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Waiting for the Sybil (Vergilius: Aeneis 6,14–41)
43–53.Views:72The sixth book of Virgil’s Aeneid stands out from the text because it is the crystallization of the structural and allusive procedures that organize the text. The narrative of the founding myth of the Temple of Apollo in Cumae and the description of the reliefs decorating the temple’s gate, with the figure of the mythical architect-inventor-sculptor Daedalus in the center (6,14–41), were placed at a highlighted position within the key sixth book: at the beginning. Aeneid philology interprets the temple scene of the sixth book mostly from the point of view of ekphrasis, more precisely in connection with the other ekphrases in the Aeneid. In my paper, I will not concentrate on the interpretation of Daedalus’ reliefs, but on the entirety of the Cumae scene. Specifically from the perspective of the roles, I shall examine the layers of meaning that can be formed in the textual space of Aeneid around Aeneas’ scrutiny of the image during the time of waiting and around the narrator’s description of the image.
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Non vulgare genus: Ekphrasis, literarisches Gedächtnis und gattungsspezifische Innovation in der sechsten Ekloge des T. Calpurnius Siculus
57–70.Views:13No abstract is available for this article, published in Acta Classica Universitatis Scientiarum Debreceniensis, Issue XLIII, 2007. At the time of publication, abstracts were not required from the authors. Please consult the full text for further details.
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Zur Rezeption Claudians: Das Wunderreich der Venus (Epithalamium de nuptiis Honori Augusti 47–98)
165–177.Views:224The major influence of Claudian on Neo-Latin poetry is well known but the reception of the late antique poet is still poorly studied in its details. This paper examines four typical imitations of Claudian’s splendid description of the realm of Venus. The influence of the ekphrasis will be analysed in Boccaccio’s description of the afterlife (Buccolicum carmen), in Baptista Mantuanus’ depiction of the Garden of Eden (Parthenice), in the exotic landscapes of Lorenzo Gambara’s epic poem (De navigatione Christophori Columbi), and finally in a metapoetic elegy by Girolamo Balbi.