A combined investigation of Herod.
. 8 (
) with Callim.
. 1, 13, and
. 8, reveals that they all relate to a certain poetic contest that took place in Alexandria under the auspices of Ptolemy I, in ...one of the last years of his reign. The contest, must have been co-ordinated by the Mouseion and its director at the time, Zenodotus. The two poets took part in the contest, together with a host of other poets. Callim.
. 1 gives a figurative account of the contest’s course of action. Herodas, awaiting the results, writes
. 8, where he expresses his hopes for a prize, though he suspects foul play on behalf of the poets employed at the Mouseion by the king who was supposed to decide the prize. Callim.
. 8 is a sarcastic reply to Herodas’ fears, while
. 13 narrates the harsh criticism Callimachus received from Zenodotus and his proud reaction in response, obviously after his contribution was rejected.
En este trabajo analizaremos la primera parte del poema mitológico La Filomena incluida en el libro del mismo nombre de Lope de Vega publicado en 1621; con el objeto de describir el funcionamiento de ...la variatio ya no como principio constructivo del volumen sino dentro del poema. Para ello me detendré en los paisajes que el poema construye para presentar la historia de la violación, la mutilación, el relato y la metamorfosis de Filomena: fuentes, mar y selvas e intentaré demostrar que el manejo de dichos espacios supone también la reflexión sobre coordenadas poéticas y genéricas que refuerzan la multiplicidad de sentido y la variedad en la escritura.
This work intends to analyze the first part of the mythological poem La Filomena included in Lope de Vega´s miscelanea of the same name published in 1621. We will try to describe the variatio as a constructive principle of volume but also of the poem. For this we will focus on the landscapes that the poem builds to present the history of the rape, mutilation, and metamorphosis of Filomena: fountains, sea and jungles. In this way we will try to show that the management of these spaces also involves reflection on coordinates poetic and generic that reinforce the multiplicity of meaning and the variety in writing.
Considering that the epic genre has diverse species, this paper proposes to discuss how Propertius, elegiac poet of the 1st century BC., talks about each of the species and establishes different ...relations between them and the elegy practiced by him. For this, we analyze the last elegy of his second book (elegy 2.34) and a group of elegies from the beginning of the third book (elegies 3.3, 3.4 and 3.5), in which the poet establishes dialogue with some works of epic poetry, initially Virgil, but letting one glimpse the relation with each species, and with it gives us information that contributes to the understanding of both genres.
Considerando que o gênero épico possui diferentes espécies, o presente trabalho propõe-se a discutir de que forma Propércio, poeta elegíaco do século I a. C., discorre a respeito de cada uma das espécies e estabelece diferentes relações entre elas e a elegia por ele praticada. Para isso, analisamos a última elegia do seu segundo livro (elegia 2.34) e um grupo de elegias do início do terceiro livro (elegias 3.3, 3.4 e 3.5), nas quais o poeta estabelece diálogo com algumas obras da poesia épica, inicialmente Virgílio, mas deixando entrever a relação com cada espécie, e com isso nos fornece informações que contribuem para a compreensão de ambos os gêneros.
This essay looks closely at two ballads by the nineteenth-century American poet Emma Embury in order to explore some of the ways in which the ballad’s use of the structural refrain enables a critique ...of its often-gendered content. By situating Embury’s poems within the context of the proliferation of the “bad woman ballads” that appeared in print in the first several decades of the nineteenth century, this essay explores her particular manipulations of the genre. In Embury’s ballads, the cautionary tale is housed in a refrain that is sung by a woman. This form works to make these women’s downfalls come true at the same time that it suggests a way out of this endlessly repeatable story that the genre performs so faithfully. This essay suggests that in our consideration of the genre, we pay particularly close attention to how women poets approached the ballad’s formal devices.
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