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Choreographic versions of Purcell's "Dido & Aeneas": Mark Morris and Sasha Waltz

100%
Alonso Z.
Collectanea Philologica
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2012
|
vol. 15
ES
En este artículo se lleva a cabo una revisión del mito de Dido y Eneas en el ámbito coreográfico y se estudia la importancia que ha tenido la partitura de Henry Purcell (ca. 1688) entre bailarines y coreógrafos de la danza contemporánea. Las versiones de Mark Morris (1989) y Sasha Waltz (2005) constituyen, en concreto, dos ejemplos ideales para percibir ciertos matices en su relación con el mito virgiliano a partir de unos intereses bien diferenciados.
2
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Komediowa „Eneida”

99%
Piętka R.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2019
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vol. 29
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issue 1
EN
Piętka Radosław, Komediowa „Eneida” (Comedy in Vergil’s Aeneid).The paper deals with the references – hypothetical and/or unquestionable – to comedy and comic conventions in the Aeneid of Vergil. Taking into consideration as many comic constituents as it is possible to retrieve from the Virgilian epic text, I would also like to try to answer the general question concerning supposed influence of these very constituents on the meaning of the whole text of the Aeneid.
3

Pátá kniha Aeneidy v antické centonové poezii I: Úvod, témata pohledu a performance

86%
Bažil M.
Listy filologické (Folia philologica)
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2019
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vol. 142
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issue 3-4
307-332
EN
The fifth book of Vergil’s Aeneid plays a crucial role in the composition of the entire poem. It provides a certain repose in the turbulent story while directing readers’ attention towards Aeneas himself, as he fully assumes the role of the leader and “father” to his people. Later reception of the Aeneid focused mainly on other, more dramatic, parts of the story (e.g. Books IV and VI). Late-antique cento poetry, however, contains several passages that find ample inspiration in Book V, and make references to this book central to their meaning. Based on an analysis of one of the poems, namely Hippodamia (Anth. Lat. 11 Riese2), the first part of this study proposes a hypothesis that all these passages are linked by two crucial motifs – gaze and performance – which could be the central connotation associated with the book among late-antique readers. The following two parts of the study aim to confirm the hypothesis using other centos (the Anthologia Latina, the Cento Probae, and Ausonius’s Cento Nuptialis).
4

An Emendation to Theodulf, Carmen 29,73 (prostratus corpore terrae): A Vergilian Echo in Carolingian Poetry

86%
Cancela Cilleruelo Á.
Listy filologické (Folia philologica)
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2019
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vol. 142
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issue 1-2
199-211
EN
Instead of exiguo prostratus corpore terra, in Theodulf of Orléans, Carmen 29,73, we should read exiguo prostratus corpore terrae. This poem is preserved in a late and very corrupt witness. Here the corruption has remained hidden because terra seems acceptable. The slight emendation terrae is supported by a number of significant parallels and a careful literary and linguistic analysis. The verse seems to be modelled on Virgil’s Aeneid, XI,87 (toto proiectus corpore terrae), and should be linked to two other contemporary compositions: Alcuin of York, Carmina, 20,23 and 44,11 (prostrato corpore terris), and the anonymous eighth century poem Exhortatio poenitendi, 86 (prostratus corpore terrae).
5
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Patrzenie jako źródło cierpień (z rzymskich dziejów pewnego motywu literackiego)

86%
Pigoń J.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2021
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vol. 31
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issue 1
205-225
PL
The paper examines a number of Roman literary texts (by Ennius, Cicero, Vergil, Ovid, Seneca the Younger, Lucan, Tacitus, Jerome, etc.) in which viewing is connected with mental or emotional suffering. Usually, the emphasis is laid on a character’s viewing of some dramatic events – a close relative’s death, for example – and on his or her emotional response to what is being seen. In some works, especially in consolatory contexts, someone’s premature death is presented as advantageous because the dead person is now spared the necessity of viewing misfortunes which the living have to witness. Also, people may be compelled (e.g. by an emperor) to watch evil things; in such a situation they are usually viewers and objects of viewing at the same time, since their gestures and facial expression are carefully observed.
6
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The Concept and Purpose of Death in the Aeneid, Book 2

72%
Mianowski J., Zarzycki Ł.
Academic Journal of Modern Philology
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2013
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vol. 2
67-73
EN
The article aims at analyzing the concept and purpose of death in the Aeneid, Book 2. In its premise, the concept of death presented within the poem reveals its ethnic, social and cultural tone. The deaths which close eight books of the Aeneid indicate the progress of a main theme: abdicate the past to defend the future. Initially, towards the closing of Book 2 Creusa dies: a loyal, affectionate wife and mother who is nevertheless to be replaced by a young bride chosen for political benefits. The modes and circumstances of the deaths elicit some immediate investigations: first, it seems meaningful that some die in the bloom of youth and others in old age; second, some must die as sacrifices to the gods; third, some are destined to die because they demonstrate furious difficulties to the completion of Aeneas’ duty. Before discussing the concept of death in Book 2 it is essential to introduce the reader into some considerations representing the structure and purpose of Book 2. The authors would like to thank professor Jakub Pigoń (Institute of Classical, Mediterranean and Oriental Studies, University of Wroclaw) for his guidance and insightful remarks throughout the process of writing of this article.
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