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From Accius, Varro or Lucretius onwards, Latin poets have repeatedly alluded to or described the division of the terrestrial and celestial spheres into five climatic zones. The present paper is tracking down and delving into the several passages where this theory was mentioned from the origins of Latin literature until the 5th century A.D. Be they shorter or longer, these excerpts show regular interest and curiosity for a highly scientific topic from authors whose verses are not necessarily dedicated prima facie to science in general or to geography and astronomy in particular. Over time the picture of the zones evolved into a true literary topos whose grounds for attractiveness are also looked into. The Romans' natural appeal for reality and technical matters is one of them, as well as the philosophical, moral or ideological dimensions of the theme. Last but not least, this topos offers a wide range of possibilities to authors willing to engage in an agonistic process, fully compliant with the ancient concept of creative mimesis, in order to display their personality and originality., SCOPUS: ar.j, info:eu-repo/semantics/published

El poeta alicantino Josep Gosalbes de Cunedo, autor de varias obras de poesía latina, algunas de ellas muy extensas, gozó de cierta fama durante los siglos XVI y XVII, tanto a nivel local como internacional. Su vida, que conoció guerra y cárcel, se desarrolló principalmente en Bélgica, y conoció la amistad del humanista Justo Lipsio, con quien mantuvo una relación epistolar. Sus obras se publicaron en tres ocasiones, pero nunca fueron estudiadas ni traducidas a una lengua moderna. Hoy se trata de un autor olvidado cuya obra merece ser recuperada. Algunas de las características de su poesía se asemejan a las de la poesía desarrollada en castellano a lo largo de los siglos XVI y XVII., The Alicante poet Josep Gosalbes de Cunedo, author of several works of Latin poetry, some of them very extensive, enjoyed a certain fame during the 16th and 17th centuries, both locally and internationally. His life, who knew war and prison, developed mainly in Belgium, and he met the friendship of the humanist Justus Lipsius, with whom he maintained an epistolary relationship. His works were published three times, but they were never studied or translated into a modern language. Today he is a forgotten author whose work deserves to be recovered. Some of the characteristics of his poetry are similar to those of the poetry developed in Spanish throughout the 16th and 17th centuries.

This thesis answers two key questions regarding the treatment of gender in Ovid's "Metamorphoses": 1) How does the poem utilise mythical narratives in order to explore peculiarly Roman masculine concerns and anxieties, such as fatherhood, the transition from boy to man, the tension between sexual desire and the masculine ideal of self-control, the social problem of female desire, and the maintenance of one's personal reputation in the homosocial sphere? 2) In the course of these explorations, in what ways does the poem marginalise and oversimplify the experiences of its female characters? In answering these two intertwined questions, the thesis will demonstrate both the enduring relevance of Ovid's text as a site for feminist rereading, and the importance of considering women's perspectives in any discussion of patriarchal expectations and their effects on the individual.

El poeta alicantino Josep Gosalbes de Cunedo, autor de varias obras de poesía latina, algunas de ellas muy extensas, gozó de cierta fama durante los siglos XVI y XVII, tanto a nivel local como internacional. Su vida, que conoció guerra y cárcel, se desarrolló principalmente en Bélgica, y conoció la amistad del humanista Justo Lipsio, con quien mantuvo una relación epistolar. Sus obras se publicaron en tres ocasiones, pero nunca fueron estudiadas ni traducidas a una lengua moderna. Hoy se trata de un autor olvidado cuya obra merece ser recuperada. Algunas de las características de su poesía se asemejan a las de la poesía desarrollada en castellano a lo largo de los siglos XVI y XVII., The Alicante poet Josep Gosalbes de Cunedo, author of several works of Latin poetry, some of them very extensive, enjoyed a certain fame during the 16th and 17th centuries, both locally and internationally. His life, who knew war and prison, developed mainly in Belgium, and he met the friendship of the humanist Justus Lipsius, with whom he maintained an epistolary relationship. His works were published three times, but they were never studied or translated into a modern language. Today he is a forgotten author whose work deserves to be recovered. Some of the characteristics of his poetry are similar to those of the poetry developed in Spanish throughout the 16th and 17th centuries.

El poeta alicantino Josep Gosalbes de Cunedo, autor de varias obras de poesía latina, algunas de ellas muy extensas, gozó de cierta fama durante los siglos XVI y XVII, tanto a nivel local como internacional. Su vida, que conoció guerra y cárcel, se desarrolló principalmente en Bélgica, y conoció la amistad del humanista Justo Lipsio, con quien mantuvo una relación epistolar. Sus obras se publicaron en tres ocasiones, pero nunca fueron estudiadas ni traducidas a una lengua moderna. Hoy se trata de un autor olvidado cuya obra merece ser recuperada. Algunas de las características de su poesía se asemejan a las de la poesía desarrollada en castellano a lo largo de los siglos XVI y XVII., The Alicante poet Josep Gosalbes de Cunedo, author of several works of Latin poetry, some of them very extensive, enjoyed a certain fame during the 16th and 17th centuries, both locally and internationally. His life, who knew war and prison, developed mainly in Belgium, and he met the friendship of the humanist Justus Lipsius, with whom he maintained an epistolary relationship. His works were published three times, but they were never studied or translated into a modern language. Today he is a forgotten author whose work deserves to be recovered. Some of the characteristics of his poetry are similar to those of the poetry developed in Spanish throughout the 16th and 17th centuries.

