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The article concentrates on the lofty representation of the protagonist of the collection of lyrical works. Pieśni o księciu Józefie make a reference, in their historical and axiological aspects, to the biography by Szymon Askenazy, Książę Józef Poniatowski 1763-1813 [Prince Józef Poniatowski 1763-1813]. That biography presents the central figure as an exemplary patriot and citizen, who does not hesitate to give his life for the fatherland. The poet, however, goes much further than Askenazy in elevating his hero, as he sacralises the figure of prince Poniatowski by making him the main martyr of the national cause, who pleads for Poland with God.

The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.

espanolLa concepcion de la elegia como un tipo de poesia basada en los sentimientos da lugar en la poesia neolatina de mercedario espanol Interian de Ayala a una forma poetica en la que la identificacion se combina con el distanciamiento. El mismo fenomeno se produce igualmente en los epigramas del autor, en los que la influencia de Catulo se combina con la de Marcial y con una utilizacion de los simbolos poeticos profundamente original. EnglishThe concept of the elegy as a genre based on feelings gives rise in the Neo-Latin poetry of the Spanish Mercedarian Juan Interian de Ayala to a poetic form in which identification is combined with estrangement. The very same phenomenon occur in the author’s epigrams, in which the influence of Catullus is combined with that of Martial and with a use of the profoundly original poetical symbol.

The article interprets the selected poems by Eugeniusz Tkaczyszyn-Dycki which use the trope of obituary. The author points out its functions. First, the obituary introduces an elegiac tone that characterizes the poet as a melancholic subject, focused on the theme of a funeral. Second, this form has a meta-poetic function which allows an affective and linguistic reflection on the experience of death.

El ambiente literario de los años treinta y cuarenta del siglo XIX propició la aproximación formal de géneros.El género literario denominado poema en prosa no surgió repentinamente. El deseo de renovación del lenguaje poético estuvo precedido por la escritura de una prosa más lírica.José Somoza (1781-1852) fue uno de los escritores que intentó utilizar la prosa como instrumento poético. Este modo de decir se aprecia en algunos fragmentos (El risco de la Pesqueruela y Elegía). Partiendo de estos textos, el crítico Pedro Aullón de Haro considera a José Somoza como uno de los precursores del poema en prosa en España.Haciéndome eco de esta iniciativa crítica deseo replantear en estas líneas dichas afirmaciones. La voluntad de estilo del piedrahitense se traduce en una serie de características que cumplen las condiciones necesarias para clasificar su prosa como prosa poética. Una prosa que despierta en el lector la emoción encerrada en la recreación autobiográfica de lo cotidiano.

The musical culture of modern Europe has produced numerous extra-linguistic elements which constitute a kind of code making transmission of content possible between sender and receiver. These elements also permit a kind of narrative strategy which organizes this communication. One of the codes most important for this field of European culture is musical rhetoric, made up of dozens of signs such as rhetorical figures or the symbolism of musical keys. I demonstrate the functioning of these elements on the example of funeral music, whose topoi, signs, and codes have developed in European culture for several centuries, along with characteristic musical and literary genres, and their mutual interactions. My methodological approach is mainly based on the tools of cultural and musical semiotics, and of narratology combined with analyses of musical rhetoric, supported by elements of literary analysis. I discuss this subject using the example of Karol Kurpiński’s Elegy on the Death of Tadeusz Kościuszko (1818), which perfectly illustrates the signs typical of European culture in the first half of the 19th-century and of nascent Romanticism, with its complex nationalisms and its quest for signs typical of a given nation or region, as well as for individual solutions. All of my analyses point to the power and versatility of cultural semiotics, which allows us to study human creativity in a highly comprehensive manner, exploring areas which are inaccessible to other research methodologies.

In this essay my purpose is to rehearse a reading of Maria Negroni's Elegia Joseph Cornell as a dissenting cultural product. My argument will be that Negroni's text sets in motion a discussion of t ...

Resumo : Neste artigo, desejamos focar-nos na incorporacao de assuntos de caca a Arte de amar , de Ovidio. Embora a obra se concentre na descricao de eventos e personagens, sobretudo, inseridos em ambientacao urbana, devido a seus muitos contatos com a tradicao da elegia erotica romana, decerto encontramos o emprego de muitas imagens agricolas ou venatorias no interior do poema. Sobre o emprego de imagens de caca na Ars , diferenciamos aquelas vezes em que elas se ligam a relatos miticos e aquelas em que tal sobreposicao nao ocorre. No ultimo caso, tende a haver metaforizacao dessas imagens, mas no outro nao, o que aproximaria a linguagem dos trechos mitico-venatorios de Arte de amar do emprego denotativo da linguagem. Palavras-chave : poesia didatica; caca; narrativa; mito; metafora; Ovidio. Abstract : In this article, we would like to focus on the incorporation of hunting topics into the Ars amatoria of Ovid. Although this work concentrates on the description of events and characters mainly inserted in an urban setting, due to its many contacts with the tradition of Roman love elegy, we certainly have the employment of many agricultural or hunting images inside the poem. Regarding the employment of hunting images in the Ars , we differentiate those times in which they are connected to mythical narratives from those in which such overlap does not occur. In the latter case, these images tend to be produced as metaphors, but not in the first one, what would bring the language of mythical excerpts of hunting from the Ars amatoria closer to the denotative employment of language. Keywords : didactic poetry; hunting; narrative; myth; metaphor; Ovid.

