Aeneid

Blondé’s Aeolian Gamma-tradition modernizes his Mykenaian Alpha-tradition and is strongly mixed with his European Beta-tradition in the Iliad. Curiously, it is also connected to the Troy area and the Greek colonies in Italy. Roman mythology and the Aeneid appear not to be based on Greek mythology and Homer in general, but more specifically on the Aeolian Gamma-tradition. The intertextuality of the Aeolian Gamma-tradition in Homer, the Trojan Cycle, the Argonautica, Virgil, and the Old--and even New--Testament is investigated. Furthermore, there are the influences of several often-international story types, such as the destruction story, the tele-story, the monster story, and the savior story.

Ward Blondé is a doctor of applied biological sciences and works as a data programmer in Ghent. He has created theories related to the Homeric Question in his spare time since 2000. Even though he may often use the style and professionalism of a layperson, his methods have resulted in important findings that matter to scientists in Greek and Roman literature, history, archaeology, and linguistics.

Resumo: Este artigo propõe uma análise da Confederação dos Tamoios, buscando evidenciar que a concepção de Magalhães acerca do gênero épico está de acordo com o seu próprio programa poético e com um modelo de epopeia não devidamente considerado nas polêmicas sobre o poema. Nesse sentido, visa mostrar como o poema dialoga com preceitos de epopeia do passado ao mesmo tempo que pauta discussões futuras sobre o gênero.

Palavras-chave: Gonçalves de Magalhães, poesia épica, literatura clássica.

This article offers a thorough study of Virgil's interaction with the myth of Eteocles and Polynices' war for the throne of Thebes, as represented especially in Athenian tragedy. It demonstrates that allusions to the Theban myth are crucial to the Aeneid's construction of a set of tensions and oppositions that play an important role in Virgil's reflection on the historical experience of Rome, especially in connection with the transition from Republic to Empire. In particular, interaction with Theban stories allows Virgil to explore: (1) the dichotomy between similarity and foreignness in the depiction of Rome's enemies; (2) the tension in differing attitudes towards the state as reflected in antithetical character types ––namely, the selfless youth who sacrifices himself for the community and the would-be tyrant prepared to go to any lengths to achieve sole power; and, finally, (3) the dichotomy between opposing notions of time defined by teleology, on the one hand, and circularity and repetition on the other, the two representing the differing temporalities of epic and tragedy, respectively.

The purpose of the book is to examine the relationship between the city of Rome, myth and Roman literature (particularly poetry) taking as a point of departure the ongoing debate about the status of Roman mythology. As a pendant to this debate I propose to look into the matter of the specific mythology referring to the beginnings, biography and topography of the city embedded in Roman poetry. Several elements of this urbanistic mythology are subsequently analysed, most of all the foundation myth of Rome, myth of the city’s borderline, death of the city and its rebirth. In the last part of the book, entitled Terminus, a brief survey is taken of the afterlife of Roman urbanistic myth in the late antique, medieval and modern culture.

The autor of this paper attemps to seek the possible sources in which Virgil might have found inspiration to modify the Nevian tradition, which mentions just a single Aeneas' vessel, turning this vessel into a fleet of twenty. This study also intends to identify a possible source that support the number of twelve vessels that came to Libya and the omen that enlosed them. This paper also attempts to identify the sources that may support the idea that the wood that the hero used to build the vesels had a divine origen and was protected by Cybeles. The analysis of these hypotetical sources are combined with data from Augusts' life. Voy a ocuparme aquí del problema que plantea el número de las naves de Eneas. Este número está muy claro en Virgilio: si seguimos el orden de la fábula (no el de la trama), nos encontramos con que Eneas, una vez destruida Troya, había reunido en torno a sí un grupo numeroso de compañeros, hombres y mujeres, dispuestos a seguirle: Atque hic ingentem comitum adfluxisse nouorum inuenio admirans numerum, matresque uirosque,

This thesis provides a comprehensive interpretation of Vergil’s "Aeneid" as an expression of cyclical time. In capturing the historical intensity of the transformative Augustan moment, Vergil compresses the archaic past of Homer together with an eternally unfolding Roman future. Through this reading, the interpretative difficulties of the "Aeneid" come into dialogue with the evolutionary cosmology of antiquity and the historical consciousness of modernity. The “two voices” Adam Parry found in the "Aeneid", the voice of public triumph and the voice of private despair, are unified by their reconciliation in an irreducible Roman experience of tragic history. As literature, the epic repeats itself in its ring composition; as a cosmology, it expresses the ongoing generational conflict of the gods; as history, it describes the reoccurring process by which the whole world became Roman. In the cycle’s dense repetitions and vivid transformations, the mystery of tragic joy is made visible.

This paper will examine two kinds of death found in Virgil's Aeneid through the characters of Dido and Aeneas. I will suggest that both are self-inflicted deaths. The term for self-inflicted death is suicide, which typically refers to a literal, physical death. In this paper I mean to expand the notion of suicidal death beyond its usual corporeal denotation. I am viewing suicide from a psychological perspective as well as from the literal or physical point of view.

This paper will examine two kinds of death found in Virgil's Aeneid through the characters of Dido and Aeneas. I will suggest that both are self-inflicted deaths. The term for self-inflicted death is suicide, which typically refers to a literal, physical death. In this paper I mean to expand the notion of suicidal death beyond its usual corporeal denotation. I am viewing suicide from a psychological perspective as well as from the literal or physical point of view.