The article describes selected poetry by the Pomeranian diplomat Jurga Valentin Winther (1578–1623), which can be included in the inter–genre category of ‘poesis artificiosa’. The works discussed include: anagram, chronogram, acrostic, palindrome, ‘versus concordans’, emblem, labyrinth. The poetic repertoire of Winther clearly shows that while writing, he readily experimented with form, and his searches and innovations sometimes elude genology., The article describes selected poetry by the Pomeranian diplomat Jurga Valentin Winther (1578–1623), which can be included in the inter–genre category of ‘poesis artificiosa’. The works discussed include: anagram, chronogram, acrostic, palindrome, ‘versus concordans’, emblem, labyrinth. The poetic repertoire of Winther clearly shows that while writing, he readily experimented with form, and his searches and innovations sometimes elude genology.

"In these pages a tour is made on the texts that mention the Cyclades in Latin poetry, showing the reason for their presence in the respective texts and how the different poets present them."

En l’Oratio ad coetum sanctorum, atribuïda a Constantí el Gran, trobem dues peces de caire poètic: un Oracle Sibil·lí (8, 217-250) i diferents versos de l’Ègloga 4 de Virgili, textos que, en un primer moment, semblaria que són inconnexos al context del discurs i que tan sols hi són transmesos com a exercici retòric. No obstant això, l’emperador empra aquestes dues composicions per demostrar que l’adveniment de Crist ja havia estat vaticinat anteriorment i les posa a tall d’exemple, l’una de tirada, l’altra intercalant-hi una anàlisi exegètica. En aquest article, mirem de veure quina relació s’estableix amb la resta del discurs i de quina manera l’emperador Constantí mira d’enllaçar les diferents idees inserides en ambdós textos poètics per treure el màxim de profit possible al seu ús., In the Oratio ad coetum sanctorum, attributed to Constantine the Great, we can find two poetical pieces: the Oracula Sibyllina 8 (217-250) and many verses of the Virgil’s 8th Eclogues. At first glance, they seem unconnected with the rest of the speech and it looks like they serve as a rhetorical exercise. Nevertheless, the emperor used those texts to show that the coming of Christ had been foreseen before. He utilized them as example: the first one on the trot; the second one with an exegetical analysis alternated. The aim of this article is to see how those are related with the rest of the speech. We want to show in which way Constantine linked the different ideas inside those both poetical texts to squeeze its use.

This paper offers an analysis of an early prose translation of a Latin panegyrical poem into Russian. The poem, In lavdem Lvdovici XIII was written by Peter / Petrus / Pierre Valens in 1623 or earlier. It was included in the book Maneige Royal, first published in 1623 under the name of A. de Pluvinel, who was the riding teacher of the young King Louis XIII. The book was translated into Russian in 1670, albeit not from the original French edition, but from the German version in the bilingual edition Maneige Royal / Konigliche Reitschul, published in Braunschweig, 1626. The book's Russian title is a verbatim translation of the German one, Korolevskaia ezdnaia shkola. The translation is known from two copies: RNB, F.XI.1 (Saint Petersburg), and as one of the texts in the Codex AD 10 (Vasteras, Sweden). Our analysis leads to the conclusion that both the translation itself and the two copies most probably were made at the Ambassadorial Chancery (Posol'skii prikaz). The translation of the Latin panegyrical poem shows that the translator understood the Latin text quite well, although it contains a few isolated errors. At the same time, some of these mistakes might have been the result of misprints in the German original, or they may have been caused by the copyist who produced the fair copy. It seems very likely that the translation of the Latin poem (as well as of the entire book) was made by the translator Ivan Tiazhkogorskii, who knew all three languages used in the book (German, Latin, and French). Although Tiazhkogorskii for the most part translated texts from his native language, German, he was able to make decent translations also from Latin and French; however, historical, political and above all mythological allusions caused a few difficulties.

This paper offers an analysis of an early prose translation of a Latin panegyrical poem into Russian. The poem, In lavdem Lvdovici XIII was written by Peter / Petrus / Pierre Valens in 1623 or earlier. It was included in the book Maneige Royal, first published in 1623 under the name of A. de Pluvinel, who was the riding teacher of the young King Louis XIII. The book was translated into Russian in 1670, albeit not from the original French edition, but from the German version in the bilingual edition Maneige Royal / Konigliche Reitschul, published in Braunschweig, 1626. The book's Russian title is a verbatim translation of the German one, Korolevskaia ezdnaia shkola. The translation is known from two copies: RNB, F.XI.1 (Saint Petersburg), and as one of the texts in the Codex AD 10 (Vasteras, Sweden). Our analysis leads to the conclusion that both the translation itself and the two copies most probably were made at the Ambassadorial Chancery (Posol'skii prikaz). The translation of the Latin panegyrical poem shows that the translator understood the Latin text quite well, although it contains a few isolated errors. At the same time, some of these mistakes might have been the result of misprints in the German original, or they may have been caused by the copyist who produced the fair copy. It seems very likely that the translation of the Latin poem (as well as of the entire book) was made by the translator Ivan Tiazhkogorskii, who knew all three languages used in the book (German, Latin, and French). Although Tiazhkogorskii for the most part translated texts from his native language, German, he was able to make decent translations also from Latin and French; however, historical, political and above all mythological allusions caused a few difficulties.

