OXFORD iv The Roman Poets of the Augustan Age: Virgil THIRD EDITION OXFORD AT THE CLARENDON PRESS OXFORD UNIVERSITY PRESS AMEN HOUSE, E.C. 4 London Edinburgh Glasgow New York Toronto Melbourne Capetown Bombay Calcutta Madras HUMPHREY MILFORD PUBLISHER TO THE UNIVERSITY vi The Roman Poets of the Augustan Age: Virgil IMPRESSION OF 1941 FIRST EDITION, 1877 THIRD EDITION, 1897 vii PRINTED IN GREAT BRITAIN TO E. L. LUSHINGTON, ESQ., D.C.L., LL.D., ETC. LATE PROFESSOR OF GREEK IN THE UNIVERSITY OF GLASGOW. MY DEAR LUSHINGTON, Any old pupil of yours, in finishing a work either of classical scholarship or illustrative of ancient literature, must feel that he owes to you, probably more than to any one else, the impulse which directed him to these studies.
    [Show full text]
  • Bernard Coutaz Carlos Sandúa Las Músicas Del Agua La ONE Republicana Natalie Dessay Peter Donohoe Lado Ataneli Gaspard De La N
    REVISTA DE MÚSICA Año XXIII - Nº 228 - Marzo 2008 - 6,50 € DOSIER Las músicas del agua ENCUENTROS ROLA Bernard Coutaz ND Carlos Sandúa C O ACTUALIDAD R V E IL Natalie Dessay A L N A Peter Donohoe D ZÓN Lado Ataneli O EM REPORTAJE OCIONES La ONE republicana Año XXIII - Nº 228 Marzo 2008 REFERENCIAS Gaspard de la nuit de Ravel INTERIORPORTADA FILM:SCHERZO 22/2/08 18:37 Página 1 1-16 FILM:SCHERZO 22/2/08 17:36 Página 1 AÑO XXIII - Nº 228 - Marzo 2008 - 6,50 € 2 OPINIÓN DOSIER Las músicas del agua CON NOMBRE José Luis Carles PROPIO y Cristina Palmese 113 6 Natalie Dessay Rafael Banús Irusta ENCUENTROS 8 Peter Donohoe Bernard Coutaz Bruno Serrou Emili Blasco 126 10 Lado Ataneli Carlos Sandúa Pablo J. Vayón Barbara Röder 132 12 AGENDA REPORTAJE La Orquesta Nacional 18 ACTUALIDAD Republicana NACIONAL Enrique Lacomba y Gúzman Urrero Peña 136 46 ACTUALIDAD INTERNACIONAL EDUCACIÓN Pedro Sarmiento 140 60 ENTREVISTA JAZZ Rolando Villazón Pablo Sanz 142 Juan Antonio Llorente LIBROS 144 64 Discos del mes LA GUÍA 146 65 SCHERZO DISCOS CONTRAPUNTO Norman Lebrecht 152 Sumario Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Íñigo Arbiza, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, José Luis Carles, Jacobo Cortines, Rafael Díaz Gómez, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, Germán Gan Quesada, Joaquín García, José Antonio García y García, Carmen Dolores García González, Juan García-Rico, José Guerrero Martín, Federico Hernández, Fernando Herrero, Bernd Hoppe, Paul Korenhof, Enrique Lacomba, Antonio Lasierra, Norman
    [Show full text]
  • Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack
    Birth of War – Aeneid 7 page 1 THE BIRTH OF WAR -- A Reading of Aeneid 7 Sara Mack In this essay I will touch on aspects of Book 7 that readers are likely either to have trouble with (the Muse Erato, for one) or not to notice at all (the founding of Ardea is a prime example), rather than on major elements of plot. I will also look at some of the intertexts suggested by Virgil's allusions to other poets and to his own poetry. We know that Virgil wrote with immense care, finishing fewer than three verses a day over a ten-year period, and we know that he is one of the most allusive (and elusive) of Roman poets, all of whom wrote with an eye and an ear on their Greek and Roman predecessors. We twentieth-century readers do not have in our heads what Virgil seems to have expected his Augustan readers to have in theirs (Homer, Aeschylus, Euripides, Apollonius, Lucretius, and Catullus, to name just a few); reading the Aeneid with an eye to what Virgil has "stolen" from others can enhance our enjoyment of the poem. Book 7 is a new beginning. So the Erato invocation, parallel to the invocation of the Muse in Book 1, seems to indicate. I shall begin my discussion of the book with an extended look at some of the implications of the Erato passage. These difficult lines make a good introduction to the themes of the book as a whole (to the themes of the whole second half of the poem, in fact).
    [Show full text]
  • The Wolf in Virgil Lee Fratantuono
    The Wolf in Virgil Lee Fratantuono To cite this version: Lee Fratantuono. The Wolf in Virgil. Revue des études anciennes, Revue des études anciennes, Université Bordeaux Montaigne, 2018, 120 (1), pp.101-120. hal-01944509 HAL Id: hal-01944509 https://hal.archives-ouvertes.fr/hal-01944509 Submitted on 23 Sep 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Copyright ISSN 0035-2004 REVUE DES ÉTUDES ANCIENNES TOME 120, 2018 N°1 SOMMAIRE ARTICLES : Milagros NAVARRO CABALLERO, María del Rosario HERNANDO SOBRINO, À l’ombre de Mommsen : retour sur la donation alimentaire de Fabia H[---]la................................................................... 3 Michele BELLOMO, La (pro)dittatura di Quinto Fabio Massimo (217 a.C.): a proposito di alcune ipotesi recenti ................................................................................................................................ 37 Massimo BLASI, La consecratio manquée de L. Cornelius Sulla Felix ......................................... 57 Sophie HULOT, César génocidaire ? Le massacre des
    [Show full text]
  • Renaissance Receptions of Ovid's Tristia Dissertation
    RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological.
    [Show full text]