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Copyright of Cuadernos de Filología Clásica: Estudios Latinos is the property of Universidad Complutense de Madrid 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 purpose of this paper is to find out the author of the three Latin verses quoted by Pérez Galdós in his novel El 19 de marzo y el 2 de mayo (1873). After discarding Pérez Galdós himself and Sánchez Barbero (prima facie more likely) as authors, we have found the source in a Neo-Latin poem written in honor of Godoy and preserved in two handwritten copies, one in the Royal Academy of History and the other in Menéndez Pelayo's Library. The real author is the Enlightenment thinker Joaquín Traggia. This fact, in its turn, raises the problem of how Pérez Galdós could come to know any of these manuscripts around 1872. In addition, the manuscript text has been compared with Galdós's quotation in the printed version as well as in his own handwritten text. In sum, we have determined the authorship of the Latin quotation and its origin; we have considered the new literary context of these verses in Pérez Galdós's novel; and lastly, a new, amended edition of such verses is proposed. [ABSTRACT FROM AUTHOR]

This paper deals with the publication of the Biblioteca Personal Jorge Luis Borges, its context within the so called "spectacle society", its "predecessors" (Schwob, Machen, Pliny, Solinus, Aelianus) and its relationship with other contemporary writers, such as the Argentinian Julio Cortázar or the Mexican Juan José Arreola. In addition, it comments on the specific poetical recreation made by Borges on some Virgilian verses, such as the hypallage from the book vi of the Aeneid. The goal is to understand the literary devices Borges uses as a reader of the authors chosen as his "predecessors". [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Clásica: Estudios Latinos is the property of Universidad Complutense de Madrid 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.)

Based on an iconographic analysis of the covers of six Dutch editions of the Attic Nights published between 1644 and 1706 (objects, fauna and characters), as well as the possible relationships of some of the elements studied with the work itself, we have established several guidelines to better understand the cultural history of the Attic Nights during the Dutch Golden Age. In a particular way, the scientific interest, as well as some elements of everyday life, already present in the Dutch art of the moment, allow us to better appreciate the approach that is made of the Latin work to a new cultural and historical context. [ABSTRACT FROM AUTHOR]

Aulus Gellius' Attic Nights achieved a special impact in Argentina. Just as Bioy Casares and Julio Cortázar, Borges was a good reader of the Attic Nights. Thus, our aim is to establish the way Borges read Gellius' book through (a) their intermediates, (b) the volume of the Attic nights owned by Borges, (c) the quotations of Gellius made by Borges, (d) the common clichés, (e) the Gellius' sentences and, finally, (f) the literary development Borges took out from the Gellius' miscellany to create his own essays. [ABSTRACT FROM AUTHOR]

In the eighties of 20th century, Vergil was interpreted from a precise and particular approach inspired by Nietzsche. This new vision could be categorized, basically, as the idea of death (Broch), the sickness of poetry (García Calvo), the commemoration (remembrance) of the bimillennium of his death (Colinas), his poetic rereading from a new aesthetics (Borges and Bernhard), the boom of verse translation (Fontán Barreiro) and, finally, the remarkable picto-rial rereading of his Eneida (Carlos Franco). Therefore, this essay tries to give an account of a specific decade in Vergil's historical reception. [ABSTRACT FROM AUTHOR]

Copyright of Archivum is the property of Universidad de Oviedo, Servicio de Publicaciones 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 Informática Educativa Comunicaciones is the property of Asociacion para el Desarrollo de la Informatica Educativa 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 1848, Adolfo Alfredo Camus, who will become the most important teacher of Classical literature in Spain during the nineteenth century, won the chair that will play for decades at the Central University of Madrid. Our aim in this paper is to study the exercise of his exam, the Oratio ad cathedram Litteraturae latinae obtinendam, written in Latin and preserved in the General Archive of the State Administration. Our main finding has been to establish the two literary sources that feed it: the exordium is based in a rewriting of a speech composed by the humanist Marcus Antonius Muretus (De laudibus litterarum) and the development of the subject, the life and work of Silius Italicus, reuses the prose of a scholar of the eighteenth century: Nicolaus Funccius (De imminenti linguae Latinae senectute). In sum, we have managed to consider the historical significance of this Oratio and the way it combines the sixteenth century Latin oratory with the literary scholarship of the eighteenth century, when Latin literature had the name of Latinae litterae or Historia Latinae linguae. [ABSTRACT FROM AUTHOR]