This article will present the influence of the Slovenian poet Tomaž Šalamun (1941- 2014, Slovenia) on the poetry of the mid-generation poet from Brazil, Narlan Matos (1975, Itaquara, Bahia), and will highlight the context of their meeting and Šalamun's first entry into the Brazilian literary world. It will also outline the translation and poetic exchanges of both authors, and the elements of literary contact between two poetics and the intertextual interactions mirrored in the poetry of the Brazilian poet Matos, especially in his third collection entitled Elegy to the New World and Other Poems (Elegia ao novo mundo e outros poemas, 2012), in which the reference to Šalamun is especially accomplished in the song Letter to a Slovenian. Matos's dialogue with Šalamun's poetry takes place in several key points: in associative leaps and playfulness, as in the search for and imitation of the typical rhythmical patterns of Šalamun's verse, along with his musicality. Članek bo predstavil vpliv, ki ga je imel slovenski pesnik Tomaž Šalamun (1941 - 2014, Slovenija) na poezijo brazilskega pesnika srednje generacije Narlana Matosa (1975, Itaquara, Bahia): osvetlil bo kontekst njunega srečanja in Šalamunov prvi vstop v brazilski literarni svet ter orisal prevajalsko in pesniško izmenjavo obeh avtorjev, prvine literarnega stika med dvema poetikama ter medbesedilne interakcije, ki se zrcalijo v poetiki brazilskega pesnika Matosa, zlasti v njegovi tretji zbirki Elegija novemu svetu in druge pesmi (Elegia ao novo mundo e outros poemas, 2012), v kateri se sklicevanje na Šalamuna udejanji zlasti v pesmi Pismo Slovencu. Matosov dialog s Šalamunovo poezijo poteka v nekaj ključnih točkah: v asociativnih preskokih in ludizmu ter v iskanju in posnemanju tipičnih ritmičnih vzorcev Šalamunovega verza in njegove glasbenosti.

O artigo tem por objetivo levantar elementos para a leitura comparativa de dois importantes livros de poemas da lírica brasileira do século XX: Dentro da noite veloz (1975), de Ferreira Gullar e Sentimento do mundo (1940), de Carlos Drummond de Andrade. São considerados, para o recolhimento desses elementos, quatro poemas: “Agosto 1964” e “O açúcar”, de Gullar e “Noturno à janela do apartamento” e “Elegia 1938”, de Drummond. O artigo procura, a partir das análises, apontar semelhanças e diferenças verificáveis no lirismo participante dos dois poetas.---DOI: http://dx.doi.org/10.25094/rtp.2017n23a433

The history of the critical reception of the Elegia di Madonna Fiammetta (1343-44) exemplifies the various approaches that have characterized scholarly debates on Boccaccio’s works. In the case of ...

A imagem da historia no filme Elegia a Alexandre de Chris Marker consiste em um ato duplo de rememoracao: lembrar do amigo e cineasta falecido, Alexandre Medvedkin, bem como rever a historia do comunismo no momento em que ele sucumbe. Discuto o filme na perspectiva da nocao de “melancolia de esquerda” de Enzo Traverso. A melancolia no filme busca redimir os insurgentes que sucumbiram lutando por uma utopia autentica. Ao fazer o duplo luto, Elegia a Alexandre assume o pathos da derrota, mas almeja salvar as vitimas lembrando da proposta do cinema-trem de Medvedkin, praticamente esquecido nao fossem as paginas celebradas por Jay Leyda em seu livro Kino: Historia do cinema russo e sovietico . Abstract The image of the history in the film The last Bolshevik by Chris Marker consists of a double act of remembrance: remembering the friend and deceased filmmaker, Alexandre Medvedkin, as well as reviewing the history of communism as it succumbs. I discuss the film in the perspective of Enzo Traverso's notion of "left melancholy." The melancholy in the film seeks to redeem the insurgents who have succumbed by fighting for an authentic utopia. In making the double mourning, The Last Bolshevik assumes the pathos of defeat, but aims to save the victims by remembering the idea of the Medvedkin for a cine-train, almost forgotten were it not for the pages celebrated by Jay Leyda in his book Kino: History of Russian cinema and Soviet Union .