This paper offers an analysis of an early prose translation of a Latin panegyrical poem into Russian. The poem, In lavdem Lvdovici XIII was written by Peter / Petrus / Pierre Valens in 1623 or earlier. It was included in the book Maneige Royal, first published in 1623 under the name of A. de Pluvinel, who was the riding teacher of the young King Louis XIII. The book was translated into Russian in 1670, albeit not from the original French edition, but from the German version in the bilingual edition Maneige Royal / Konigliche Reitschul, published in Braunschweig, 1626. The book's Russian title is a verbatim translation of the German one, Korolevskaia ezdnaia shkola. The translation is known from two copies: RNB, F.XI.1 (Saint Petersburg), and as one of the texts in the Codex AD 10 (Vasteras, Sweden). Our analysis leads to the conclusion that both the translation itself and the two copies most probably were made at the Ambassadorial Chancery (Posol'skii prikaz). The translation of the Latin panegyrical poem shows that the translator understood the Latin text quite well, although it contains a few isolated errors. At the same time, some of these mistakes might have been the result of misprints in the German original, or they may have been caused by the copyist who produced the fair copy. It seems very likely that the translation of the Latin poem (as well as of the entire book) was made by the translator Ivan Tiazhkogorskii, who knew all three languages used in the book (German, Latin, and French). Although Tiazhkogorskii for the most part translated texts from his native language, German, he was able to make decent translations also from Latin and French; however, historical, political and above all mythological allusions caused a few difficulties.

This paper offers an analysis of an early prose translation of a Latin panegyrical poem into Russian. The poem, In lavdem Lvdovici XIII was written by Peter / Petrus / Pierre Valens in 1623 or earlier. It was included in the book Maneige Royal, first published in 1623 under the name of A. de Pluvinel, who was the riding teacher of the young King Louis XIII. The book was translated into Russian in 1670, albeit not from the original French edition, but from the German version in the bilingual edition Maneige Royal / Konigliche Reitschul, published in Braunschweig, 1626. The book's Russian title is a verbatim translation of the German one, Korolevskaia ezdnaia shkola. The translation is known from two copies: RNB, F.XI.1 (Saint Petersburg), and as one of the texts in the Codex AD 10 (Vasteras, Sweden). Our analysis leads to the conclusion that both the translation itself and the two copies most probably were made at the Ambassadorial Chancery (Posol'skii prikaz). The translation of the Latin panegyrical poem shows that the translator understood the Latin text quite well, although it contains a few isolated errors. At the same time, some of these mistakes might have been the result of misprints in the German original, or they may have been caused by the copyist who produced the fair copy. It seems very likely that the translation of the Latin poem (as well as of the entire book) was made by the translator Ivan Tiazhkogorskii, who knew all three languages used in the book (German, Latin, and French). Although Tiazhkogorskii for the most part translated texts from his native language, German, he was able to make decent translations also from Latin and French; however, historical, political and above all mythological allusions caused a few difficulties.

"In these pages a tour is made on the texts that mention the Cyclades in Latin poetry, showing the reason for their presence in the respective texts and how the different poets present them."

En l’Oratio ad coetum sanctorum, atribuïda a Constantí el Gran, trobem dues peces de caire poètic: un Oracle Sibil·lí (8, 217-250) i diferents versos de l’Ègloga 4 de Virgili, textos que, en un primer moment, semblaria que són inconnexos al context del discurs i que tan sols hi són transmesos com a exercici retòric. No obstant això, l’emperador empra aquestes dues composicions per demostrar que l’adveniment de Crist ja havia estat vaticinat anteriorment i les posa a tall d’exemple, l’una de tirada, l’altra intercalant-hi una anàlisi exegètica. En aquest article, mirem de veure quina relació s’estableix amb la resta del discurs i de quina manera l’emperador Constantí mira d’enllaçar les diferents idees inserides en ambdós textos poètics per treure el màxim de profit possible al seu ús., In the Oratio ad coetum sanctorum, attributed to Constantine the Great, we can find two poetical pieces: the Oracula Sibyllina 8 (217-250) and many verses of the Virgil’s 8th Eclogues. At first glance, they seem unconnected with the rest of the speech and it looks like they serve as a rhetorical exercise. Nevertheless, the emperor used those texts to show that the coming of Christ had been foreseen before. He utilized them as example: the first one on the trot; the second one with an exegetical analysis alternated. The aim of this article is to see how those are related with the rest of the speech. We want to show in which way Constantine linked the different ideas inside those both poetical texts to squeeze its use.

