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In the eighties of 20th century, Vergil was interpreted from a precise and particular approach inspired by Nietzsche. This new vision could be categorized, basically, as the idea of death (Broch), the sickness of poetry (García Calvo), the commemoration (remembrance) of the bimillennium of his death (Colinas), his poetic rereading from a new aesthetics (Borges and Bernhard), the boom of verse translation (Fontán Barreiro) and, finally, the remarkable picto-rial rereading of his Eneida (Carlos Franco). Therefore, this essay tries to give an account of a specific decade in Vergil's historical reception. [ABSTRACT FROM AUTHOR]

Literature on Borges generally reveals the link between the author and avant-garde movements, his approach to English spoken literature and, among other relevant influences, Kafka's heritage. Nevertheless, his connection with the classics --referring to Greek and Latin tradition--also offers enthusing research opportunities. The classical influence, far from being an obstacle, imposes itself as a dýnamis, which energizes an important part of his works. Our study focuses on showing his approach to some Latin authors and to analyse the way he often reworks them. This paper is based, on the one hand, on an attentive and circumspect lectio of his work and, on the other, on the examination of J. L. Borges' personal library. By consulting the notes and comments that Borges set down in his own handwriting in his volumes, we may observe which Latin authors he frequented more assiduously. These notes, far from being superfluous, contribute to the interpretation of a number of his texts. The Latin authors he refers to more frequently are: Virgil, Lucretius, Pliny, Ovid, Propertius and St. Augustine. [ABSTRACT FROM AUTHOR]

This paper contains a thematic comparison between the Greco-roman mythologem of Asterion-labyrinthus and his thematization in Jorge Luis Borges' tale "The House of Asterion" and in The Kings, a dramatic poem by Julio Cortázar. My scope is to perform an analysis of the resemantized components around the shaping of the figure of the Minotaur with a comparative approach: it deals then with the thematization of this personage as an antagonist in the Greco-roman mythologem looking to this configuration as a hero, philosopher and poet in the remakings by the above mentioned Argentinean writers. [ABSTRACT FROM AUTHOR]

This paper analyses the specific use that some modern authors have made of Greek and Latin quotations in order to build their scary stories, from the second half of the eighteenth century to the twentieth century. Quotations from Plinius the Younger, Aulus Gelius or Vergil had an important presence in these accounts, where they were re-read from the view of modern Gothic aesthetics. The way new authors get knowledge of Greek and Latin texts is not always the same: anthologies, citations from rare works, or school readings play different roles when using the ancient authors in a modern novel. This paper will deal with works by Charles Maturin, Jan Potocki, Edgar Allan Poe, Marcel Schwob and Jorge Luis Borges. [ABSTRACT FROM AUTHOR]