The image of the history in the film The last Bolshevik by Chris Marker consists of a double act of remembrance: remembering the friend and deceased filmmaker, Alexandre Medvedkin, as well as reviewing the history of communism as it succumbs. I discuss the film in the perspective of Enzo Traverso's notion of "left melancholy." The melancholy in the film seeks to redeem the insurgents who have succumbed by fighting for an authentic utopia. In making the double mourning, The Last Bolshevik assumes the pathos of defeat, but aims to save the victims by remembering the idea of the Medvedkin for a cine-train, almost forgotten were it not for the pages celebrated by Jay Leyda in his book Kino: History of Russian cinema and Soviet Union . Resumo A imagem da historia no filme Elegia a Alexandre de Chris Marker consiste em um ato duplo de rememoracao: lembrar do amigo e cineasta falecido, Alexandre Medvedkin, bem como rever a historia do comunismo no momento em que ele sucumbe. Discuto o filme na perspectiva da nocao de “melancolia de esquerda” de Enzo Traverso. A melancolia no filme busca redimir os insurgentes que sucumbiram lutando por uma utopia autentica. Ao fazer o duplo luto, Elegia a Alexandre assume o pathos da derrota, mas almeja salvar as vitimas lembrando da proposta do cinema-trem de Medvedkin, praticamente esquecido nao fossem as paginas celebradas por Jay Leyda em seu livro Kino: Historia do cinema russo e sovietico.

Resumo : O objetivo principal do presente artigo e analisar a troca de correspondencia entre Paris e Helena nas Heroides de Ovidio (carta 16 – Paris- Helena; carta 17 – Helena-Paris). Nesta analise, parte-se do principio de que o autor processa uma atualizacao das figuras mitologicas de Paris e Helena, imprimindo nelas tracos que as caracterizam como participes da sociedade romana tal como retratada na poesia ovidiana, evidenciando sua romanidade: ele enquadra-se no perfil de um amante elegiaco, que busca obter a atencao de sua puella ; ela assume a postura de uma autentica matrona da viragem do seculo i, pronta para atender ao apelo de seu amante. Palavras-chave: Ovidio; elegia erotica romana; Heroides . Abstract : The main purpose of the present paper is analyzing the exchange of letters between Paris and Helen in Ovid’s Heroides (letter 16 from Paris to Helen, letter 17 – from Helen to Paris). The starting point taken here is the idea that Ovid processes a remaking of the mythological characters of Paris and Helen, printing on them some specific traces that characterizes them as members of the Roman society as portrayed in Ovidian poetry, highlighting their Roman way of living: starring him as an elegiac lover, who goes after his puella ; her as an authentic Roman matron, ready to answer to her lover’s appeal. Keywords : Ovid; Roman erotic elegy; Heroides .

El verso de Rubén Darío “hace sonar un ruiseñor en lo invisible” es, en todos los manuales, el modelo del alejandrino ternario (verso simple de trece sílabas); forma parte de un pareado, su siguiente verso no ha sido atendido debidamente. En este ensayo Paredes examina y comenta una serie de peculiaridades métricas a lo largo del poema “Mima; elegía pagana”; asimismo puntualiza información biográfica sobre la bailarina que originó tan singular poema y sobre el escultor francés también mencionado en el poema.The Rubén Dario’s line “hace sonar un ruiseñor en lo invisible” is, in all the Spanish language metrics books, the example of the alejandrino ternario (a thirteen syllables alexandrine in three-segments); it forms a distich, the next line has not been properly studied. In this paper Paredes analyses several metrical peculiarities within the poem “Mima; elegía pagana”. He also communicates here biographical information concerning the dancer at the origin of such a rare poem and on the French sculptor also mentioned.

espanolEn este articulo se estudia un poema de Juan de Iriarte, la Epistola Sosae ad sodales. Se trata de una obra de juventud del autor, que debe ser interpretada a la luz de la concepcion de los generos literarios propios de la epoca, especialmente de la heroida y la elegia. La heroida, entendida como epistola heroica, estaba plenamente aclimatada como genero literario en las literaturas modernas y poseia rasgos que la aproximaban a la elegia, pero tambien otros que la singularizaban. EnglishIn this paper a poem by Juan de Iriarte, the Epistola Sosae ad sodales is studied. It is a piece from the writer’s youth, which must be interpreted in the light of the concept of the typical literary genres of the era, especially that of the heroides and the elegy. The heroides, understood as being a heroic epistle, was fully acclimatized as literary genre in modern literature and it had features that associated it with elegy, but also others that singled it out.

