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Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There is considerable literary evidence that gives us some insight into the Jewish culture in the city of Rome from different perspectives after the destruction of the Second Temple in 70 CE. Yet, there are few primary accounts of Jews in the city of Rome during the 1st century BCE. In this article it is argued that there was already a significant Jewish population in Rome during the middle of the 1st century BCE and it already had a noted influence on daily life in the capital city. In the wake of the Roman Republic's imperialistic successes, the city saw an influx of foreign peoples and cultures, including Jews, and they were mentioned in the literature of the time. The little that was written about Jews during this time pertain to those aspects of their culture and religion that appeared peculiar to the Romans, especially in the so-called higher genres of philosophical treatises or history. Yet, we also have texts describing everyday live in Republican Rome – lyric and elegiac poetry. These, too, feature references to Jewish culture. Although Roman poetry is never explicitly interested in Jews or Jewish people, it did paint a picture of Rome at street-level, so to speak, through the eyes of a literate citizen and this picture sometimes included Jews. In this article this type of evidence available to us will be reconsidered to fill in the gap in our historical knowledge. Contribution: This article presents an interpretation of Jews and Jewish practices mentioned during the 1st century BCE in Roman poetry. The poetry of Tibullus, Horace and Ovid, written from a Roman perspective, have been contextualised in their literary traditions and informed by the established philosophical opinions of the time from Cicero, Varro and Lucretius. The result is a useful discussion of how extensive and how reliable these sources are for the understanding of Jewish culture in Rome during the 1st century BCE. [ABSTRACT FROM AUTHOR]

The article focuses on "Carmina Priapea," a collection of short poems on subjects pertaining to the Greek deity Priapus. Topics discussed include the cultural status of the garden gnome, the depiction of Priapus in Roman poetry, and Priapus' unrealistically elongated penis and the sickle which he holds in his hands as a secondary deterrent.

Copyright of Renaissance & Reformation / Renaissance et Réforme is the property of Iter Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In his Neo-Latin poem Chrysopoeia (1515), the Italian humanist Giovanni Aurelio Augurello often declares to be outdoing the ancients in writing the first alchemical poem in Latin. Is this simply an instance of what E. R. Curtius called outdoing a topos? Or is Augurello's poem actually venturing onto a metaphorically untrodden path? Based on an analysis of Chrysopoeia, its genesis, and its sources, this article aims to assess the extent of this poem's novelty. In particular, my interpretation focuses on this text's poetic transpositions of non-literary sources, and more specifically Geber's Summa perfectionis and other medieval alchemical texts. Dans son poème néo-latin Chrysopoeia (1515), l'humaniste italien Giovanni Aurelio Augurello déclare à plusieurs reprises qu'il surpasse les Anciens en écrivant le premier poème alchimique latin. Est-ce simplement un exemple de ce que E. R. Curtius appelait « surpasser un topos »? Ou le poème d'Augurello s'aventure-t-il réellement sur un territoire métaphoriquement inexploré? En se fondant sur l'analyse de Chrysopoeia, sa genèse et ses sources, cet article cherche à évaluer l'étendue de la nouveauté de ce poème. Notre interprétation se concentre en particulier sur les transpositions poétiques de sources non littéraires dans ce poème, et plus spécifiquement sur la Summa perfectionis de Geber et d'autres textes alchimiques médiévaux. [ABSTRACT FROM AUTHOR]

An introduction is presented in which author discusses articles on topics including focuses on the Neo-Latin poetry as most of the papers are concerned with various poetic genres written in Renaissance Italy and France over the course of nearly a century and a half (1419–1567).

The Arab World, especially Egypt, is now living in a period of abundant translations into Arabic from the original Greek and Latin texts. This has helped cross the borders and make classical writers accessible to the Arab readers. In this regard, we may distinguish three levels or types of readers in the Arab World: firstly general public, secondly educated and learned amateurs, and thirdly specialized academicians and students. The Arab translator of Latin poetry faces many problems of translation, and accordingly has to handle them, as persuasively as possible, to pave the way for the Arabic translation to meet the demands of the readers, seeking their endorsement. The Arab translator also has to elucidate the cultural context in which a Latin poem was written by enriching his translation with commentaries and notes, otherwise the translation may be meaningless and tasteless to the Arab public audience. The translator, at the same time, cannot help avoiding his (or her) critical sense to be in work during the process of translation. In my present paper, I argue that translating Latin poetry into Arabic is a creative re-construction that involves both critical and cultural perspectives. [ABSTRACT FROM AUTHOR]