This paper offers an analysis of an early prose translation of a Latin panegyrical poem into Russian. The poem, In lavdem Lvdovici XIII was written by Peter / Petrus / Pierre Valens in 1623 or earlier. It was included in the book Maneige Royal, first published in 1623 under the name of A. de Pluvinel, who was the riding teacher of the young King Louis XIII. The book was translated into Russian in 1670, albeit not from the original French edition, but from the German version in the bilingual edition Maneige Royal / Konigliche Reitschul, published in Braunschweig, 1626. The book's Russian title is a verbatim translation of the German one, Korolevskaia ezdnaia shkola. The translation is known from two copies: RNB, F.XI.1 (Saint Petersburg), and as one of the texts in the Codex AD 10 (Vasteras, Sweden). Our analysis leads to the conclusion that both the translation itself and the two copies most probably were made at the Ambassadorial Chancery (Posol'skii prikaz). The translation of the Latin panegyrical poem shows that the translator understood the Latin text quite well, although it contains a few isolated errors. At the same time, some of these mistakes might have been the result of misprints in the German original, or they may have been caused by the copyist who produced the fair copy. It seems very likely that the translation of the Latin poem (as well as of the entire book) was made by the translator Ivan Tiazhkogorskii, who knew all three languages used in the book (German, Latin, and French). Although Tiazhkogorskii for the most part translated texts from his native language, German, he was able to make decent translations also from Latin and French; however, historical, political and above all mythological allusions caused a few difficulties.

The paper describes a Polish translation of M. K. Sarbiewski’s Latin epigrams made by Zofia Abramowicz (1906–1988) during the interwar period. These epigrams (partially preserved) were prepared to be published in 1939 or 1940 by Prof. Ryszard Ganszyniec in his „Filomata” Press. Abramowicz’s translational work seems to be a part of history of the classical philology in Poland., The paper describes a Polish translation of M. K. Sarbiewski’s Latin epigrams made by Zofia Abramowicz (1906–1988) during the interwar period. These epigrams (partially preserved) were prepared to be published in 1939 or 1940 by Prof. Ryszard Ganszyniec in his „Filomata” Press. Abramowicz’s translational work seems to be a part of history of the classical philology in Poland.

From Ennius onwards, Latin poets have repeatedly described in their verses dances or processions of the seasons. When commenting on the regularity of their cycle or succession, they have given specific overtones to their pictures of this natural phenomenon, inspired by their own perception of life or by proper philosophical systems, such as pythagorism and epicureanism. A close examination and comparison of texts by Ennius, Lucretius, Horace, Ovid, and the anonymous authors of the Laus Pisonis and the Aetna, shows that these poets engaged into a mutual dialogue over the centuries. Not only did they establish a true Latin topos, but they also used it so as to give free rein to their originality, in full compliance with the ancient concept of creative mimesis., Le fichier archivé ne comporte pas le texte définitif publié et la version postprint est disponible uniquement auprès de la revue/de l'éditeur Akadémiai Kiadó: https://doi.org/10.1556/068.2020.00009https://akjournals.com/view/journals/068/60/1-2/article-p121.xml, SCOPUS: ar.j, info:eu-repo/semantics/published

In this article we would like to present a study of Odio y amo, a translation of Catullus’ love poems, published by Bernardo Clariana, Spanish poet and Latin scholar exiled after the Spanish Civil War. We will approach Clariana’s life and his political and cultural environment. We will also analyze the translation itself, focusing on the new ideas shown on Catullus’ poetical work and on Carmen VIII as a paradigm of his model of translation. Finally, we will study carefully the illustrations, drawings by José Vela Zanetti, he himself an exiled., Resumen: En este trabajo queremos presentar un estudio de la obra Odio y amo, una traducción de los poemas de amor de Catulo, publicada por Bernardo Clariana, poeta y latinista español exiliado a causa de la Guerra Civil española. En él abordamos la vida de Clariana, el ambiente político y cultural en que vivió y la propia traducción: atendemos a la novedosa concepción de la obra de Catulo que nos ofrece, tomando como paradigma de la traducción el Carmen VIII y, finalmente, las ilustraciones que acompañan a los poemas, dibujos del pintor José Vela Zanetti, también exiliado.

In this article we would like to present a study of Odio y amo, a translation of Catullus’ love poems, published by Bernardo Clariana, Spanish poet and Latin scholar exiled after the Spanish Civil War. We will approach Clariana’s life and his political and cultural environment. We will also analyze the translation itself, focusing on the new ideas shown on Catullus’ poetical work and on Carmen VIII as a paradigm of his model of translation. Finally, we will study carefully the illustrations, drawings by José Vela Zanetti, he himself an exiled., Resumen: En este trabajo queremos presentar un estudio de la obra Odio y amo, una traducción de los poemas de amor de Catulo, publicada por Bernardo Clariana, poeta y latinista español exiliado a causa de la Guerra Civil española. En él abordamos la vida de Clariana, el ambiente político y cultural en que vivió y la propia traducción: atendemos a la novedosa concepción de la obra de Catulo que nos ofrece, tomando como paradigma de la traducción el Carmen VIII y, finalmente, las ilustraciones que acompañan a los poemas, dibujos del pintor José Vela Zanetti, también exiliado.

