Studies in Latin Literature and Epigraphy in Italian Fascism

2019 ◽  
Keyword(s):  
Latin Literature ◽  
Italian Fascism

Lingua Lictoria: the Latin Literature of Italian Fascism

2015 ◽  
Vol 8 (2) ◽  
pp. 216-252 ◽  
Author(s):  
Han Lamers ◽  
Bettina Reitz-Joosse
Keyword(s):  
Latin Literature ◽  
Italian Fascism

Intertextual connections between Thomas More’s Utopia and Cicero’s De finibus bonorum et malorum

Moreana ◽  
2014 ◽  
Vol 51 (Number 195- (1-2) ◽  
pp. 63-84
Author(s):  
Ana Cláudia Romano Ribeiro
Keyword(s):  
Special Interest ◽  
Latin Literature ◽  
Specific Study ◽  
Intertextual Connections

In 1516, More wrote to Erasmus, putting him in charge of the publication of Utopia. In his study about the “sources, parallels and influences” of More’s libellus, Edward Surtz points out that “the most evident influences are classical” and in 1965, in the introduction of his edition of Utopia, he noted that in the composition of this fiction, Plato and Plutarch are as essential as Cicero and Seneca. He also noted that these philosophers are “the source for the tenets and arguments of the two schools discussed by the Utopians, the Epicurean and the Stoic” and that “Cicero’s De finibus is of special interest here, but detailed studies of Ciceronian and Senecan influences have still to be made.” (p.cliv, clxi). From 1965 until today we haven’t found a specific study on this problem in the bibliography about Utopia and classical Latin literature, that’s why in this paper we will examine some of the connections that link More’s libellus to De finibus.

Horace's Odes

2020 ◽  
Author(s):  
Richard Tarrant
Keyword(s):  
Subject Matter ◽  
Lyric Poetry ◽  
Latin Literature ◽  
Poetic Tradition ◽  
Roman World ◽  
Universal Themes

Horace’s body of lyric poetry, the Odes, is one of the greatest achievements of Latin literature and a foundational text for the Western poetic tradition. These 103 exquisitely crafted poems speak in a distinctive voice—usually detached, often ironic, always humane—reflecting on the changing Roman world that Horace lived in and also on more universal themes of friendship, love, and mortality. This book introduces readers to the Odes by situating them in the context of Horace’s career as a poet and by defining their relationship to earlier literature, Greek and Roman. Several poems have been freshly translated by the author; others appear in versions by Horace’s best modern translators. A number of poems are analyzed in detail, illustrating Horace’s range of subject matter and his characteristic techniques of form and structure. A substantial final chapter traces the reception of the Odes from Horace’s own time to the present. Readers of this book will gain an appreciation for the artistry of one of the finest lyric poets of all time.

Reading Roman Declamation

2020 ◽  
Keyword(s):  
Roman History ◽  
Dark Side ◽  
Latin Literature ◽  
Sociocultural Context ◽  
International Group ◽  
Seneca The Elder ◽  
First Time ◽  
Literary Phenomenon

Situated at the crossroads of rhetoric and fiction, the genre of declamatio offers its practitioners the freedom to experiment with new forms of discourse. This volume places the literariness of Roman declamation into the spotlight by showcasing its theoretical influences, stylistic devices, and generic conventions as related by Seneca the Elder, the author of the Controversiae and Suasoriae, which jointly make up the largest surviving collection of declamatory speeches from antiquity. In so doing, it draws attention to the complexity of these texts, and maps out, for the first time, the sociocultural context for their composition, delivery, and reception. The volume’s chapters have been authored by an international group of leading scholars in Latin literature and rhetoric, and explore not only the historical roles of individual declaimers but also the physical and linguistic techniques upon which they collectively drew. In addition, the ‘dark side of declamation’ is illuminated by contributions on the competitiveness of the arena and the manipulative potential of declamatory skill. In keeping with the volume’s overall treatment of declamation as a literary phenomenon, a section has also been dedicated to intertextuality. This comprehensive, innovative, and up-to-date treatment provides thought-provoking analyses of Roman declamation, and therefore constitutes an essential volume for both students and scholars in the fields of Latin literature, Republican Roman history, and rhetoric.

scholarly journals Introduction

Ramus ◽  
1987 ◽  
Vol 16 (1-2) ◽  
pp. 1-3
Author(s):  
A.J. Boyle
Keyword(s):  
Late Antiquity ◽  
Emotional States ◽  
Latin Literature ◽  
Political Repression ◽  
Adequate Description ◽  
Literary Value ◽  
Roman Literature ◽  
Imperial Period ◽  
The Subject ◽  
Ars Amatoria

oratio certam regulam non habet; consuetudo illam ciuitatis, quae numquam in eodem diu stetit, uersat.Style has no fixed rules; the usage of society changes it, which never stays still for long.Seneca Epistle 114.13This is the first of two volumes of critical essays on Latin literature of the imperial period from Ovid to late antiquity. The focus is upon the main postclassical period (A.D. 1-150), especially the authors of the Neronian and Flavian principates (A.D. 54-96), several of whom, though recently the subject of substantial investigation and reassessment, remain largely unread, at best improperly understood. The change which took place in Roman literature between the late republic/early Augustan period and the post-Augustan empire, between the ‘classicism’ of Cicero, Virgil, Horace, Livy and the ‘postclassicism’ of Seneca, Lucan, Persius, Tacitus is conventionally misdescribed (albeit sometimes with qualifications) as the movement from Golden to Silver Latin. The description misleads on many counts, not least because it misconstrues a change in literary and poetic sensibility, in the mental sets of reader and audience, and in the political environment of writing itself, as a change in literary value. What in fact happened awaits adequate description, but it seems clear that the change began with Ovid (43 B.C. to A.D. 17), whose rejection of Augustan classicism (especially its concept of decorum or ‘appropriateness’), cultivation of generic disorder and experimentation (witness, e.g., Ars Amatoria and Metamorphoses), love of paradox, absurdity, incongruity, hyperbole, wit, and focus on extreme emotional states, influenced everything that followed. Ovid also witnessed and suffered from the increasing political repression of the principate; he was banished for — among other things — his words, carmen. And political repression seems to have been a signal factor, if difficult to evaluate, in the formation of the postclassical style.

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