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Copyright of nCognito is the property of Szeged University 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.)

Il saggio propone una lettura del libro di poesia Une petite fille silencieuse (2001) del poeta francese James Sacré (1939). La raccolta narra attraverso frammenti di ricordo la perdita della figlia piccola e il percorso di accettazione del lutto, un percorso continuamente filtrato dalla riflessione metadiscorsiva. Nel primo paragrafo sono studiate le modalità di espressione del flusso temporale non lineare; nel secondo, il rapporto fra silenzio, voce e scrittura con le sue implicazioni metapoetiche; nel terzo, come la poesia crei uno spazio residuale di esistenza, grazie al gesto e al suo divenire parola scritta. Si conclude notando un’affinità tra la poetica di Sacré e la poesia italiana della «terza generazione», soprattutto con Vittorio Sereni.

Written in honor of the young black American murdered in 1955 in the Money region of Mississippi, «Elegía a Emmett Till» constitutes an important record in the poetic production of Nicolás Guillén, both for its historical and aesthetic relevance and for establishing a direct dialogue with the racial agency of the Cuban writer, who is widely recognized for his literary tradition of social and political commitment. Starting with a brief contextualization of the circumstances of the crime, in dialogue with the complex racial experiences of American social reality, this article analyzes some thematic and stylistic aspects of the composition of the elegy, examining how Guillén articulates images and metaphors to convey his message of mourning for Emmett Till and of denunciation against the historical oppressions suffered by the black people in the United States. The proposed analysis seeks not only to offer interpretations for a critical understanding of the poem and its discursive choices but also to reflect on its meaning as an artistic expression of the struggle for equality and socio-racial justice. [ABSTRACT FROM AUTHOR]

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 Collectanea Philologica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 Auster is the property of Universidad Nacional de La Plata 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.)

Luego de hacer un comentario general de la Elegía 3, 1 de Propercio, nos detenemos en el pasaje casi final del texto (que, por cierto, presenta varias dificultades textuales que analizamos oportunamente) en el que el poeta enumera una serie de héroes troyanos. Nuestra hipótesis es que la elección de esos héroes, en particular los nombrados en los versos 29 y 30, Deífobo, Héleno, Polidamante y Paris, se fundamenta en que el poeta se identifica con ellos y de ese modo enfatiza su programa poético.

L’articolo tratta di elegie ed epigrammi scelti composti da Klemens Janicki, i quali contengono descrizioni di Padova, dell’Italia e di persone legate alla città di Antenore e a Venezia: Lazzaro Bonamico, Giovanni Battista Da Monte, Francesco Cassano, Pietro Bembo, Ludovico Dolce, Daniele Barbaro. L’Autrice sostiene che Janicki sia riuscito a creare un’immagine dell’Italia ed in particolare di Padova, una seconda patria, dove il poeta potè svilupparsi, studiare ed essere curato. Le poesie legate all’Italia e Padova contribuiscono inoltre ad arricchire la biografia letteraria di Janicki, un cittadino del mondo, un poeta laurato, uno studente allegro, un paziente felice, un amico e un collega delle persone legate alla Repubblica di Venezia nella prima metà del XVI secolo.

I propose a reading of Friedrich Schiller's Wallenstein as a staging (Darstellung) of the categories of the beautiful and the sublime, as well as other derived poetic categories, such as the naive and the sentimental, idyll and elegy or pathetic and festive satire. This artistic exercise allows Schiller to experiment and develop his own aesthetic and poetic ideas. In this way, there is an authentic dialogue between art and philosophy within the work of one of the German classics of modernity. One conclusion is that Wallenstein brings to an end an idealistic understanding of the world, since, as Villacañas expresses via Hegel, it does not end as a theodicy. [ABSTRACT FROM AUTHOR]

The paper aims to show the new Polish translation with a brief introduction. The elegy seems to be especially interesting as the way of poetical recusatio and the sophisticated game with the reader. [ABSTRACT FROM AUTHOR]

Copyright of Phaos is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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 Hermeneus is the property of Revista Hermeneus 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.)