The article investigates Ovid’s use of religious terminology and imagery, in particular in the Fasti and the Metamorphoses. As an educated Roman citizen, Ovid was conversant with Roman ritual practices and frequently drew on facets of the Roman religious experience in his writing, exploring topics such as ritual performance, religious nomenclature, festivals, customs and traditions. In the article, I argue that Ovid’s treatment of religious material is deliberately uneven. The poet, well-versed in the Roman ritual nomenclature, nevertheless flaunted his technical competence only in the rite-oriented Fasti: in his other works, above all in the myth-laden Metamorphoses, he abandoned drier technical details for artistic flair and poetic imagery, unconstrained by traditional practices of Roman piety. The mythological setting of the latter poem gave Ovid a chance to comment upon universal truths of human nature, espousing the prevailing Roman belief that maintaining good relations with the gods (pax deorum) through collective piety would win Rome divine favour in all her initiatives., The article investigates Ovid’s use of religious terminology and imagery, in particular in the Fasti and the Metamorphoses. As an educated Roman citizen, Ovid was conversant with Roman ritual practices and frequently drew on facets of the Roman religious experience in his writing, exploring topics such as ritual performance, religious nomenclature, festivals, customs and traditions. In the article, I argue that Ovid’s treatment of religious material is deliberately uneven. The poet, well-versed in the Roman ritual nomenclature, nevertheless flaunted his technical competence only in the rite-oriented Fasti: in his other works, above all in the myth-laden Metamorphoses, he abandoned drier technical details for artistic flair and poetic imagery, unconstrained by traditional practices of Roman piety. The mythological setting of the latter poem gave Ovid a chance to comment upon universal truths of human nature, espousing the prevailing Roman belief that maintaining good relations with the gods (pax deorum) through collective piety would win Rome divine favour in all her initiatives.

Na poesia latina encontramos uma ligação entre os conceitos de amor e juventude, já que o poeta acha que a juventude é a idade apropriada para o sentimento amoroso, desde una perspectiva física e estética até uma perspectiva filosófica e antropológica, En la poesía Latina, encontramos una unión entre los conceptos de amor y juventud, ya que el poeta cree que es la juventud la edad apropiada para el sentimiento amoroso, tanto desde una perspectiva física y estética, como desde una perspectiva filosófica y antropológica., In Latin poetry, concepts as youth and love are usually connected, because the poet, considering it from a physical and aesthetic point of view, as much as from a philosophical and anthropologic one, thinks that youth is the best age for love.

García Pavón is currently an almost unknown author, in spite of the fact that he enjoyed a great popularity in his time because of his countless literary awards and the television adaptations of his police stories. Our paper, which deals with the Classical tradition in one of his first detective stories, El rapto de las Sabinas, attempts to save him from oblivion. This same writer, who is an expert in Classical Literature, considers Latin authors a valuable resource to shape a peculiar work with a setting and features of its own. This tradition may be observed in both the classical recurrent themes collected by García Pavón in his stories. It is therefore our aim to prove that the Classical World survives in García Pavón´s work, where it is wisely given a sense of thematic and style unity., García Pavón es un autor casi desconocido actualmente, a pesar de que en su época gozó de una enorme popularidad gracias a sus éxitos literarios y a la adaptación televisiva de sus narraciones policíacas. Pretendemos rescatar a García Pavón de tal olvido estudiando ciertos aspectos de la tradición clásica en una de sus novelas detectivescas, El rapto de las Sabinas. El autor, gran conocedor de la Antigüedad grecolatina, recurre como fuente principal a numerosos poetas latinos que evocan en sus obras temas vitales rastreables asimismo en las narraciones de García Pavón. Nuestro objetivo principal es constatar que el mundo clásico pervive abundantemente en la obra policíaca de García Pavón, confiriéndole dicha pervivencia una clara unidad temático-estilística a toda ella.

García Pavón is currently an almost unknown author, in spite of the fact that he enjoyed a great popularity in his time because of his countless literary awards and the television adaptations of his police stories. Our paper, which deals with the Classical tradition in one of his first detective stories, El rapto de las Sabinas, attempts to save him from oblivion. This same writer, who is an expert in Classical Literature, considers Latin authors a valuable resource to shape a peculiar work with a setting and features of its own. This tradition may be observed in both the classical recurrent themes collected by García Pavón in his stories. It is therefore our aim to prove that the Classical World survives in García Pavón´s work, where it is wisely given a sense of thematic and style unity., García Pavón es un autor casi desconocido actualmente, a pesar de que en su época gozó de una enorme popularidad gracias a sus éxitos literarios y a la adaptación televisiva de sus narraciones policíacas. Pretendemos rescatar a García Pavón de tal olvido estudiando ciertos aspectos de la tradición clásica en una de sus novelas detectivescas, El rapto de las Sabinas. El autor, gran conocedor de la Antigüedad grecolatina, recurre como fuente principal a numerosos poetas latinos que evocan en sus obras temas vitales rastreables asimismo en las narraciones de García Pavón. Nuestro objetivo principal es constatar que el mundo clásico pervive abundantemente en la obra policíaca de García Pavón, confiriéndole dicha pervivencia una clara unidad temático-estilística a toda ella.

