scholarly journals O gênero bucólico n’Os Lusíadas

2021 ◽  
Vol 9 (2) ◽  
pp. 121-142
Author(s):  
Miguel Ângelo Andriolo Mangini
Keyword(s):  
Locus Amoenus

O fenômeno da mistura genérica é antigo entre os poetas, ainda que os teóricos da poesia nem sempre o tenham reconhecido. O objetivo deste artigo é investigar a coexistência entre os gêneros épico e bucólico n’Os Lusíadas. Embora este poema seja uma epopeia e tenha a Eneida, de Virgílio, como modelo de composição, uma leitura atenta da obra, apoiada por autores como Macedo (1992), Mulinacci (2011) e Binet (2019), descobrirá que a Ilha dos Amores, cujo episódio toma lugar no Canto IX, é uma versão renascentista de locus amoenus, tópica da tradição de poesia pastoril que parte das Bucólicas, do mesmo Virgílio. Para demonstrá-lo, far-se-á uma análise textual de passagens d’Os Lusíadas como as primeiras estrofes do Canto I, que evidenciam o gênero predominante dessa obra, e outras do episódio mencionado, a partir das quais é possível demonstrar a função do gênero bucólico no poema. Concluiu-se, por meio dessa análise, que o gênero bucólico tem função alegórica dentro d’Os Lusíadas e que a sua presença local neste participa do argumento expansionista e cristão da epopeia.

locus amoenus und sein Gegenstück in Od. 5

Hermes ◽  
2018 ◽  
Vol 146 (2) ◽  
pp. 132
Author(s):  
Ruobing Xian
Keyword(s):  
Locus Amoenus

Der locus amoenus von Homer bis Horaz. Gerhard Schönbeck

1966 ◽  
Vol 61 (2) ◽  
pp. 122-123
Author(s):  
Frederick M. Combellack
Keyword(s):  
Locus Amoenus

THE ANTI-BUCOLIC WORLD OF NICANDER'S THERIACA

2014 ◽  
Vol 64 (2) ◽  
pp. 623-641 ◽  
Author(s):  
F. Overduin
Keyword(s):  
Subject Matter ◽  
Professional Knowledge ◽  
Authentic Learning ◽  
Natural World ◽  
Second Century ◽  
Proper Treatment ◽  
Locus Amoenus ◽  
Linguistic Innovation ◽  
Negative Feelings ◽  
Selection Of

The last decades have shown that Nicander's Theriaca (second century b.c.e.), a didactic hexameter poem of 958 lines on snakes, scorpions, spiders, and the proper treatment of the wounds they inflict, is a markedly more playful work than most readers thought. Rather than considering the poem as a vehicle of authentic learning, literary approaches to the nature of Nicander's strange poetic world have focussed on his eye for Alexandrian aesthetics, intertextuality, linguistic innovation, and awareness of the didactic tradition that started with Hesiod's Works and Days, but also on his predilection for horror, voyeuristic sensationalism, and gory details. Although literary-minded readers have found it hard to disprove convincingly that Nicander may have had some professional knowledge of his subject matter, a glance at his arcane language is enough to convince any reader that the Theriaca cannot be concerned solely with its explicit subject. In this article I will make some additional observations on the way in which Nicander has turned the Theriaca into a work of literature, focussing on some of the choices that he has made with regard to his less than veracious depiction of snakes and animals. While Spatafora rightly points to Nicander's eye for detail when portraying floral beauty, I will argue that the poet's play with the topos of the locus amoenus has a darker side. Rather than creating an epic world of beauty, Nicander shows his talent for taking the reader along an unpleasant path of apprehension and negative feelings, portraying a choice selection of afflictions. Not only does he have many ways of giving his quasi-scientific account a markedly negative atmosphere, but his world may well be a deliberate reversal of that other well-known Hellenistic portrayal of the natural world, Theocritus' bucolics.

scholarly journals Fiorenza mia…! Firenze e dintorni nella poesia portoghese d'oggi

2009 ◽  
Keyword(s):  
Italian Translation ◽  
Locus Amoenus ◽  
The Past ◽  
Western Civilisation ◽  
The City ◽  
Hearts And Minds

In the Portuguese imagination Florence is justly considered the cradle of modern western civilisation. Seen and admired from the Renaissance on as the new Athens, for the Portuguese it has always represented not only a model of culture and civilisation to take as inspiration, but also and above all the locus amoenus of spiritual and intellectual harmony and balance, dreamed-of and unattainable, that floods and pervades the soul with a vague, nostalgic sentiment of admiration. Evidence of this, now as in the past, are the serried ranks of poets who for centuries have sung its praises and raised it to the rank of myth. This brief anthology proposes only a few of them, among the most renowned of recent generations. In a truly original way these poets have managed to convey to the hearts and minds of their compatriots their own stunned vision of the city, illustrating emotions that cannot fail to move even the Florentines and, in a broader sense, we Italians as a whole. Thus what is offered in these pages, in fine Italian translation, is this mesh of voices, an intimate and enthralling polyphony of city, poet and reader, unfurling in an evocative melody and proposing the legend of Florence in a new light – possibly more authentic and illuminating.

scholarly journals Pásztori múzsa a nagyvárosban

2018 ◽  
pp. 9-20
Author(s):  
Gergő Gellérfi
Keyword(s):  
Natural Environment ◽  
Urban Poor ◽  
The Other ◽  
Locus Amoenus ◽  
Bucolic Poetry

The title of my paper refers to a remark of Charles Witke, who specifies Juvenal’s Satire 3 in his monograph of Latin Satire as the eclogue of the urban poor. The interlocutor (who is also the main speaker in this case) of the satire says farewell to a friend before leaving his home for good, just like Meliboeus in Vergil’s First Eclogue. Both dialogues take place in natural environment, so to say, in a locus amoenus, however the setting of the satire is somewhat different from the traditional bucolic scenes. In my paper, I present the aforementioned bucolic features of the beginning and closure of Satire 3, after a brief summary of the other Juvenalian Satires showing the influence of bucolic poetry.

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