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Copyright of Cuadernos de Filología Clásica: Estudios Latinos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este estudio examina la aparición de un proverbio terenciano (“Sine Cerere et Baccho friget Venus”) en la obra de Lope. Tras mostrar que el Fénix lo emplea en al menos diez de sus obras, explicamos que debió de encontrarlo no en su fuente original, sino en alguno de los manuales de retórica del momento, en los que se usaba como ejemplo metonimia. Asimismo, precisamos que Lope solo usa el proverbio a partir de la Arcadia, tal vez debido a su intento de presentarse como un autor prestigioso, y que la mayoría de las menciones proceden de la época del reinado de Felipe III. Por último, clasificamos los usos según respondan a preocupaciones retóricas, amorosas, religiosas, cortesanas o burlescas, explicando cómo cambia en cada una de estas líneas.

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Before including Celestina in the dramatic genre or accepting the roman comedy as one of its models, we need to find a satisfactory answer to a major problem: the total absence, in Castile, of documentation relating to any performance of Plautus and Terence's comedies at the end of the 15th century. Although some scholars have affirmed that in the Spain of the time the works of both Latin playwrights were performed, they have not offered a single documentary evidence that could prove it. This unfounded belief was probably due to the uncritical attempt of establishing a facile homology between the dramatic tradition of the Italian peninsula, where such representations were common, with the Spanish situation, where they appear to be lacking. Nevertheless, such an obvious incongruity continues to be repeated and it does not help to explain the genesis of Celestina.

Copyright of Stylos is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Clásica: Estudios Latinos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Después de una breve introducción general al Commentum Terenti de Elio Donato, se presentará una clasificación de los comentarios que tratan el tema de las distinctiones o establecimiento de pausas y otras marcas en el discurso. After an introduction to the Commentum Terenti of Aelius Donatus, I offer a classification of comments addressing the issue of distinctiones or breaks and other discursive marks.

El presente artículo muestra cómo las acta de los mártires y Terencio han podido influir en el drama Dulcicio de Hrosvita de Gandersheim. Se destacan los cambios e innovaciones introducidos por Hrosvita. Además, se examina su argumentación como un tipo de tradición en la literatura hagiográfica. Al final del artículo, se ofrece una traducción de este drama del latín al español.

Although being an amator is a feature that defines the adulescens from the point of view of palliata's code, the present paper argues that part of the humorousness of this character comes from the fact that this is a routine that Pamphilus develops only at a discursive level, which does not correspond to his actions on the stage. A second aspect of his humorousness is based on not being the palliata's typical indecisive adulescens, since, paradoxically, with his decision to avoid acting, he ends up playing the lead role in the plot development. [ABSTRACT FROM AUTHOR]

Relationship between the sexes is focused in many comedies, but Hecyra presents family life, particularly a mother-in-law, whose character is marked off by prejudice and unfavorable opinion. What we intend here is to emphasize (re) presentation of the conflict mother-in-law vs. daughter-in-law in terms of odium-ira, our aim is trying to define true Terentian innovation. Sostrata, focus of the conflict, is structured like a socrus benevola because she is a bona matrona. Terence follows his own dramatic convention while innovating in front of a double challenge: real life and traditional codification. [ABSTRACT FROM AUTHOR]

Copyright of Romanitas: Revista de Estudos Greco-Latinas is the property of Universidade Federal do Espirito Santo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El presente estudio gira en torno al Libro del cavallero Zifar, obra anónima datada a comienzos del siglo xiv y calificada como un curio-so ejemplo de libro de caballerías. Me centro en la caracterización del personaje de Ribaldo, el fiel y astuto escudero que acompaña y aconseja al protagonista Zifar a lo largo de muchas de sus aventuras, y lo hago desde el punto de vista de su posible configuración a partir del modelo de las comedias de la palliata latina de Plauto y Terencio, con el fin de establecer algunos paralelismos entre el servus callidus que actúa en la comedia latina y el ribaldo del Libro del cavallero Zifar.

La comedia Los hermanos de Terencio ha sido objeto de múltiples interpretaciones por parte de la crítica. Algunos estudiosos de la obra sostienen la uniformidad del personaje de Mición, mientras que otros lo consideran inconsistente y cambiante. El propósito de este artículo es demostrar que Mición es coherente a lo largo de la obra y que la comedia debe ser interpretada más como un conflicto de caracteres que como la oposición de dos sistemas educativos.

Copyright of Phaos is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Phaos is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El presente trabajo propone un análisis pragmático de la noción de "disculpa" en el corte sincrónico que reflejan las obras de Plauto y Terencio, lo que permite profundizar en la expresión de la cortesía lingüística en latín. El acto lingüístico de la disculpa se define como el intento de reparar una ofensa cometida contra el interlocutor, para así regresar a la situación de equilibrio original. Por ello, resulta un acto de habla intrínsecamente cortés hacia el destinatario, pues salvaguarda su imagen social, mientras que pone en peligro la del emisor. Se ofrece aquí una descripción de las estrategias expresivas para la disculpa reconocibles en el corpus mencionado, que atiende a los contextos de uso y a posibles diferencias provocadas por el perfil del hablante.

