Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Este artigo pretende fornecer uma análise cerrada de Tristia 3.4a, enfocando a relação paradoxal de Ovídio com o poder (potestas) no poema. Enquanto aconselha seu destinatário a evitar a ambição e se manter longe dos magna nomina, Ovídio parece insistir na ideia de que, apesar de seu exílio na região do Ponto Euxino, seu próprio nome (ou seja, seu renome) é poderoso e sobrevive em Roma. Assim, argumentarei que Tristia 3.4a sugere um dualismo entre o nome de Ovídio e a sua existência real e concreta.

In this article, we present Tacitus’ Dialogus de Oratoribus, as well as the critical fortune of the work and the conceptual tools it mobilizes. Its interpretation benefits enormously from an approach that takes into account sociological and psychological aspects of the context in which the Dialogus was published, which we explain, and we review some of the most recent works on its critical reception. Finally, we will introduce the notion of factish, due to Latour, and we illustrate how it fits into the interpretive possibilities of the Dialogus.

This paper offers a commentary on the description of the plague in Thucydides’ history, specially on the textual part in which the dissolution of differences, the disrespect for the norms (or laws), the primacy of the immediate pleasure and the search of the individual interest are presented as consequences of this extraordinary disease. This last issue is argued with two futher references: first, to Plato’s “Crito”; second, to Demosthenes’ speech “On the crown”.

.

Greek epic, tragedy, and comedy all contain several recognition scenes, as do ancient novels, which “devoured” this formal resource, generously incorporating it into their works: the five remaining novels, labeled “The Big Five,” all contain numerous recognition scenes. Using Aristotle’s Poetics, this essay analyses two of these events from Daphnis and Chloe, demonstrating how the anagnorisis is interrelated to several narrative characteristics. Thus, the concepts of peripeteia, pathos, and hamartia are also quite valuable when it comes to the relationships of recognition that lend complexity to the identities of the narrative’s characters.

In a brief exposition on the epistolary genre and its receptions in Horace’s literary production, a contextualization for the imitatio, the ingenium and the ars horaciana is evaluated. Receptions and transformations of ancient epistolography’s models reveal the originality of Horace proposals, by presenting Hellenic terms and themes, discussing moral and philosophical ideas, as well as exploring multiple cadences and rhythms in his use of dactylic hexameter. This essay presents an interpretive translation for Ep. 1.8 together with some commentaries, debating: metric and sound effects; figures of speech; descriptive and analytical ways of narrating to support an argument; particular nuances of time and space specific to a moment in Latin historiography; examples of intertextuality within the Horatian corpus and some ancient literary traditions, e.g., epictexts and Lucretius’ Rerum Natura. In this letter, Horace personifies his message in the Muse, committing her not only to report the sender’s physical and mental conditions, but also instilling in the recipient the animus, strength and proper manners in conducting public affairs and himself. Possible interfaces with the Stoic and Epicurean traditions are in order, mainly due to the adverbial forms recte and suaviter.  

Several passages of Satyrica show love, humor and literature as complementary elements between themselves. In these passages, that ancient romance presents itself as mainly realistic and critical when compared not only to the literary oeuvres of Antiquity, that were taken as elevated genres, but also to minor oeuvres, the fabulae Milesiae among them, and the Greek idealized novels of love and adventure, as the Big Five. A juxtaposition of those literary passages, that were transformed, twisted, distorted, writhed by Petronius’ creativity, when discussing his canonical knowledge, that were supposedly natural on his readers, suggesting strangeness and humorous effects in the reception, not rare bringing to them comic results more and more intense as the interpretation goes deeper.

Due to its symbolic nature, Psyche and Cupid’s tale (Apuleius, Metamorphoses, IV, 28-VI, 24) brings forth a range of interpretative levels, which go beyond the textual reason for its insertion in Apuleius’ novel, shown in the excerpt immediately before the beginning of the narration by the use of auocare (“distract, deviate”). Our purpose here is discussing one of those meaningful levels of this tale taking as starting point the split of Venus in two goddesses (Venus uulgaria and Venus caeles), as presented by Apuleius in his work Apologia (12, 1-5). We intend to associate the image of the two goddesses in Apologia with Venus herself and with Psyche’s in the Metamorphoses, as well as with the parodic representation of traditional Greek gods in the end of the fabula, especially Cupid.

This article studies the noticeable echoes of archaic erotic imagery we hear in Chaereas and Callirhoe, written by Chariton of Aphrodisias (mid-1st century CE?), as it considers the way by which the novel presents the goddess Aphrodite and desire itself. It aims at emphasizing that the attention to the poetry in which that traditional imagery is found allows for a productive and richer reading of Chariton’s late prose, for the similarities that will not go unnoticed, and nor will the differences through which a different conception of érōs is expressed.

Leucippe and Clitotophon by Achilles Tatius is the only one of the five Greek ideal novels narrated in first person, and it presents a unique development of the topic of the genre. As a result, it often borders on subversion or parody of its commonplaces. In the characters’ speech, Eros and Aphrodite, divine figures who play a capital role in the other novels, become little more than allegories of emotions and desires. In this context, with sophisticated literary allusion, Achilles Tatius explores images of the erotic elegy’s militia amoris, turning them into elements of his novelistic narrative. This article seeks to analyze his representation of Eros, specifically the god’s martial characterization in some passages, which emphasizes the representation of the hero Clitophon himself as somewhat parodic of the male protagonist of the Greek ideal novel.