Na poesia latina encontramos uma ligação entre os conceitos de amor e juventude, já que o poeta acha que a juventude é a idade apropriada para o sentimento amoroso, desde una perspectiva física e estética até uma perspectiva filosófica e antropológica, En la poesía Latina, encontramos una unión entre los conceptos de amor y juventud, ya que el poeta cree que es la juventud la edad apropiada para el sentimiento amoroso, tanto desde una perspectiva física y estética, como desde una perspectiva filosófica y antropológica., In Latin poetry, concepts as youth and love are usually connected, because the poet, considering it from a physical and aesthetic point of view, as much as from a philosophical and anthropologic one, thinks that youth is the best age for love.

Na poesia latina encontramos uma ligação entre os conceitos de amor e juventude, já que o poeta acha que a juventude é a idade apropriada para o sentimento amoroso, desde una perspectiva física e estética até uma perspectiva filosófica e antropológica, En la poesía Latina, encontramos una unión entre los conceptos de amor y juventud, ya que el poeta cree que es la juventud la edad apropiada para el sentimiento amoroso, tanto desde una perspectiva física y estética, como desde una perspectiva filosófica y antropológica., In Latin poetry, concepts as youth and love are usually connected, because the poet, considering it from a physical and aesthetic point of view, as much as from a philosophical and anthropologic one, thinks that youth is the best age for love.

I argue in this dissertation that Thornton Wilder is a poeta doctus, a learned playwright and novelist, who consciously places himself within the classical tradition, creating works that assimilate Greek and Latin literature, transforming our understanding of the classics through the intertextual aspects of his writings. Never slavishly following his ancient models, Wilder grapples with classical literature not only through his fiction set in ancient times but also throughout his literary output, integrating classical influences with biblical, medieval, Renaissance, early modern, and modern sources. In particular, Wilder dramatizes the Americanization of these influences, fulfilling what he describes in an early newspaper interview as the mission of the American writer: merging classical works with the American spirit. Through close reading; examination of manuscript drafts, journal entries, and correspondence; and philological analysis, I explore Wilder’s development of classical motifs, including the female sage, the torch race of literature, the Homeric hero, and the spread of manure. Wilder’s first published novel, The Cabala, demonstrates his identification with Vergil as the Latin poet’s American successor. Drawing on feminist scholarship, I investigate the role of female sages in Wilder’s novels and plays, including the example of Emily Dickinson. The Skin of Our Teeth exemplifies Wilder’s metaphor of literature as a “Torch Race,” based on Lucretius and Plato: literature is a relay race involving the cooperation of numerous peoples and cultures, rather than a purely competitive endeavor. Vergil’s expression, sunt lacrimae rerum et mentem mortalia tangunt [Here are the tears of the world, and human matters touch the heart] (Vergil: Aeneid 1.462), haunts much of Wilder’s oeuvre. The phrase lacrimae rerum is multivocal, so that the reader must interpret it. Understanding lacrimae rerum as “tears for the beauty of the world,” Wilder utilizes scenes depicting the

The aim of this paper is to consider C. Licinius Calvus’ poetic facet in view of ancient testimonies and the comparison with other parallel personalities in order to understand his own poetic career. Early approaches of modern criticism will be also taken into account. Our conclusion is that some ancient authors who allude to Calvus as a poet are indeed referring to Catullus’ poems. Furthermore, his own poetic work was not very well-known in the old days, Nevertheless, his epyllion must be considered an exception because of its echoes in works such as those by Virgil and Ovid. It is precisely here where Calvus differed from Catullus’ resolutions despite being frequently compared with him in his work devoted to Quintilia., En el presente artículo pretendemos valorar la faceta poética de C. Licinio Calvo a través de los diferentes testimonios que nos ha legado la Antigüedad y de la comparación con otras figuras paralelas consideradas relevantes para entender su propia carrera poética, sin dejar de lado las aproximaciones anteriores de la crítica moderna. De todo ello concluimos que algunos autores antiguos que nos hablan de Calvo como poeta se remontan en última instancia a la in- formación que ofrece Catulo en sus poemas y que su obra poética era más bien desconocida ya de antiguo. Una notable excepción parece ser su epilío, algunos de cuyos ecos encontramos en obras de primer orden, como las de Virgilio u Ovidio, y en el que marcó un camino propio respecto a las propuestas de Catulo, con el que siempre se le comparaba por su otra obra dedicada a Quintilla.

Doctor of Philosophy

The aim of this paper is to consider C. Licinius Calvus’ poetic facet in view of ancient testimonies and the comparison with other parallel personalities in order to understand his own poetic career. Early approaches of modern criticism will be also taken into account. Our conclusion is that some ancient authors who allude to Calvus as a poet are indeed referring to Catullus’ poems. Furthermore, his own poetic work was not very well-known in the old days, Nevertheless, his epyllion must be considered an exception because of its echoes in works such as those by Virgil and Ovid. It is precisely here where Calvus differed from Catullus’ resolutions despite being frequently compared with him in his work devoted to Quintilia., En el presente artículo pretendemos valorar la faceta poética de C. Licinio Calvo a través de los diferentes testimonios que nos ha legado la Antigüedad y de la comparación con otras figuras paralelas consideradas relevantes para entender su propia carrera poética, sin dejar de lado las aproximaciones anteriores de la crítica moderna. De todo ello concluimos que algunos autores antiguos que nos hablan de Calvo como poeta se remontan en última instancia a la in- formación que ofrece Catulo en sus poemas y que su obra poética era más bien desconocida ya de antiguo. Una notable excepción parece ser su epilío, algunos de cuyos ecos encontramos en obras de primer orden, como las de Virgilio u Ovidio, y en el que marcó un camino propio respecto a las propuestas de Catulo, con el que siempre se le comparaba por su otra obra dedicada a Quintilla.