Dentro de la complejidad que caracteriza a la historia del texto de Terencio, los lemas del Commentum Monacense, conservado en el ms. München, Bayerische Staatsbibliothek, Clm 14420, ff. 79-144 (M), se nos presentan como un miembro más de la denominada familia θ. Los lemas de M presentan, en concreto, a lo largo de las seis comedias de Terencio una extraordinaria similitud con el texto del ms. Paris, Bibliothèque nationale de France, lat. 7900A (Pc), lo cual obliga a postular la existencia de un modelo común inmediato para ambos mss. Las glosas de M y de Pc parecen indicar, por un lado, que ese modelo común inmediato estaría situado en una posición relativamente alta del stemma del texto de Terencio y, por otro, que, conteniendo aquel simultáneamente lecciones propias de las ramas δ y γ, habría sido cotejado con la ayuda de otro ms. con lecciones propias de cada una de las ramas.

Copyright of Phaos is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper, the third of a series, is to offer a comparative analysis of the main usages developed by interjections in the theatrical corpus set up by Terence's comedies and Seneca's tragedies, grouping them according to the kind of emotional content they express. It also offers a reflection on the function of interjections in the analyzed genre. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Clásica: Estudios Latinos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Uno de los mitos clásicos que aparecen en la novela intercalada cervantina, El curioso impertinente, el del rapto de Dánae, no ha recibido mucha atención crítica. Las muchas imágenes visuales de la novela cervantina recuerdan la écfrasis de este mito en el Eunuco de Terencio, donde la pintura es una de las causas del rapto de Pánfila. La novela cervantina se hace eco de la controversia que había suscitado el Eunuco, comenzando con San Agustín; controversia que continuó hasta el Siglo de Oro con escritores tales como Juan de Mariana y Juan de Pineda. El estudio de la comedia de Terencio y de la pintura de Dánae enviada por Tiziano a Felipe II ayudan a comprender la importancia del mito como elemento temático y estructural en la novela. La historia de Dánae en Cervantes forma parte del debate sobre el impacto de las artes visuales en la época de la Contrarreforma.

La comedia Los hermanos de Terencio ha sido objeto de múltiples interpretaciones por parte de la crítica. Algunos estudiosos de la obra sostienen la uniformidad del personaje de Mición, mientras que otros lo consideran inconsistente y cambiante. El propósito de este artículo es demostrar que Mición es coherente a lo largo de la obra y que la comedia debe ser interpretada más como un conflicto de caracteres que como la oposición de dos sistemas educativos.Terence's comedy The Brothers has been interpreted by the criticism in many different ways. Some scholars argue that Micio is a uniform character, while others consider him inconsistent and changing. The goal of this article is to show that Micio is coherent throughout the comedy and that this work of Terence must be understood more as a conflict of characters than as the opposition of two educational systems.

Copyright of Stylos is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Stylos is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Stylos is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A comédia romana com cerca de uma dezena de tipos convencionais pode ser considerada como um reflexo da história social e econômica do mundo clássico, não recolhida ou sistematizada por historiadores antigos. Os dois grandes comediógrafos que escreveram em língua latina conferem, porém, um tratamento completamente diferente a essas personagens convencionais; tratamento consoante com o caráter e finalidade da obra de cada um deles: enquanto Plauto se propõe divertir sua audiência, Terêncio se empenha em remodelar os mais delicados sentimentos da alma humana. Este trabalho pretende analisar e esclarecer os procedimentos técnicos dos quais se serve o segundo dramaturgo para humanizar ao máximo as situações do seu teatro. O relevante das observações que fazemos consiste, em nossa opinião, em ter estabelecido as bases explicativas das influências terencianas na tradição clássica da posterior dramaturgia européia, não só medieval e renancentista, como também moderna e contemporânea.

Terence's comedy The Brothers has been interpreted by the criticism in many different ways. Some scholars argue that Micio is a uniform character, while others consider him inconsistent and changing. The goal of this article is to show that Micio is coherent throughout the comedy and that this work of Terence must be understood more as a conflict of characters than as the opposition of two educational systems. [ABSTRACT FROM AUTHOR]

Este ensaio contém reflexões sobre a comédia romana e a organização da ação. Discute sumariamente a questão da divisão de atos e propõe que a comédia de Plauto e Terêncio deve ser vista como um conjunto de segmentos constituídos teoricamente de partes faladas e partes cantadas, que se organizam de acordo com determinadas regras. O ensaio pretende contribuir para o esclarecimento de pontos importantes da história literária, especialmente no campo do teatro cômico.

As diferenças entre a literatura dramática de Plauto e aquela de Terêncio têm sido tratadas, e resultam óbvias muitas das referências dessa possível dicotomia que se constrói partindo do traço comum do efeito cômico. No entanto, nesse trabalho intentamos dar conta das mencionadas divergências, de uma perspectiva de inserção com uma mesma prática: a Retórica. As duas teatralidades, baseadas em um mesmo programa retórico, caracterizam uma relação entre ostentação e evidência-recepção distinta e precisa: enquanto em Plauto os processos empáticos próprios do discurso dramático fazem impacto no corpo social e seu dinamismo, nos textos terencianos os mesmos processos tendem a postular uma poética particular, uma revalorização do trabalho do escritor (poeta).