Resumo: Nas elegias de Propercio e possivel notar uma alusao recorrente ao universo das artes visuais que se manifesta de forma diversa, ora atraves da descricao de monumentos artisticos, como na elegia 2.31, ora atraves da citacao de pintores, como na elegia 3.9, ou, ainda, a partir das inumeras descricoes dos personagens, Cintia e Propercio, que mostraram possuir forte influencia tematica de pinturas e esculturas na sua composicao, como na 1.3. Valendo-se de tal alusao, o presente artigo visa a compreender qual seria o conceito de arte visual que estaria presente nas elegias de Propercio, a partir da selecao e analise das elegias em que este tema estava em mais larga medida presente. Ainda, conforme mostraremos, as referencias articuladas pelo elegiaco, para alem de auxiliarem na compreensao quanto a concepcao de Propercio acerca das artes visuais, o que confere mais uma perspectiva do conceito de arte circulante na Antiguidade Classica, exercem uma funcao primordialmente metapoetica, de modo que Propercio acaba por revelar tambem a concepcao artistica acerca de sua propria poesia. Palavras-chave: Propercio; artes visuais; elegia; Antiguidade Classica; pintura; escultura. Abstract: It is possible to notice a recurrent allusion to the universe of visual arts in Propertius’ elegies. These references have different ways of appearing through the elegiac poems: it can be through an accurate description of artistic monuments, as occurs in 2.31; it can be through the quotation of artists, as in 3.9; and, also, through the description of both characters, Cynthia and Propertius, that received a strong iconographic influence of paintings and sculptures in their construction, as we can observe in elegy 1.3. Considering these frequent allusions to visual arts, this article aims to comprehend the concept of both visual and poetic art that appears in Propertius’ works, through the selection and analysis of some of the elegies in which it was possible to observe a significant presence of these allusions. Therefore, in addition to the understanding of Propertius’ perception of visual arts, which give us a diverse and new perspective concerning the concept of art on Classical Antiquity, this article contributes to the study of Propertius own poetic program, since the concept of art expressed by him can also be observed in his own poems. Thus, it was possible to observe that visual arts play a metapoetic role in his poetry, revealing Propertius’ own poetic concerns. Keywords: Propertius; visual arts, elegy; Classical Antiquity; painting; sculpture

En este trabajo se contemplará qué tipo de dinámicas de construcción de identidad y de género se pueden extraer del intercambio de cartas elegíacas producido entre el que fue arzobispo de Dol, Baudri de Bourgueil, y la monja Constancia de Le Ronceray. El resultado del análisis revertirá en una propuesta interpretativa en la que se sugerirá entender dichas estrategias de representación como parte de las tensiones propias que los movimientos reformistas estaban causando en el tejido social y cultural de inicios del siglo XII. This article examines what dynamics of identity and gender can be extracted from the exchange of elegiac letters between the archbishop of Dol, Baudri of Bourgueil, and the nun Constance of Le Ronceray. The results suggest that those strategies of representation were part of the tensions caused in the socio-cultural context of the early 12th century by the reform movements. SI

Resumen En el presente artículo se estudian dos ejemplos de elegías en la lírica española y chilena contemporáneas: “En mitad de la noche” del poeta español Eloy Sánchez Rosillo, y “El arte de la elegía” del chileno Rafael Rubio. Mediante la visualización de escenas poéticas situadas, referidas en ambos casos a la muerte del padre, se indaga sobre la función ritual de estos textos, y se establecen diálogos y encuentros entre ambos autores, a propósito del problema antropológico y filosófico de la muerte del otro. También se sitúan estas elegías en el contexto más amplio de la tradición elegíaca de la literatura occidental.

