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In the anthology of archaic elegiac poetry called the Corpus Theognideum, the poetic I often eludes traditional approaches to the 'poetic authority'. Instead of presenting itself as a citizen of a particular 'city-state' or at least a prominent member of an elitist circle who came to have a position of authority, the persona loquens situates himself as removed from the community: as impoverished, expelled from his polis, despised, embittered and thirsting for revenge. The purpose of my paper is to consider how the tension between the alienation of the poetic I and the unity of the audience might function during the act of (re)performance. Applying considerations of Edward W Said on 'diasporic temporality' to the political and economic conflict between the ideologies of polis and anti-polis in archaic and classical Greece, I show that the poetic I in the Theognidean tradition, by presenting itself as an exile and a victim of the democratic movement, expresses the temporally distant position of the so far privileged aristocracy, situated in dialectical opposition to the democratic institutions of polis. [ABSTRACT FROM AUTHOR]

In his Quaestiones Convivales , a sympotic text recounting more than 75 purportedly historical banquets set in Rome and Greece, Plutarch represents intellectuals engaging with early lyric (melic, iambic, and elegiac poetry) as they express broader views about aesthetic taste. In contrast to Homeric poetry, which is commonly quoted by all characters in the symposium but proportionally more by lower-ranking participants, those who quote lyric appear to be exclusively individuals of higher status. The paper provides specific metrics that further illuminate this phenomenon, and it makes a number of suggestions regarding the relationship between literary taste and social status in Plutarch's Quaestiones Convivales. [ABSTRACT FROM AUTHOR]

Due to historical circumstances, Latin studies in general have had a totally different fortune within the population with Greek consciousness (language and religion) of 19th century in comparison with that of Western Europe, even after the foundation of the Greek State (1830). The study and translation of Latin elegy in particular was rather sparse until the 1890s, when four poems of Tibullus were translated into Modern Greek by Iakovos Polylas and Nikolaos Kogevinas, scholars and poets from the Ionian Islands. In this paper, we aim to give a broader picture of the translations and reception of Latin elegy in the sphere of intellectual life in 19th century Greece, as well as to focus focusing on the aforementioned poetic translations from Tibullus. We compare these to the original text and analyze the main translation techniques; furthermore, we examine the purposes of this intellectual process, given that it is connected to an increased interest in translation as a vital part of Modern Greek literature. [ABSTRACT FROM AUTHOR]

The origins of the elegiac poetry probably date back to Ancient Greece, acquiring certain popularity in the IVth century b.C., when it became a literary genre. In Rome, the elegy stand out mainly in the ends of the Republic and the beginning of August princedom (Ist century b.C. - Ist century a.D.). Famous are authors such as Ovid, Tibule and Properce, which spread the elegy in various facets: lovely, sensual, yearning, etc. The enunciation of the beloved in the poems makes the scenes bright and ardent. The search of love, intense, which conducts to the breaking of any rule, is the main Ovid's theme, the eternal lovely poet. Contrary to imperial laws, the poet from Sulmon addresses to soldiers or deceived husbands and beautiful girls to affront the recent convened Augustan morality. It is in this environment that Ovid's works succeed to emphasize himself and conquest originality in the own Ancient Rome itself. [ABSTRACT FROM AUTHOR]

The text deals with Catullus' carmen 67, a problematic and unclear poem, set in Brescia and dealing with the motifs of marriage and infidelity. It analyses a number of problems crucial for the text: the question of its genre, the possible identity of the characters in this little domestic drama and the role of the addressee: the door of the family house. [ABSTRACT FROM AUTHOR]

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SGO I 01/01/07 is a highly refined 20-line elegiac epitaph from Cnidus which probably dates to the first century BC. Despite the poem's striking formal features and poetic qualities it has received almost no attention since its first publication by Sir Charles Newton in 1863. The first four sections of this article demonstrate that the inscription represents an important witness to certain epigraphic practices and epitaphic traditions, including those of inscribed dialogue and lament. The final section then presents a reading of the poem which centres on the competing poetics of consolation, memory and forgetfulness proposed by the epitaph's two speaking voices. [ABSTRACT FROM PUBLISHER]