Metapoetry

Here, the attempt to empty the Flood of its religious meaning ignites a war of epistemologies. “Deerne love” and “Goddes pryvetee” are two universes set on a collision course. Human secrets will scale the wall to unseat God’s. The dust settles and the corroded theology of this New Flood opens on to a barren landscape. It is religious metapoetry, “the mighty, and the terrible God” cut loose from its mission and witness. Theology splinters into a chilly science of art rather than doctrine and “the rock of my strength, and my refuge” gives way to Fame’s “roche of yse.” It is one matter for religion to hover as medieval tropology, place Nicholas’s pagan spree in the crosshairs, and stump from our shores that “pride goeth before the destruction.” It is another for religion to become the world-weary irony that exploits his shortcomings as a poet and mythographer.

“Following in the footsteps” of a predecessor was a common metaphor of imitation and succession in ancient Greece and Rome. In this chapter, I explore how Greek and Latin authors are often described, or describe themselves, as following their predecessors' tracks. But many poets also feel the need to break free from the literary past and to strive for originality by pursuing 'untrodden' paths, a paradoxically 'unoriginal' motif – most poetic composition involves an ambiguous mix of both tradition and innovation. I end by exploring how Greek and Latin poets used ἴχνια and vestigia as implicit markers of intertextual connections, a means to signpost both allusive debts and innovative departures.

A partire dal secondo Novecento tra i poeti italiani si intensifica la tendenza a comporre testi metapoetici e metalinguistici. Il fenomeno può essere interpretato come reazione allo sgretolamento del sistema delle poetiche e del canone, e contemporaneamente come risposta all'evoluzione del ruolo del poeta (cfr. Mazzoni 2017: 13). In questo panorama, l'opera di Andrea Zanzotto ricopre un ruolo nevralgico per la ricorrenza dell'istanza metapoetica e metalinguistica. L'analisi attuale intende concentrarsi sui componimenti metalinguistici, cioè quelli in cui il poeta svolge una riflessione sulla lingua.

This thesis examines the poetry and poetics of Louis Dudek, the prolific Canadian poet and critic, in order to elucidate the ways in which he balances competing realist and transcendentalist urges over the course of a career that spans more than sixty years. From his earliest -social-realist‖ poetry and polemics in the 1940s to his late -transcendental-realist‖ poems, Dudek displays a consistent interest in the poetic process. Through his self-reflexive poetry or -metapoetry,‖ in particular, Dudek begins to unite the seemingly disparate elements of his poetic project into an imaginative, intelligent, and coherent vision of universal significance. In the 1940s, Dudek's meta-poetry points most clearly to discrepancies between his early -social-realist‖ poems and First Statement polemics; in the 1950s and 1960s, Dudek's meta-poetry continues to identify and embrace the paradoxes or tensions that permeate much of his oeuvre; and in his late poetry, Dudek achieves an extraordinary balance between reality and the imagination by transforming Continuation, his final long poem, into a metaphor for the mind of the poet and for the poetic process. Ultimately, Dudek's poetics of paradox allows him to reaffirm poetry's ability to create order out of the -chaos‖ of reality and to draw ever closer to his transcendental vision of -Atlantis,‖ the -hidden reality‖ beyond the known and knowable world.

Euripides' Ion is a play with elements that challenge tragic gravity, and bring about a lighter tone. Although the body of criticism that discusses the comic elements of Euripides' tragedies (esp. the so-called tragic-comedies) is extensive, little attention has been given to cases of comic self-consciousness. The aim of this paper is to examine Ion's l.528, and more concretely Ion's utterance ...ταῦτ᾽ οὖν οὐ γέλως κλύειν ἐμοί;, as an example of comic selfawareness, that is, an instance that Euripides himself recognizes, in a metatheatrical way, as comic, while commenting at the same time on its reception on the audience's part.