The present discussion reconsiders Hermesianax Leontion fr. 7.35–46 Powell (3.35–46 Lightfoot) as offering a synthesis and aesthetic evaluation of the tradition of Colophonian elegy from the archaic to the Hellenistic period. It is argued that the terminology employed in this passage makes a clear distinction between Hermesianax’ two great predecessors, Mimnermus and Antimachus, by implying that the former composed elegy for sung execution with the accompaniment of the aulos, whereas the latter probably intended his poetry either for chanting recitative performance with accompaniment (parakataloge) or for purely recitative performance without accompaniment. In the early Hellenistic age, Hermesianax, with his Leontion, made an effort to revive sympotic elegy in its original aulodic form, as practised by Mimnermus, and to reconcile it with the rhapsodic form of an extended, thematically coherent elegiac composition modelled on Antimachus’ Lyde. A similar attempt to recreate sympotic elegy was made by Hermesianax’ contemporary and acquaintance Philitas of Cos in the Paignia, as can be inferred from a short fragment of Philitas (fr. 15 Lightfoot = 18 Sbardella = 20 Spanoudakis) and from a new reading of the passage of Hermesianax devoted to him. La présente discussion reconsidère le fr. 7.35-46 Powell (3.35-46 Lightfoot) de la Leontion d’Hermesianax comme offrant une synthèse et un jugement esthétique de la tradition de l’élégie originaire de Colophon de la période archaïque à la période hellénistique. Elle montre que la terminologie employée dans ce passage établit une distinction claire entre les deux grands prédécesseurs d’Hermesianax, Mimnerme et Antimaque, en suggérant que le premier composait des élégies pour une exécution chantée avec l’accompagnement de l’aulos, alors que le second composait probablement sa poésie soit pour des performances récitées avec accompagnement (parakataloge), soit pour des performances purement récitées sans accompagnement. Dans le premier âge hellénistique, Hermesianax, dans sa Leontion, s’est efforcé de reconstituer l’élégie sympotique dans sa forme aulodique originale, telle qu’elle avait été pratiquée par Mimnerme, et de la réconcilier avec la forme rhapsodique d’une composition élégiaque thématiquement cohérente modelée sur la Lyde d’Antimaque. Une tentative similaire pour recréer l’élégie sympotique a été faite par le contemporain et ami d’Hermitasianax Philitas de Cos dans ses Paignia, comme on peut le déduire d’un court fragment de Philitas (15 Lightfoot = 18 Sbardella = 20 Spanoudakis) et d’une nouvelle lecture du passage d’Hermesianax qui lui est consacré. Questo studio riconsidera il fr. 7.35–46 Powell (3.35–46 Lightfoot) della Leonzio di Ermesianatte come una sintesi storica e una valutazione estetica della tradizione elegiaca di Colofone dall’età arcaica all’età ellenistica. Nel lavoro si afferma che la terminologia utilizzata in questo passaggio del cosiddetto katalogos erotikon opera una distinzione chiara tra i due grandi predecessori di Ermesianatte, Mimnermo e Antimaco, lasciando intendere che il primo compose elegie destinate ad un’esecuzione cantata con l’accompagnamento dell’aulos, mentre il secondo probabilmente concepiva la sua poesia per un’esecuzione di tipo recitativo con un accompagnamento musicale di fondo (parakataloge) o per un recitativo puro senza accompagnamento. Durante la prima età ellenistica, Emesianatte con la suo Leonzio, si sforzò di far rivivere l’elegia simposiale nella sua forma aulodica d’origine, così come praticata da Mimnermo, e di riconciliarla con la forma rapsodica di una composizione elegiaca estesa, tematicamente coerente, modellata sull'esempio della Lyde di Antimaco. Tale tentativo di far rivivere l’elegia a carattere simposiale fu operato anche da un altro poeta contemporaneao e amico di Ermesianatte, Filita di Cos, nei Paignia, come si può dedurre da un breve frammento (fr. 15 Lightfoot = 18 Sbardella = 20 Spanoudakis) e da una nuova lettura del passaggio del katalogos erotikon di Ermesianatte a lui dedicato

This paper is dedicated to the defence of the variant Polidarius (and not the correction in the vulgate Podalirius) that occurs in all the manuscripts of Henry of Septimello’s Elegia (book IV, line 209). Polidarius, however, has many attestations in Medieval Troy literary tradition (Joseph of Exeter, Benoit de Sainte-Maure, Guido delle Colonne) and is an alternative, correct and good name for the famous mythical doctor, son of Asclepius and brother of Machaon.

Resumo: O poema I.20 de Propercio e frequentemente apontado pelos criticos como uma composicao complexa, ou mesmo obscura. Nessa elegia de 52 versos, Propercio, lidando com materia pederastica, alude ao episodio do rapto de Hilas, e traca um paralelo entre o famoso mito e a atual situacao vivenciada por Galo no plano amoroso. Ao fazer isso, Propercio recorre a diversos elementos tipicos de um locus amoenus , de modo a descrever o lugar onde os eventos narrados transcorrem. Na verdade, uma analise atenta mostra como essa topica tambem recebe um tratamento metapoetico, na medida em que certos vocabulos e imagens a ela associados parecem remeter diretamente ao genero elegiaco. O presente artigo consistira numa breve apresentacao do mencionado poema, enfocando particularmente o motivo do cenario aprazivel, em sua relacao com a elegia e com outros generos poeticos. Palavras-chave: Propercio I.20; elegia; locus amoenus ; mito de Hilas; metapoesia. Abstract: Propertius I.20 is often pointed out as a complex, or rather obscure composition by the critics. In this 52-verse elegy, Propertius, dealing with a pederastic theme, recalls the episode of the rape of Hylas, and draws a parallel between the famous myth and the actual situation experienced by Gallus on the plane of love. By doing so, Propertius employs several elements typical of a locus amoenus , in order to describe the setting where the events narrated take place. In fact, a close examination shows how this topos , too, receives a metapoetical treatment, insofar as certain words and images associated to it seem to refer directly to the elegiac genre. This paper, thus, will consist of a brief presentation of the mentioned poem, particularly focusing on the motive of the pleasant landscape, in its relationship with the elegy and other genres as well. Keywords : Propertius I.20; elegy; locus amoenus ; Hylas myth; metapoetry.