In this paper I examine Dracontius’ poem De raptu Helenae to prove his unconventionality and originality inpresenting a well-known myth. He analyses the story of the judgement of Paris from the legal point of viewusing professional, legal vocabulary. At the same time he takes into account also the moral and Christian dilemmasand thereby he finds completely new aspects and interpretations, ignored by previous poets.

The Catullan corpus is filled with widely varying and often incompatible constructions of gender. These contradictions reveal latent tensions between the poet’s masculine persona and personal pleasure, the latter of which often results in feminine modes of expression. Catullus’ poetic voice frequently transgresses traditional Roman boundaries between gender spheres, emphasizing the nebulous nature of ancient sexuality. Through an analysis of the gendered paradigms that inform the Catullan corpus, this paper examines these tensions between traditional masculine and feminine roles and ways in which these roles are reversed, especially in Catullus’ relationship with Lesbia. This paper analyzes Sapphic influences in Catullus (carmina 51 and 11), arguing that Catullus both embraces more feminine imagery in following with Sapphic tradition and within the same poems diverges from this tradition in favor of more masculine modes of expression. Catullus also transgresses Roman gender boundaries in carmen 76 by introducing the homosocial concept of pietas into his personal romantic relationships. Other poems exhibit more masculine traits (carmina 16 and 37), employing hypermasculinity and invective in order to reestablish the sexual dominance and masculine status that has been partially lost through gendered role reversals between Catullus and Lesbia in other poems. Transgressions of gender boundaries are also explored in carmen 63 which describes Attis’ aborted transition from ephebe to man. Overall, Catullus’ ever-changing voice emphasizes the ambiguity of ancient gender and sexuality as well as his own tensions regarding his place in both the masculine sphere and his personal relationships.

‘The wedding of Nisus and Euryalus’ is a hymnic ode after Catullus 61 which plays with the ideas of the shared tragic death of the youth joined in love. The sensory and visual language of death overlays with the images of wedding attendants and celebrations. ‘Our Lord on the Cross’ is from a set of reflections on the 14 Stations of the Cross, for which this was written for the twelfth station, ‘Jesus dies on the cross’. The lamentation includes sections translated from the Biblical book of Lamentations, while also voicing Our Lord’s own strained words on the cross as he watches passersby take little heed of his fate. ‘The pleasures of reading’ is a light parody on all of the places that literature can take us - if only we have sufficient room in our personal libraries to store all of these books!

Los versos de Virgilio y Catulo son fuente de un rito nupcial romano que consistía en el lanzamiento de nueces durante la procesión nupcial (deductio). Sin embargo, los comentaristas y gramáticos antiguos no sabían con exactitud el sentido de este acto simbólico. En este artículo se repasan las hipótesis antiguas y su recepción en la crítica posterior, con especial atención al simbolismo de la fertilidad.

Los versos de Virgilio y Catulo son fuente de un rito nupcial romano que consistía en el lanzamiento de nueces durante la procesión nupcial (deductio). Sin embargo, los comentaristas y gramáticos antiguos no sabían con exactitud el sentido de este acto simbólico. En este artículo se repasan las hipótesis antiguas y su recepción en la crítica posterior, con especial atención al simbolismo de la fertilidad.

‘The wedding of Nisus and Euryalus’ is a hymnic ode after Catullus 61 which plays with the ideas of the shared tragic death of the youth joined in love. The sensory and visual language of death overlays with the images of wedding attendants and celebrations. ‘Our Lord on the Cross’ is from a set of reflections on the 14 Stations of the Cross, for which this was written for the twelfth station, ‘Jesus dies on the cross’. The lamentation includes sections translated from the Biblical book of Lamentations, while also voicing Our Lord’s own strained words on the cross as he watches passersby take little heed of his fate. ‘The pleasures of reading’ is a light parody on all of the places that literature can take us - if only we have sufficient room in our personal libraries to store all of these books!

L’obra del poeta alacantí del segle XVI Josep Gosalbes de Cunedo ha passat a l’oblit. Alguns aspectes de la seua vida i obra mereixen atenció, com a mínim, per haver tractat temes propis de la seua terra. Alguns dels seus poemes tracten l’antiga Governació d’Oriola, al sud del regne de València, i celebren la creació del bisbat d’Oriola, motiu pel qual l’autor descriu el territori amb gust renaixentista. La seua amistat amb l’humanista Just Lipsi marca la seua biografia, on guerres i presó també estan presents., The work of the 16th. century poet from Alicante Joseph Gosalbes of Cunedo has been forgotten. Some aspects of his life and work deserve attention, at least because he had written about topics of their own land. Some of his poems deal with the former Region of Orihuela, in the south of Valencia kingdom, and celebrate the creation of the diocese of Orihuela, so the author describes this territory in a Renaissance style. His friendship with the humanist Justus Lipsius mark his biography, where wars and prison are also present.