In Metapoesis in the Arabic Tradition Huda J. Fakhreddine expands the study of metapoesis to include the Abbasid age in Arabic literature. Through this lens that is often used to study modernist poetry of the 20th and the 21st century, this book detects and examines a meta-poetic tendency and a self-reflexive attitude in the poetry of the first century of Abbasid poets. What and why is poetry? are questions the Abbasid poets asked themselves with the same persistence and urgency their modern successor did. This approach to the poetry of the Abbasid age serves to refresh our sense of what is “modernist” or “poetically new” and detach it from chronology.

Supervisor: Helen Gasti
Professor of Ancient Greek and Latin Literature

Εxamination Committee
H. Gasti, E. Karakasis, K. Synodinou

MA Thesis Defense: May 13, 2019
Grade: 10/10 (A)

Classics Department
University of Ioannina (Greece)

Asumo desde el comienzo el fracaso que supone sintetizar en pocas páginas las proteicas derivas de una obra como la de Reina María Rodríguez [RMR]. Quizá tal ejercicio sólo pueda sostenerse en un deseo reconstructivo, que aspira a dar cuenta de una ilusoria totalidad a partir de fragmentos desperdigados. A fin de cuentas, lidiamos con unas escrituras que se levantan en buena medida sobre algunas creencias centrales, y uno podría asumirlas también como parte de la reconstrucción. Adelanto así un posible estatuto para la poesía toda de RMR: ha sido –es– la puesta en discurso de un proyecto de sustitución de lo perdido, a partir de la idea del poema como refugio contra lo real, y de dos distanciamientos progresivamente manifestados: el que parte del ‘yo’ para concentrarse en un ‘ella’, y el que hace del poema un espacio de interrogación, más que de afirmación.

Theft was a common metaphor in antiquity to describe a poet’s appropriation and reuse of his models. Although the image could convey skill and subtlety, it was tarred with primarily negative connotations, akin to the modern conception of plagiarism. In this chapter, I explore how poets were accused of theft by critics and rivals, despite the ambiguity of the term: the distinction between literary larceny and imitation was extremely hazy, and largely seems to have been a matter of context and perspective. Yet beyond the immediate sphere of literary polemic, the metaphor of theft was also frequently reclaimed by poets as a more positive trope for their own allusive activity. I explore instances from Virgil, Horace, Ovid, Longus, Callimachus, Aristophanes, Sophocles, and the Homeric Hymn to Hermes.​

This article readdresses the issue of musico-textual relationships in trecento song, viewing them through the lens of ‘metapoesis’—that is, a poetic practice that implies the use of vocabulary in lyrics referring to the mechanics of the poetic structure. I first focus on some duecento and trecento lyrics that establish the links between the poetic topoi of separation and their positioning at the end of the poetic line, so as to perform the same kind of division structurally. The article then explores the further layers of meaning possible when such texts are set musically. In particular, music is able to articulate metapoetic ‘divisiones’ with sonic ‘cuttings’ defined as ‘divisiones soni’ in various treatises on music theory. Four case studies are adduced, which show that the musical metapoesis arguably provides a more powerful way of understanding the larger issues of musico-textual interaction in trecento song than has yet been acknowledged.

The battlefields of the Bellum Civile (BC) are filled with scenes of brutal wounding, violent death, and complex bodily mutilations. Such episodes have been interpreted as reflections of contemporary aesthetic trends (Morford, 1973., Leigh, 1997., Dinter, 2013) and indications of the epic's violent authorial poetics (Masters, 1992., Most, 1992), often focusing upon the processes of decapitation and dismemberment (Dinter, 2010, 2013) which are recurring features of Lucan's narrative. However, it is surprising, in light of the imagery presented in the BC's opening, 'populumque potentem in sua uictrici conuersum uiscera dextra' a powerful nation attacking its own guts with a victorious sword hand (1.2-3), that the effects of penetrative wounding, as opposed to amputations, have not been subject to similarly rigorous examination. This paper aims to address this gap in the modern scholarship and will explore the constructive effects of wounding of the the BC's combatants and suggest that the behaviour of these bodies during and after wounding can further inform our study of Lucanian poetics. Using the figure of Scaeva (6.118-262; 10.542-546) as a case study, I will outline how processes of penetrative wounding re-enliven Lucan's combatants, who continue fighting, sometimes even turning their mutilated bodies into paradoxical weapons. I will discuss how Lucan's presentation of the insertion of weapons into the body and their subsequent effects differs from his depictions of dismemberment and suggest that these constructive and sometimes fantastical responses to penetrative wounding mirror other instances of metapoetic bodies reacting to the stimulus of foreign materials (6.667-719; 9.789-838). I will therefore suggest that the behaviour of these bodies following processes of external penetration can help inform our wider understanding of the body in combat, as well as the representation of these experiences of combative wounding in the Latin poetic tradition.