This essay examines Milton’s Elegia Septima within the context of his larger poetic canon to trace a pattern of thought connecting erotic desire with queer temporalities, thus complicating previous readings of the seventh elegy that frame the poem as simplistic and solely focused on heteroerotic attraction. Instead, the elegy positions erotic encounters as profoundly queer, especially in the sense that they collapse not only multiple objects of desire but also multiple moments in time. Such an approach allows readers to see a lacuna in the critical reception of the poem that has overlooked various forms of homoerotic and heteroerotic modes of relation, as well as how the elegy can be contextualized within the larger body of Milton’s early Latin poems and in relationship to later poems such as Paradise Lost.

Taking Ucinek , a short composition by a poet from the Enlightenment period Jozef Szymanowski (published posthumously in 1803), as a starting point, the author outlines the semantic field of the genre from the title, pointing to its relationships with a “fragment” or an “epigram”, and then relates a famous poem by a Romantic poet, Adam Mickiewicz Do ***. Na Alpach w Splugen 1829 , to Ucinek by Szymanowski, through a topographic and situational context, by introducing into the analysis a poem by an Italian poet Giosue Carducci, entitled Elegia del Monte Spluga , and a German novel by Kurt Held, entitled Die rote Zara und ihre Bande , a burnt page of which hangs on the wall of the church in Splugen to commemorate the fire from 22 January 2008.

This paper aims to enable a reappraisal of the possible literary influences behind the representation of the myth of Telephus in the so-called ‘smaller frieze’ of the altar at Pergamon, paying particular attention to the scenes dealing with the Mysian battle. The literary influences which the artists of the Telephus frieze must have had in mind undoubtedly included the earlier epic and tragic traditions, but the narrative technique and the vivid and violent images chosen for the representation of the battle suggest that archaic lyric, Pindar in particular, and narrative elegy, especially the elegiac production of Archilochus dealing with the Telephus myth (P. Oxy. LXIX 4708, fr. 1), played a role in the formation of the iconography of the Telephus myth in the smaller frieze.

Resumo : O presente artigo tem como objetivo principal discutir a representacao de Eros na elegia romana a partir de exemplos tomados de poetas como Tibulo, Propercio e Ovidio. Buscar-se-a demonstrar que a imago do deus entre os poetas elegiacos romanos serve tanto para figurar, alegoricamente, a propria poesia elegiaca e o sofrimento amoroso, pois que o deus figura a militia amoris e a seruitium amoris , como para representar o ethos da persona loquens elegiaca. Nesse sentido, Eros, bem como a incorporacao, em dimensao poetica, de imagens de natureza belica, e expediente programatico, ja que mediante estrategia visualizante os poetas elegiacos figuravam principios retorico-poeticos do genero. Palavras-Chave : Eros; elegia; poetica; retorica; sofrimento amoroso. Abstract : This paper aims to discuss the representation of Eros in the Roman elegy from examples taken from poets such as Tibullus, Propertius and Ovid. We seek to demonstrate that the imago of the god among the Roman elegiac poets serves not only to figure, allegorically, the very elegiac poetry and the love suffering itself – because the god figures the militia amoris and the seruitium amoris as well – but also to represent the ethos of the elegy’s persona loquens . In this sense, Eros, and the incorporation in poetic dimension of military content images, is a programmatic expedient, since the elegiac poets figured rhetorical-poetic principles of the genre by means of visual strategies. Keywords : Eros; elegy; poetics; rhetoric; love suffering.

Simónidés Plataia-elégiája a communis opinio szerint ünnepi költemény. Minthogy e nyilvánosan elő-adott vers dicsérőleg említi a plataiai csata győztes hadvezérét, Pausaniast, az ő Kr. e. 478-as politikai bukása miatt a kutatás kizártnak tartja, hogy a költemény ezt követően születhetett volna. A dolgozat a vers sym-potikus történő előadása mellett érvel, s ezzel összhangban megalkotásának lehetséges idejét egészen Simónidés haláláig, a Kr. e. 460-as évek első feléig tolja ki. Az elégia kései megszületése esetén számolnunk kell a lehetőséggel, hogy benne a költő Pausanias 470 körüli halálára reflektált, párhuzamba állítva a spártai hadvezért a prooemiumban szereplő Achilleus alakjával.