L’articolo approfondisce il rapporto tra la letteratura latina e il principato augusteo con attenzione alle elegie romane di Properzio. Vengono prese in esame le trasformazioni del suo genere letterario nel IV libro, ricco di nuovi temi (religiosi, eziologici, morali), sia nel contesto storico-culturale che nel rapporto con gli altri membri del circolo di Mecenate (Virgilio, Orazio), evidenziando anche i possibili influssi dell’autore sul princeps.

Copyright of Iberoromania is the property of De Gruyter 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 article reads Miroslav Válek's (1927 - 1991) poem "Večer [Evening]" published in the poet's first collection of verse Dotyky ([Touches], 1959) as a deconstructive subversion of lyric tradition - of Ivan Krasko's (1876 - 1958) symbolist model of the lyric and Edgar Allan Poe's (1809 - 1849) "The Raven" (1845). The author argues that Válek subverts the tradition by the specific way he tackles the motifs of the night, rain, and raven known in the Slovak poetry mainly from the writing of Ivan Krasko and by the way the poet updates the lyric situation of Poe's notoriously well-known poem and its central motif. Another aspect that gets subverted is the tragic-elegiac melancholic modality of the poem. The analysis notices the first line of the poem where the night setting is outlined, then moves on to the key image of rain "without melancholy" and the updated motif of the raven. Finally, it discusses the detachment of the speaker from what goes on in the poem - the speaker in the poem is different from the subject affected by emotions and moods modelled in the lines. The reading grasps Válek's poem and sophisticated subversive deconstruction of the traditional model of symbolic poem concerned with romantic love. [ABSTRACT FROM AUTHOR]

Copyright of Auster is the property of Universidad Nacional de La Plata 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.)

Após uma breve apresentação de Hölderlin e de sua poesia, o texto examina traduções de seus poemas no Brasil, considerando as formas métricas, dada a significância que certos metros têm para a caracterização de gêneros líricos, odes e elegias, praticados pelo autor, determinantes para sua compreensão. A análise leva em conta as diferenças no sistema de versificação (al. Verssysteme) (KAYSER 1964: 82-85) nas línguas de partida e de chegada, bem como reflexões e práticas tradutórias concebidas no Brasil no âmbito dos estudos clássicos, em que se lida, por sua vez, com outro sistema de versificação, diverso tanto do que é utilizado em língua portuguesa quanto alemã. Em especial desempenham papel reflexões de J. A. OLIVA NETO (2017; 2020) e a proposta de estabelecimento de equivalências entre formas, no que diz respeito ao metro da tradução e obra a ser traduzida. A escolha das traduções para a análise baseou-se em sua circulação e na apresentação de poemas em conjunto, o que foi considerado importante para a percepção de recorrências entre eles. Como resultado, correspondências sistemáticas na metrificação não puderam ser encontradas nas traduções analisadas. Porém, percebem-se nelas, de modo geral, possibilidades para um tal procedimento, delineadas de maneira incipiente.

La representación de los héroes y de sus acciones en las Heroidas se configura a partir de la perspectiva enunciativa de distintas voces femeninas construidas por el discurso poético ovidiano. Partiendo del amplio sentido de referencias intra e intertextuales entre las cartas 5 y 17, analizaremos la presentación de Paris a través dos símiles: el primero, usado en la carta de Enone, se refiere al movimiento de las hojas desprendidas del tallo (Ov., Her., 5, 109-112), y el segundo, usado tanto por Enone como por Helena, se relaciona con la tarea de arar en la arena (Ov., Her., 5, 115-116; y 17, 141-142).

Copyright of Signa is the property of Editorial UNED 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 Ars & Humanitas is the property of Ars & Humanitas 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.)

Este artigo discute os poemas explicitamente homoeróticos de Sólon (frs. 23, 24 e 25) e Simônides (frs. 21, 22), a fim de identificar como se dá a representação da pederastia na elegia grega arcaica.