L’obra del poeta alacantí del segle XVI Josep Gosalbes de Cunedo ha passat a l’oblit. Alguns aspectes de la seua vida i obra mereixen atenció, com a mínim, per haver tractat temes propis de la seua terra. Alguns dels seus poemes tracten l’antiga Governació d’Oriola, al sud del regne de València, i celebren la creació del bisbat d’Oriola, motiu pel qual l’autor descriu el territori amb gust renaixentista. La seua amistat amb l’humanista Just Lipsi marca la seua biografia, on guerres i presó també estan presents., The work of the 16th. century poet from Alicante Joseph Gosalbes of Cunedo has been forgotten. Some aspects of his life and work deserve attention, at least because he had written about topics of their own land. Some of his poems deal with the former Region of Orihuela, in the south of Valencia kingdom, and celebrate the creation of the diocese of Orihuela, so the author describes this territory in a Renaissance style. His friendship with the humanist Justus Lipsius mark his biography, where wars and prison are also present.

In this paper, I explore how the Latin poet Horace uses and transforms landscape in order to establish his poetic autobiography. This is accomplished through a close reading of Odes 3.13, O Fons Bandusiae. The facets of this particular landscape that are highlighted through Horace’s poetry reflect the way the poet sees the world and his place in it. By manipulating the aesthetic and temporal qualities of the scene, Horace transforms it into a poetic landscape, one that cannot exist outside this particular poem. In this way, Horace asserts several facets of his poetic identity and demonstrates his poetic prowess, claiming his place in the canon of Greek and Latin lyric poets.

In this paper, I explore how the Latin poet Horace uses and transforms landscape in order to establish his poetic autobiography. This is accomplished through a close reading of Odes 3.13, O Fons Bandusiae. The facets of this particular landscape that are highlighted through Horace’s poetry reflect the way the poet sees the world and his place in it. By manipulating the aesthetic and temporal qualities of the scene, Horace transforms it into a poetic landscape, one that cannot exist outside this particular poem. In this way, Horace asserts several facets of his poetic identity and demonstrates his poetic prowess, claiming his place in the canon of Greek and Latin lyric poets.

The tradition of the Latin epithalamium offers the image of a bride in tears. This article analyses various aspects of this image and its subsequent influence in the NeoLatin epithalamium during the 15th and 16th centuries., La tradición del epitalamio latino difunde una imagen llorosa de la recién casada. En este artículo se analizan varios aspectos de esta imagen y su recepción en el epitalamio neolatino de los siglos XV-XVI.

The tradition of the Latin epithalamium offers the image of a bride in tears. This article analyses various aspects of this image and its subsequent influence in the NeoLatin epithalamium during the 15th and 16th centuries., La tradición del epitalamio latino difunde una imagen llorosa de la recién casada. En este artículo se analizan varios aspectos de esta imagen y su recepción en el epitalamio neolatino de los siglos XV-XVI.

Artiklen er en genudgivelse af Thor Langes oversættelse af Catuls epyllion (digt 64) om Peleus og Thetis' bryllup. Oversættelsen er her blevet forsynet med indledning og noter.

Artiklen er en genudgivelse af Thor Langes oversættelse af Catuls epyllion (digt 64) om Peleus og Thetis' bryllup. Oversættelsen er her blevet forsynet med indledning og noter.

The ultimate result, and the central focus, of this paper is two poems written in Latin according to classical conventions of meter, language and style. The paper also describes the processes and difficulties of composing poetry in Latin and according to these standards. In re-setting two stories from Ovid, the author examines both the historical background and the literary interpretations of the stories. Strong emphasis is placed on feminine viewpoint, that is, how male poets of Greece and Rome imagined female characters and how the author, a female, differs in perspective from the male authors of a male-dominated world.

El objetivo de esta breve nota es ofrecer una interpretación complementaria de la presencia de pequeñas serpientes en el Ara Pacis Augustae: en opinión del autor, no es sólo decorativa, sino también simbólica, y está relacionada con la mítica fundación de Alejandría por Alejandro Magno., The aim of this brief note is to offer a complementary interpretation of the presence of little snakes in Augustus' Ara Pacis. It is not only decorative, but -in the author's opinion- symbolic too, and related to the mythological foundation of Alexandria by Alexander the Great.

El objetivo de esta breve nota es ofrecer una interpretación complementaria de la presencia de pequeñas serpientes en el Ara Pacis Augustae: en opinión del autor, no es sólo decorativa, sino también simbólica, y está relacionada con la mítica fundación de Alejandría por Alejandro Magno., The aim of this brief note is to offer a complementary interpretation of the presence of little snakes in Augustus’ Ara Pacis. It is not only decorative, but -in the author’s opinion- symbolic too, and related to the mythological foundation of Alexandria by Alexander the Great.