Escritores figuram como protagonistas em alguns dos principais romances da década de 30 e encarnam o tipo que Mário de Andrade, no ensaio “A elegia de abril” (1941), chamou de “fracassado nacional”. Em obras como Banguê (1934), de José Lins do Rego, e Angústia (1936), de Graciliano Ramos, Mário interpretou a presença recorrente de personagens fracos como um sintoma de que o homem brasileiro estaria “às portas de desistir de si mesmo”. Tal situação se acha bastante próxima do impasse vivido em seus últimos anos pelo próprio escritor, bem como do desfecho melancólico de sua obra de maior relevo, Macunaíma, ponto de inflexão entre as duas fases do modernismo. O ensaio pretende discutir a reiteração da temática do fracasso na literatura de 30, levando em consideração outras questões importantes do período, a saber, o debate sobre o caráter nacional, a decadência do mundo rural e a ruína do projeto modernista

This paper gives an overview of the poetry and poetics of Abū Isḥāq al-Ilbīrī (10th-11th c.). While modern critics have focussed mainly on al-Ilbīrī's invective against the Jews of Granada, I here offer a more composite picture of his oeuvre. I discuss selected ascetic poems, two invectives/praises and one elegy to a fallen city. I draw attention on the persona that the poet constructs in his ascetic poems, and the interactions between such a persona and the poet's own engagement in the local politics of Elvira and Granada., Este estudio propone una nueva valoración del verso y la poética de Abū Isḥāq de Elvira (ss. X-XI). Mientras la crítica contemporánea se ha esforzado sobre todo en interpretar la famosa invectiva del poeta contra los Judíos de Granada con finalidades historiográficas, he tratado aquí de proporcionar una imagen más exhaustiva de su obra poética desde el punto de vista literario. Analizando una selección de sus poemas ascéticos, dos invectivas/elogios y una elegía a una ciudad abandonada, pretendo llamar la atención del lector sobre la persona literaria que Abū Isḥāq va construyendo en sus poemas ascéticos, y sobre la interacción entre dicha persona y la participación del poeta en la vida política de Elvira y Granada.

Par ce regard croisé sur la mort de deux reines hautement symboliques, nous voudrions montrer des formes diverses de récupération historique pour la construction de la grandeur nationale. Isabelle, en fixant de façon pointilleuse, dans son testament, ses dernières volontés et les grandes lignes du gouvernement à venir, continue d’œuvrer à une sacralisation de la monarchie. Du dépouillement chrétien à la « théologisation » du pouvoir, elle incarne la quintessence symbolique d’un imperium, qui devient partout son panthéon.Lorsque la reine Jeanne s’éteignit dans la solitude de Tordesillas, le père François Borgia venait de livrer une bataille pathétique pour sauver l’âme de la vieille souveraine, dont l’irréductible aversion pour toute pratique religieuse inquiétait ses proches depuis un demi-siècle ; or, son salut personnel était en jeu mais aussi la réputation de la Monarchie catholique érigée en chef de file de la Contre-réforme. Con esta mirada cruzada sobre la muerte de dos reinas altamente simbólicas, hemos querido destacar las distintas formas de recuperación histórica que se llevaron a cabo para construir la grandeza nacional. En su testamento, la reina Isabel, al detallar con precisión sus últimas voluntades y las orientaciones del gobierno futuro, sigue construyendo la sacralización de la monarquía. Por su exaltación ascético-moral, cuando se “ apareja a bien morir ”, la reina impulsa una “ teologización ” del poder a la vez que personifica la quintaesencia simbólica de un imperium convertido en un magno panteón real.Cuando la reina Doña Juana falleció en la soledad de Tordesillas, el padre Francisco Borja acababa de dar una patética batalla para salvar el alma de la anciana soberana, cuya incoercible aversión por las prácticas religiosas venía preocupando a los suyos desde hacía medio siglo; ahora bien, con su propia salvación se jugaba la reputación de la Monarquía católica entonces cabeza de la Contrarreforma.

La epístola de Fedra a Hipólito se singulariza habitualmente dentro de las Heroides, entre otras razones, por ser una carta de seducción; pero, si bien al principio lo es, luego la voz de Fedra va cambiando hasta convertirse en discurso de persuasión abierta y en su último tramo en súplica. Para elaborar las palabras que pone en boca de la heroína cretense, Ovidio se ha inspirado en las que Eurípides le prestó antes en sus tragedias, pero en la transposición elegíaca de la heroína trágica, se ha servido, sobre todo, de su propia voz de poeta elegíaco, que determina las actitudes masculinas de Fedra en posición de poder con respecto a su joven destinatario, pero también de la voz femenina de Sulpicia y de la que le presta a esta el amicus Sulpiciae. En el estudio de todas estas alternancias y combinaciones de voces destacamos la transgresión de los límites de ‘género’ y las limitaciones a la misma. Phaedra’s epistle to Hippolytus generally stands out in the Heroides, among other reasons for being a letter of seduction. However, even though it is one at the beginning, later on Phaedra’s voice gradually changes until it becomes a discourse of open persuasion and finally, a supplication. To devise the words he attributes to the Cretan heroine, Ovid took his inspiration from those Euripides gave her earlier on in his tragedies, but in the elegiac transposition of the tragic heroine, he employed, above all, his own voice as elegiac poet, which determines Phaedra’s masculine attitudes in a position of power with respect to her young addressee. Nevertheless, the feminine voice of Sulpicia and that which the amicus Sulpiciae lends her are also employed. In the study of these combinations of voices we point up the transgression of limits of gender and and their limitations.