Descrição do grupo e de suas atividades, e relato de trabalhos de pesquisas

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

Elegy, a genre that has received a special prominence in modern Brazilian poetry, presents in the twentieth century a melancholic, desolate subject with no hope of comfort in the future. This assumption can be noticed in Joaquim Cardozo, author of poems with a highly melancholic and elegiac diction. The aim of this study was to analyze two elegies of this poet, “Elegia para Benedito Monteiro” and “Para José Maria (de Albuquerque e Melo)”, especially directed to two fellows who were particularly significant in their poetic activity, and who belonged to a specific group of artists and intellectuals in the 1920s in Recife. In a general way, this review proposed to discuss such elegies from two perspectives: in the first, we sought to understand the poetic processes with which Cardozo takes this genre, and how it reshapes new modulations for the form, indicating the perspectives assumed by him face the propositions of his aesthetic and historical moment; in the second, we tried to trace how such elegies document a group that still deserves to be better discussed by the literary studies. In order to do so, some literary critics were used to study this poet from Pernambuco and the modern poetry from this place, such as Souza Barros (1972), Merquior (1996), Correia (2018).

Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos 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 Itinerarios (1507-7241) is the property of University of Warsaw 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 paper aims to present unpublished poetic translation of the elegy Am. 2. 6 by Ovid – the famous elegy on the death of Corinna’s parrot. We will demonstrate that the humorous Ovid’s poem uses parody and other key topics strategies belonging to the Hellenistic conventions at the service of the poetry, and the poets, criticism.

Paul Muldoon's lectures as Professor of Poetry at Oxford demonstrate a sustained interest in how poems might be said to "end". On several occasions, he returns to Giorgio Agamben's short essay "The End of the Poem" and its argument that a poem's conclusion is a kind of "emergency", a source of anxiety for the poem as a whole. This essay proposes that Muldoon's engagement with Agamben and ideas of ending responds to his own poetic work, and especially to the elegies of his 1994 collection "The Annals of Chile". The essay offers "Incantata" as an exemplar of Muldoon's thinking about poetic endings, situating it within the context of modern elegy to show how a poem's awareness of its own closure can shape its approaches to subject matter, form, and temporality. [ABSTRACT FROM AUTHOR]

Copyright of Prosemas. Revista de Estudios Poéticos 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.)

The author gathers and scrutinizes the cases in which Jan Kochanowski, the most prominent poet of the Polish Renaissance, mentions Naples or Campania, one of his destinations while travelling through Italy in 1555. One of the designations in question appears to be „Parthenopea lues" from his Latin elegy III 17, a periphrastic term for syphilis, a disastrous veneral disease which truly decimated the population of then Europeans. It's mentioned as part of a long tirade against a woman who, according to the poet's wishes, is going to pay high price for her wrongdoings, especially those against love. The ultimate punishment she will suffer, right before immersing herself in the abyss of Tartarus, will be, devastating for her health, „morbus gallicus". The paper ponders on the right identification of the female protagonist of the elegy, taking into consideration the existing theories about it as well as comments on a peculiar name syphilis was given by the poet and the medical knowledge he shares with a reader. [ABSTRACT FROM AUTHOR]

The paper includes two Polish translations of two Latin elegies of Jan Kochanowski. Their author is a Late-Renaissance poet Jan Daniecki (died after 1611), known for his passion for the antique tradition since he also translates some works of Lucian of Samosata. The first work tells the heroic deeds and tragic death of the legendary princess Wanda; the second one presents the story of two lovers, Odatis and Zariadres, overcoming all odds to unite and live happily ever after. [ABSTRACT FROM AUTHOR]

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 simplified 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. [ABSTRACT FROM AUTHOR]

