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  1. Dionysius and Longinus on the Sublime: Rhetoric and Religious Language.Casper C. de Jonge - 2012 - American Journal of Philology 133 (2):271-300.
    Longinus' On the Sublime presents itself as a response to the work of the Augustan critic Caecilius of Caleacte. Recent attempts to reconstruct Longinus' intellectual context have largely ignored the works of Dionysius of Halicarnassus, Caecilius' contemporary colleague . This article investigates the concept of hupsos and its religious aspects in Longinus and Dionysius, and reveals a remarkable continuity between the discourse of both authors. Dionysius' works inform us about an Augustan debate on Plato and the sublime, and thereby provide (...)
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  • (1 other version)Dido, Tityos and Prometheus.Colin I. M. Hamilton - 1993 - Classical Quarterly 43 (1):249-254.
    This note brings to light some instances of Vergilian borrowings from Lucretius and Catullus in the composition of the Dido episode. The way in which Vergil adapts these sources and combines them in the depiction of tormented love is discussed and it is suggested that a consequence of this is to invest the image of love eating Dido internally with a significance beyond that of an erotic topos.
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  • (1 other version)Dido, Tityos and Prometheus.Colin I. M. Hamilton - 1993 - Classical Quarterly 43 (01):249-.
    This note brings to light some instances of Vergilian borrowings from Lucretius and Catullus in the composition of the Dido episode. The way in which Vergil adapts these sources and combines them in the depiction of tormented love is discussed and it is suggested that a consequence of this is to invest the image of love eating Dido internally with a significance beyond that of an erotic topos.
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  • The Empty Tomb at Rhoeteum: Deiphobus and the Problem of the Past in Aeneid 6.494-547.Pamela Bleisch - 1999 - Classical Antiquity 18 (2):187-226.
    Aeneas' encounter with Deiphobus forms a critical juncture in Vergil's "Aeneid". In the underworld Aeneas retraces his past to its beginning; so too Vergil's audience returns to its starting point: the fall of Troy. Deiphobus himself is a metonym of Troy, embodying her guilt and punishment. But Aeneas is frustrated in his attempt to reconcile himself to this past. Aeneas attempts the Homeric rites of remembrance-heroic tumulus and epic fama-but these prove to be empty gestures. The aition of Deiphobus' tomb (...)
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  • Paremvs Ovantes_: Stoicism and Human Responsibility in _Aeneid 4.Graham Zanker - 2016 - Classical Quarterly 66 (2):580-597.
    In the fourth book of theAeneidVirgil presents the epic's titular hero as fated to found Rome, initially neglecting and ultimately reassuming his mission, all the while being accorded praise or blame for his progress. In this article I shall re-examine Virgil's use of the specifically Chrysippan Stoic doctrine of Fate and human responsibility inAeneid4, with a focus on three key points: the role of assent in creating a compatibility of Fate and human responsibility; the ‘Lazy Argument’, the position that Chrysippus (...)
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