A preceptística galante de Ovídio, constituída pela Ars amatoria e pelos Remedia amoris, encontra paralelos no final do livro IV do De rerum natura de Lucrécio, no qual esse poeta desenvolve assuntos em nexo com os temas de amor e Venus. Em Lucrécio, as ideias expressas sobre o amor vinculam-se, sobretudo, ao Epicurismo, enquanto Ovídio transforma tópoi e situações da elegia erótica romana para a composição temática de seus poemas. Nosso objetivo, nesta exposição, será apontar eventuais pontos de contato entre as “teorias do amor” de um e outro autor romano, bem como algumas de suas diferenças. Abstract: Ovid’s teachings on love, which constitutes Ars Amatoria and Remedia Amoris, evokes parallels in the final part of Lucretius’ De Rerum Natura IV, where this poet develops themes related to the subjects of amor and Venus. In De Rerum Natura IV, the ideas expressed about love are mainly connected with Epicureanism, whereas Ovid transforms tópoi and situations from Roman love elegy in order to achieve the thematic composition of his poems. The purpose of this discussion is to point out potential coincidences between the “theories of love” of both Roman poets as well as some points of divergence between them.

http://dx.doi.org/10.5007/1980-4237.2014n16p195"Elegia" é um poema de Cecília Meireles carregado de sentimento. Já em sua dedicatória (À memória de Jacinta Garcia Benevides, Minha avó) fica claro que o leitor está a ponto de entrar uma terra de nostalgia e ‘saudades’ (palavra intraduzível). No poema, Meireles alia a tristeza e a dor pela perda de sua avó a sentimentos relacionados à natureza e à beleza, derivados das memórias com ela a partir das quais aprendeu a contemplar e amar todas as coisas. Esta tradução comentada espera revelar como o tradutor da "Elegia" conseguiu vertê-la para a língua inglesa e criar uma versão que, por um lado, se mantém de pé por si mesma na língua e cultura alvo, e, por outro, permite ao leitor ter o mesmo tato e sentimento em inglês pela poesia de Meireles como os têm os leitores em português.ABSTRACT"Elegia" is a poem written by Cecília Meireles laden with sentiment. From its dedication (In memory of Jacinta Garcia Benevides, my grandmother) it is clear that the reader is entering into a land of nostalgia and ‘saudades’ (an untranslatable word). In this poem Meireles allies the sadness and pain over the loss of her grandmother to feelings of nature and beauty derived from the memories with her grandmother in which she was taught to contemplate and love all things. This translation with commentary hopes to show how the translator of the poem was able to render Cecília Meirele’s "Elegia" into the English language and to create a translation that on one hand stands alone in the target language and culture and on the other allows the reader to get the same feel for Meirele’s poetry in English as they do in Portuguese.Keywords: Cecília Meireles; Elegy; poetry translation; translation with commentary.

(1993). Boccaccio's Elegia on the Use of the Classics. Italian Culture: Vol. 11, No. 1, pp. 127-134.

(1992). La Dorotea y la Elegia di Madonna Fiammetta. Bulletin of Hispanic Studies: Vol. 69, Hispanic Studies in Honour of Geoffrey Ribbans, pp. 83-89.

Tekst jest wierszem metafizycznym o księdzu Janie Twardowskim (1915-2006), polskim poecie religijnym. The text is a metaphysical verse on father Jan Twardowski (1915-2006), a Polish religious poet.

Este artigo pretende demonstrar como Ovídio, através da persona poética do amator, traz à cena elegíaca algumas questões poéticas, sobretudo, no que diz respeito aos gêneros que figuram nos Amores, muitas vezes, através de alusões sutis, capazes de evocar traços da tradição poética greco-latina. Tentaremos mostrar que alguns elementos da “metapoesia” ovidiana, típica dos poemas programáticos, situados no início e no final dos três livros da coleção, são evocados ao longo de toda a obra. A elegia 3.1, neste sentido, fornece uma ampla série de personagens e motivos: a Elegia personificada, por exemplo, pode ser identificada com a puella de 1.5 por causa dos traços “físicos” que compartilham. O discurso da Tragédia, na mesma elegia, é evocado, em partes, na recusatio que constitui o tema central da elegia 2.18. Também mostraremos que a escolha do estilo de vida e de poesia do amator ovidiano é peculiar, pois sua recusatio difere dos padrões elegíacos convencionais, como revela a elegia 2.1.

El presente articulo explora la relacion intertextual entre el fr.3 D, llamado Eunomia , de Solon y Odisea partir del lenguaje y la ideologia compartidos por ambos textos.