My paper focusses on the treatment of the triumph as a metaphor for poetic glory in Ovid. In the Augustan poetry the triumph theme is treated predominantly from a political perspective, but images and situations of the ceremony are also used from a literary point of view. Ovid in particular gives this topic original and ambiguous features. [ABSTRACT FROM AUTHOR]

Copyright of Renaissance & Reformation / Renaissance et Réforme is the property of Iter Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main aim of this article is to understand how Augustus is written into life in the story-world of Propertius. It traces the development of the character in the story-world over time with due regard to the parallel historical narratives that were told about the historical Augustus. The investigation proceeds from a content analysis of the incidence of references (overt and oblique) to Augustus Caesar in the extant text of Propertius. This approach assumes that quantitative data, that is, frequency of incidence, spatial or temporal dimensions of incidence and the location of a reference in the broader context, are important indicators of meaning. The investigation presents its content analysis and the interpretation of this analysis. The investigation also relies to a certain extent on narratological analytical concepts, because Augustus is written into life by the Propertian text as a character which exists, to a certain extent at least, in a narrative. The investigation concludes that Augustus is not a fully developed character in the Propertian texts. Nevertheless, Augustus is revealed to be a distant ruler mostly associated with military authority and wealth; at some instances, he is regarded as a messianic figure, which is also present in other poets. Most notably, the content analysis reveals a consistent engagement between the speaker in the Propertian poems and the power wielded by Augustus. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin Hispanique is the property of Universite de Bordeaux III (Michel de Montaigne), Institut Hispanique and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dialogos (14159945) is the property of Universidade Estadual de Maringa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Iliad 16, at a key juncture in the poem, Homer's Patroklos kills Kebriones, Hektor's charioteer, and taunts him in terms of his capacity to dive for poor food at sea. The primary purpose of this paper is to explicate that image. Kebriones is imagined here as a diver at sea, because his name (together with his death-dive from his chariot) evokes the cormorant as it dives in search of food. The argument proceeds in four sections: 1) Homer's verses and Kebriones' forward dive, headlong; 2) 'Kebriones' as the name of a bird, and the charioteer's association with Kebrenia and a tale of metamorphosis into a cormorant there; 3) the associations between cormorants, ships and extended food-gathering, as in Patroklos' taunt; 4) Virgil's adaptation of these ideas (also with some humour) in the story of the 'charioteer' Menoetes and cormorants in the boat race of Aeneid 5, which seems to confirm his understanding of Homer's imagery and reveal the poet at work. [ABSTRACT FROM AUTHOR]

This article uncovers some of the intricate story-telling patterns in the Histories of Gregory of Tours (ca. 538-594 CE). In The Poetics of Biblical Narrative, Meir Sternberg outlines a method of interpretation useful for approaching a literary artifact whose self-classification is history, identifying three principles operating interdependently within any narrative work: the ideological, the historiographical, and the aesthetic. These principles produce a complex network of linkages which make up the narrative as a mode of communication. Using Sternberg's model as an instrument of interpretation, this analysis identifies narrative devices as functional structures for the Decem Libri Historiarum, such as intentional gaps, repetitions, and time manipulations. Gregory's narrative demonstrates a flexible poetics, serving the purposes of history and ideology side-by-side. Narrative devices otherwise functionally at odds with one another (omission vs. repetition) are combined to produce a unitary artistic logic. [ABSTRACT FROM AUTHOR]

The following paper undertakes a critical review and examination of the various attempts over the last century and a half of scholarship in Classical Philology to categorize that most singular work of Horace, the Ars poetica. Commentators and critics of the poem have endeavoured to include the work of the Augustan poet within various pre-determined -- somewhat tendentious -- generic categories, including: the didactic treatise, the verse letter, the literary epistle, the didactic poem, and the sermo. Through critiquing these approaches I shall argue that the Ars, whether through form or subject, manages to subvert the criteria of these generic boundaries, and locates itself within a unique territory. Apart from addressing the problems involved in classifying the Ars, this paper also tackles some other general concerns of generic analysis in Classical Philology. [ABSTRACT FROM AUTHOR]

Copyright of Renaissance & Reformation / Renaissance et Réforme is the property of Iter Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Author-supplied Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A translation into Afrikaans of the first poem in the collection "Eclogues" by Virgil is presented. First Line: Tityrus, terwyl jy agteroorlê onder die breë beskutting van 'n beukeboom; Last Line: En al langer skadu's val van die hoë berge.

