El Himno a Serapis de Elio Arístides

Criticón, 2018

ES: La Galatea, al ser una novela pastoril, formalmente adopta el modelo de la Arcadia de Sannazaro, ya seguido en España por Gil Polo, Montemayor o Gálvez de Montalvo, e intercala en la narración múltiples cantos de los pastores. Sin embargo, esta obra presenta ante el lector una trama desconcertante, en la que se cuestionan los ideales de la bucólica. Así, el propósito del presente artículo es estudiar la función que tienen los poemas de los protagonistas, Elicio, Erastro y Galatea, en esta puesta en cuestión. A partir de un análisis formal de los poemas se mostrará cómo los cantos de los personajes dialogan entre sí y anticipan la transformación de los protagonistas y de sus realidades. EN: Being a pastoral novel, La Galatea formally adopts the model of Sannazaros’s Arcadia, followed in Spanish by Montemayor, Gil Polo or Gálvez de Montalvo, and inserts different songs of the shepherds into the prose. Nevertheless, this novel shows the reader an unexpected plot that denies the ideals of the bucolic tradition. Therefore, the purpose of this article is to analyse the function of the main characters’ poems (Elicio, Erastro and Galatea) within this questioning of the bucolic ideals. A formal analyse of the poems will be carried out to show how the shepherds’ songs dialogue and anticipate the transformation of the characters and their world. | FR: Comme roman pastoral, La Galatea de Miguel de Cervantès adopte le modèle de l’Arcadie de Sannazaro qui a déjà donné lieu à des adaptations en Espagne (Gil Polo, Montemayor, Gálvez de Montalvo). Sont insérés dans la trame narrative de nombreux chants de bergers, ce qui semble ajouter une complexité supplémentaire à une œuvre dont la trame déconcerte le lecteur par sa remise en question de l’idéal bucolique. Le présent article étudie la fonction des poèmes d’Elicio, Erastro et Galatea dans cette remise en question. A partir de l’analyse formelle de ces poèmes insérés, on montre comment les personnages dialoguent entre eux et préparent leur transformation.

Comunicacion Y Sociedad, 2011

Scientific Bulletin of Naval Academy, 2017

This paper aims to achieve an analysis of the elegiac discourse that the poet Publius Ovisius Naso performs masterfully in the second book of the Tristia, which he writes during his exile in Tomis. The purpose of this paper is to highlight the position and attitude of the poet on his exile which he was convicted by imperial edict. The analysis that we propose is based on two approaches to research the discourse, namely: discursive resources, on the one hand and discursive practices, on the other. In terms of discursive resources the analysis highlights the interpretative repertoires used by the poet to presenting his defense in relation to his condition, namely exiled by relegatio. An important role in this regard lies with symbolic resources which the poet uses the most. On the other hand, the analysis of discursive practices is based on the way of organization of discourse and on rhetorical of language which the poet uses masterfully and which reveals his rhetorical talent.

The paper explores Eustathios’ flexible concepts of genre based on an analysis of the headings of his rhetorical and non-philological works as preserved in the major manuscripts (mainly the Basileensis and the Escorialensis) and the theoretical prefaces he sometimes wrote for his longer works (e.g. the panegyrical and funeral orations on Emperor Manuel, the Examination of Monastic Life and the Capture of Thessalonike). Emphasis will be given to various ancient technical terms and the new meanings or functions theses acquire in the context of literary and educational practices in the later 12fth century. Eustathios’ statements will be tested against a selection of specific passages from the texts under consideration, comparisons to his remarks on “Homer the rhetorician” in the Parekbolai will be adduced, while the paper will conclude with a detailed comparative reading of the preface to the Capture of Thessalonike and a passage from the preface to the Iliadic Parekbolai.

Traditio, 2017

Geoffrey of Vinsauf's Poetria nova must be studied as a poem in its own right as thoroughly as it has been studied as a technical rhetorical treatise; although many scholars have acknowledged the brilliance of his style, few analyses thereof exist. This imbalance in criticism limits our understanding of his ideas and the appeal they held for medieval poets. This study, therefore, focuses on two images in the section on ornatus graves, or weighty ornamentation, the category of figures defined by its reliance on transumptio. In describing its moving effects, Geoffrey uses the imagery of a pilgrimage (peregrinatio) and of a “clear cloud” (nubes serena). Both help him explain how transumptive language at first displaces or hides meaning beneath something that is deceptively ordinary. When that meaning becomes clear to the reader, however, the recognition can be delightful, intoxicating, or even wondrously transporting. The images are not original to Geoffrey, nor are they drawn from the discourse of formal rhetoric. Rather, peregrinatio and the nubes serena have a rich history in liturgical drama, biblical commentary, and iconography where they signify a kind of spiritual transport remarkably similar to Geoffrey's conception of transumptio in terms of process and quality. Thus, the Poetria nova leverages the spiritual significance of the images to make a decisively literary point about the wondrous power of subtle, transumptive language. Only by recognizing the resonance of these images can we fully appreciate just how highly Geoffrey values transumptio. Approaching the Poetria nova with a poet's eye expands the range and scope of likely influences on the treatise and, more importantly, deepens our appreciation for his remarkable commitment as a poet to the affective potential of transumptive language.