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Accommodation and self-representatio...

Adamitis, Jana L.

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Accommodation and self-representation in Horace's parade odes (Roman Empire).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Accommodation and self-representation in Horace's parade odes (Roman Empire)./
Author:	Adamitis, Jana L.
Description:	180 p.
Notes:	Source: Dissertation Abstracts International, Volume: 64-09, Section: A, page: 3265.
Contained By:	Dissertation Abstracts International64-09A.
Subject:	Language, Ancient. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3104708
ISBN:	0496522758

Accommodation and self-representation in Horace's parade odes (Roman Empire).
Adamitis, Jana L.

Accommodation and self-representation in Horace's parade odes (Roman Empire). - 180 p.

Source: Dissertation Abstracts International, Volume: 64-09, Section: A, page: 3265.

Thesis (Ph.D.)--University of Pittsburgh, 2003.

Accommodation and Self-Representation in Horace's Parade Odes examines the development of Horace's lyric persona across cc. 1.1--1.9, focusing particularly on the recurrent motif of accommodation and on the carpe diem theme. I begin by examining the programmatic odes which frame the collection in order to emphasize the degree to which Horace consistently and self-consciously represents himself as a poetic accommodator, a figure who negotiates poetic boundaries in order to adapt a variety of non-lyric genres and styles so that they meet the literary requirements of lyric poetry. I then turn to close readings of c. 1.2 and c. 1.3, in which I argue that before Horace can engage fully in explicating his own poetic program, he must first secure a place for himself both within the emerging Augustan empire and within the literary world of Rome, which traditionally regarded epic as the genre par excellence. In these odes, Horace artfully employs the theme of accommodation in order to depict both the emperor Augustus and the epic poet Vergil as fellow boundary negotiators, representations which ultimately lend his own poetic persona both public authority and literary validity. Having created a place for himself within the contemporary world, Horace is able to reveal his poetic program more fully in c. 1.4. A Jaussian analysis of this ode reveals that at the heart of Horace's poetry is the injunction to 'carpe diem', which in my view advocates adherence not only to a particular worldview but also to a poetic aesthetic, one which is consistent with Horace's self-representation in c. 1.1 as a poetic accommodator. In cc. 1.5--1.7, Horace builds upon the connection between his self-depiction as a negotiator of boundaries and his identity as a carpe diem poet by using allusions to c. 1.4 both to emphasize his ability to adapt the non-lyric to his odes and in so doing to label himself as a carpe diem figure. Cc. 1.8--1.9 reiterate this theme and draw the Parade Odes to close.

ISBN: 0496522758Subjects--Topical Terms:

1018100
Language, Ancient.

Accommodation and self-representation in Horace's parade odes (Roman Empire).
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100 1 $a Adamitis, Jana L. $3 1926395
245 1 0 $a Accommodation and self-representation in Horace's parade odes (Roman Empire).
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500 $a Source: Dissertation Abstracts International, Volume: 64-09, Section: A, page: 3265.
500 $a Adviser: Mae J. Smethurst.
502 $a Thesis (Ph.D.)--University of Pittsburgh, 2003.
520 $a Accommodation and Self-Representation in Horace's Parade Odes examines the development of Horace's lyric persona across cc. 1.1--1.9, focusing particularly on the recurrent motif of accommodation and on the carpe diem theme. I begin by examining the programmatic odes which frame the collection in order to emphasize the degree to which Horace consistently and self-consciously represents himself as a poetic accommodator, a figure who negotiates poetic boundaries in order to adapt a variety of non-lyric genres and styles so that they meet the literary requirements of lyric poetry. I then turn to close readings of c. 1.2 and c. 1.3, in which I argue that before Horace can engage fully in explicating his own poetic program, he must first secure a place for himself both within the emerging Augustan empire and within the literary world of Rome, which traditionally regarded epic as the genre par excellence. In these odes, Horace artfully employs the theme of accommodation in order to depict both the emperor Augustus and the epic poet Vergil as fellow boundary negotiators, representations which ultimately lend his own poetic persona both public authority and literary validity. Having created a place for himself within the contemporary world, Horace is able to reveal his poetic program more fully in c. 1.4. A Jaussian analysis of this ode reveals that at the heart of Horace's poetry is the injunction to 'carpe diem', which in my view advocates adherence not only to a particular worldview but also to a poetic aesthetic, one which is consistent with Horace's self-representation in c. 1.1 as a poetic accommodator. In cc. 1.5--1.7, Horace builds upon the connection between his self-depiction as a negotiator of boundaries and his identity as a carpe diem poet by using allusions to c. 1.4 both to emphasize his ability to adapt the non-lyric to his odes and in so doing to label himself as a carpe diem figure. Cc. 1.8--1.9 reiterate this theme and draw the Parade Odes to close.
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