A book containing Alexandru Macedonski's poems in French was published for the first time in 2007 by the French publishing house Rafael de Surtis. Written in a very musical French, these poems have rarely been studied in Romania and have been ignored in France. An inner motivation seems to have inspired the genesis of these writings, produced between 1880 and 1918. Their inspiration is variegated. Macedonski aimed at discovering the path for a "poetry of the future". The influence of the French authors on his poems was important. He also had a great admiration for the classical Greek and Latin cultural inheritance and many of his poems show a fascination with the distant past, pre-Chrisitian and pagan. He also assumed the identity of a foreign author, who expresses hid "dor", the longing and nostalgia for the homeland. [ABSTRACT FROM AUTHOR]

The article discusses the reception of Latin satiric poetry by the Roman poet Juvenal in Renaissance Europe. It describes contemporary scholarship on Juvenal contributed by Latin scholar Pascal Debailly, the literary theories on satire represented by such poets as Nicolas Boileau-Despréaux and John Dryden, and the notion of tragic satire represented in the book "Nefs des Folz" by Juvenal. Other subjects under discussion include the characteristics of Renaissance Latin literature, the influence of classical Latin authors such as Horace on English and French poets in the Renaissance era, and the satirization of crime and criminals in Juvenal's poems.

The author presents a note on contrues, the literal translations exhibiting the verbal meaning, order of disclosure and relationship of parts in Greek or Latin poems by George Herbert. These poems include "Memoriae Matris Sacrum" or "To the Memory of My Mother: A Sacred Offering" and "Non illa soles terere comptu lubricosis" or "That Woman Did Not Strive to Wear Away the Fleeting Suns With Hair Adornment." The author stresses that the relationship between words is indicated by word endings.

The article offers information on the texts in the book "George Herbert: Memoriae Matris Sacrum: To the Memory of My Mother: A Consecrated Gift." It says that the texts are based in the 1627 publication of the book. It notes that the book consists of poems written in Latin and Greek languages. It highlights some samples of the poems.

Copyright of Stylos is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines how W. H. Auden has brought out the mosaic qualities of Horace's Latin poems. A verbal patterning of an ode of Horace by Arthur Hugh Clough is presented. The approach and considerations of Auden in translating Horace's poem "Streams" are discussed. A complication encountered by Auden in translating "Crisis" is revealed.

This article features English writer and classicist Rex Warner. Career highlights; Aspects of Warner's sonnet related to the poetic themes of Roman poet Catullus; Narrative themes of his allegorical novels.

Demonstrates that the book "Tristia," by Latin author Apuleius, offer a valuable interpretative key for the comprehension of some important passages of Apuleius' novel in relation to the book "Metamorphoses," by Latin author and poet Ovid. Stimulating problems presented by the book "Metamorphoses"; Ovidian references in Apuleius' prologue; Important topos in Ovid's poetry.

Examines literary and artistic designs that are related to the goddess Venus and which are associated with the genre of Latin poet Ovid. Impact of the opera Pompeiana; Discussion on the poetic precinct of Venus; Indication of the parallel between goddesses and literary genres.

Examines the reception of the elegiac poetry of Latin poet Ovid by ancient writers. Types of medieval Latin verses; Indications that poets continue to write elegy after Ovid; Imitators of his poetry.

The article discusses the influence of Johann Wolfgang von Goethe on the Latin poem "Römische Elegien" by Johann Gottfried Herder. Geothe commended the works of Johannes Secundus and Jacob Balde to assess the achievements of German poets who composed in Latin and advance the liberal view distorted by them. It is noted that Secundus commissioned a poem dedicated to Charlotte von Stein which reflects Goethe's relationship with her. Furthermore, Geothe composed verses based on his learning from Herder to preserve the Neo-Latin legacy of Germany and integrate it into a contemporary culture.