The present article analyses Medbh McGuckian’s “The Contingency of Befalling”, an unpublished poem dealing with present-day climate crisis from an ecofeminist stance. Arguably, the poet is part of the Northern Irish elegiac trend in dealing with issues of her country, but she departs from a male-dominated tradition and connects lament with ethical, political, national, ecological and women’s issues. This poem is related to those in her recent book Marine Cloud Brightening (2019), in which she included mournful poems for both her brother and other Irish poets who passed away in recent times, with special attention to Seamus Heaney. McGuckian’s vision of the situation of the earth and of those living in it is gloomy, and she connects it with hardship, should rulers’ policies remain unchanged. [ABSTRACT FROM AUTHOR]

This paper means to rescue the dialogue implicit in the exchance of letters in lines, miming the art of talking, in the elegiac correspondence between the two Portuguese renaissance poets, António Ferreira and Francisco de Sá de Miranda, in 1553, about the death of the latter’s oldest son, Gonçalo Mendes de Sá, in the late crusade on “Monte de Condessa”, at the Morocco, where died the best of the Iberian aristocracy.

Analysis of the elegy in the poetry of the contemporary Portuguese poet Jorge Gomes Miranda, with emphasis on the dialogues that this poetry sets with the various moments of the history of elegy, from its origins in Ancient Greece to the contemporaneity. The elegy is understood not only as a discourse lamenting a loss, but as an active discourse motivated by an ideal of man and society.

Copyright of Arzanà is the property of Presses Sorbonne Nouvelle 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 Phaos is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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 Phaos is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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 Versants: Revista Suiza de Literaturas Románicas is the property of University Library of Bern 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 reference to the rising and setting of the sun to indicate the unceasing duration of an action becomes a τόπος in Latin poetry from an influential distich of Cinna onwards, which was reworked a number of times in Augustan poetry. As well as Vergil and Horace, who adapt the model to different genres and occasions, the treatment of it by the elegists is interesting, in whom the two terms that define East and West are set in relation to the eternity of poetic renown. This transformation may go back to Gallus, to whom Ovid, above all, makes significant references. The numerous occurrences of the τόπος in different authors and genres make possible interesting comparisons. [ABSTRACT FROM AUTHOR]

Copyright of Ruch Literacki is the property of Polish Academy of Sciences 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.)

We intend to analyze the elocution of poems 1.1 and 1.4 from the first book called corpus tibullianum. These poems develop erotic theme towards Delia (a woman), while the second, towards Marathus (a boy). The formal analysis of the elocution of Tibullus (c. 55-19 a.C.) poems is the foundation for the discussion about aspects of this issue. In order to accomplish our goals, we use as theoretical corpus mainly Ad Herennium, from unknown author, Manual de Retórica Literária, from Lausberg, and commentaries about Tibullus poems from Maltby and Putnam. This research is important because it is necessary that the elocution of the text is analyzed so that we can discuss about the content of Latin poems, since the disposition of the words throughout the verse and the use of figures of speech are in accordance with the content of the poem. Tibullus usually mime the content of the poems through the disposition of the words in order to intensify the erotic content inside his poems. Therefore, content (res) and form (uerba) make up together an image. In brief, we intend to moot the refined erotic elocution of Tibullus.

Este artí­culo complementa una serie de trabajos anteriores en los que intento problematizar algunas cuestiones relacionadas con el género de La Dorotea en cruce con su momento de producción. Entendiendo ya agotadas de alguna manera las posibilidades de reflexionar acerca de la especificidad del sintagma “acción en prosa” postulo en estos acercamientos previos que la obra funciona como una geografí­a textual de la desintegración o de la ruptura. Desde este ángulo considero que se pueden sumar elementos para la definición de esta complicada ultima época del poeta, su extensamente analizada senectute, en tanto La Dorotea tendrí­a mucho para decir no tanto tal vez en relación con su experiencia vital sino en relación con posicionamientos poéticos previos, con experimentaciones teóricas o como una forma de relativizar lo ya escrito antes de dejar de escribir. En este caso me interesa detenerme particularmente en lo que propongo llamar la poética del desconsuelo como territorio para explorar el manejo que el texto hace de los vectores propios del género elegí­aco, con el objeto de ver si es posible establecer desde allí­ algunas conclusiones que colaboren en la intelección del universo lopiano.