This work proposes the relevance of studying the literary tradition of Federico García Lorca's “Soneto gongorino en que el poeta manda a su amor una paloma" (“Sonnet in the Style of Góngora in which the Poet Sends His Beloved a Dove") from the theoretical basis of the aesthetic criticism of his time. We refer, above all, to the overcoming of the inherited historicist positivism of the nineteenth century. Pedro Salinas summarizes this attitude well when he conceives the literary tradition as an accumulation of stimuli whose components, while belonging to the past, become absolutely current at the moment of creation. It is a tradition that overcomes the concept of “source" and leans towards style and dialog between texts. García Lorca's “Soneto gongorino" is a good example of this; its gongorism resides in a double relationship: one raised by its audacious lexical junctions and another that offers us reminiscences of other possible texts of that tradition. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Clásica: Estudios Griegos e Indoeuropeos is the property of Universidad Complutense de Madrid 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 Myrtia is the property of Servicio de Publicaciones de la Universidad de Murcia 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 DYNA - Ingeniería e Industria is the property of Publicaciones Dyna SL 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 work aims to establish the basis of what in the future will be the Hispanic Dictionary of the Classical Tradition (DHTC). The entries of this dictionary will be conducted from two criteria: (a) fundamental concepts and methods of the classical tradition, from initial positivity to new theories about the text, and (b) names of modern scholars who have resulted in its history and development. [ABSTRACT FROM AUTHOR]

This paper aims to conduct a reflection on the new reality that has occurred in the context of the present discipline of the Classical Tradition: the emergence of Reception Studies, in order to rereading Greek and Latin Classics over time. [ABSTRACT FROM AUTHOR]

Copyright of DYNA - Ingeniería e Industria is the property of Publicaciones Dyna SL 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.)

Borges’ relationship with Latin, and in particular with the work of Virgil was almost lifelong, and helps to explain Borges’ poetics. This paper will trace and explore this relationship, from the very early works such asFervor de Buenos AiresandLuna de enfrente, to his late work, in particularLos conjurados. Two key elements are essential in this analysis: a number of verses from Virgil’s first Eclogue, and the city of Geneva, a place of origins and endings. [ABSTRACT FROM PUBLISHER]

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 Ágora: Estudos Clássicos em Debate is the property of Agora: Estudos Classicos em Debate 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 Ágora: Estudos Clássicos em Debate is the property of Agora: Estudos Classicos em Debate 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.)

As Dr. Holford-Strevens discovered, the first Spanish translation of Aulus Gellius (Navarro y Calvo 1893) is actually an indirect translation from Latin. Navarro y Calvo also used a French text that draws on the textual tradition of Gronovius, although the Spanish translator misinterpreted some of the French words. The scarce academic interest that the Spanish translation has aroused up to now contrasts with the significant role that this work plays for having transferred Gelius' text into the modern Spanish cultural field. [ABSTRACT FROM AUTHOR]

Copyright of Informática Educativa Comunicaciones is the property of Asociacion para el Desarrollo de la Informatica Educativa 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 formulation of the concept of classicus, referred to the most distinguished authors, appears the first time in the 2nd century A.D. It derives from a metaphorical use of the term, understood in its oldest meaning (at the beginning classicus refered to an old social division based on the financial solvency of each citizen, and established in Rome during Servius Tullius' time). Therefore, the metaphorical use of classicus refers to the best archaic Latin writers, as if they were the ideal inhabitants of an old literary Rome. The term classicus undergoes many modifications throughout History, until Italo Calvino made the last big formulation of the term at the end of the 20th century. In short, there is an evolution from a hierarchic conception to an open and more personal idea of the "classics". Despite all these changes, between the first and the last formulation it happens to be a surprising connecting thread: an invisible city and a Latin author that lives there. [ABSTRACT FROM AUTHOR]

This paper analyses the specific use that some modern authors have made of Greek and Latin quotations in order to build their scary stories, from the second half of the eighteenth century to the twentieth century. Quotations from Plinius the Younger, Aulus Gelius or Vergil had an important presence in these accounts, where they were re-read from the view of modern Gothic aesthetics. The way new authors get knowledge of Greek and Latin texts is not always the same: anthologies, citations from rare works, or school readings play different roles when using the ancient authors in a modern novel. This paper will deal with works by Charles Maturin, Jan Potocki, Edgar Allan Poe, Marcel Schwob and Jorge Luis Borges. [ABSTRACT FROM AUTHOR]

Toda época asiste a cambios culturales y sociales. En algunos momentos como los actuales parece que esos cambios aumentan su velocidad. El Derecho es a la vez instrumento y manifestación de esos cambios. En el presente trabajo se pone de manifiesto cómo detrás de cualquier regulación jurídica late un contenido implícito. Desentrañarlo enriquece el análisis estrictamente jurídico, a la vez que sirve de fundamento al didlogo interdisciplinar entre estudiosos del Derecho y cultivadores de otras disciplinas, sin abdicación de los métodos propios de cada ciencia. [ABSTRACT FROM AUTHOR]