No texto metapoético, é a própria poesia que se torna matéria de si mesma. Assim, o poeta, ao exercitar a metapoesia, revela sua consciência crítica da intrincada relação que a palavra mantém com o mundo. A produção poética e crítica de Paulo Leminski, escrita entre as décadas de 1960 e 1980, apresenta uma inquietação e traz para o debate a relação frequentemente problematizada na contemporaneidade entre pensamento, mundo e linguagem. A proposta deste trabalho é buscar os rastros dessa escrita autorreflexiva na confrontação entre a sua prosa ensaística e a sua produção poética.

This article is a study of the poetic voice´s journey of penance, torn between Catholic dogma and the Protestant doctrine through dream, nightmare and Freudian categories; a search for the voice of creation and redemption at the end of Lent. This reading intends to show the mythic structure of the poem in relation to the exploration of the religious consequences of knowledge and poetic creation. This is a set of intuitions, it is a memory of the Gospels, a memory of Heidegger, where the word is verb, and as verb it is creation; it is also a memory of Dante and of romantic and pastoral poems.

Dante's explanation of the final part of the canzone, which he calls ‘tornata’ (Convivio, II, xi, paras. 2–3), as a formal return that includes metrical and musical components casts fresh light on the poetic motive of return used in some of those tornatas and reveals a potential for metapoetic links between metrics and poetry. This article extrapolates this metapoetic reading of the word tornata to the ‘ritornello’ of the trecento madrigal and shows how poets and musicians emphasized the return in the madrigal (meta)poetically and musically. Poetically, the topos of return normally occupies centre stage in the ritornello's narrative, for it responds to the earlier impetus for wandering in the preceding strophic section and ends the amorous exile created by this wandering. The centrality of poetic return helps compensate, at least partly, for the lack of return in terms of verse structure and rhyme pattern. In three case studies, I show how text and music act symbiotically – either concordantly or in an ironically discordant manner – to close the song with an expressive structural and semantic gesture. This formal articulation that occurs on at least three different levels – metrical, poetic and musical – sheds new light on a complicated issue of musico‐textual (or, rather, musico‐metatextual) relationships in the trecento. Viewed through a metapoetic lens, the resulting relationships show that trecento musical settings do not passively sonify and ornament the body of the poem, as is sometimes implied, but generate further layers of meaning that both the practitioners of this musico‐poetic culture and their audience could well have appreciated throughout the trecento.

RESUMO

Este artigo tem por objetivo a análise de dois poemas do livro Corola, da poetisa brasileira Cláudia Roquette-Pinto. O estudo parte do texto que abre a coletânea, um poema sem título, no qual podem ser identificados aspectos metapoéticos que se revelam por meio de imagens que fazem referência à terra – jardim, flores, água-e que se repetem no decorrer da obra no intuito de apresentar ao leitor o campo de trabalho para que se cultivem rosas, às quais o título faz referência. Esses elementos desenham-se como matéria para a construção do próprio fazer poético, introduzido já no início da obra. É proposta, em seguida, uma leitura de O Náufrago, poema que encerra o livro e, de certa forma, o percurso de uma busca pela construção do texto, que se revela, segundo o eu-lírico, trabalho árduo e constante com a linguagem e seu caráter polissêmico. O poeta e seu enfrentamento com as dificuldades da representação parecem, portanto, formar a ideia central do livro. 

ABSTRACT

This article aims at analyzing two poems from the book Corola, by Brazilian poet Claudia Roquette-Pinto. The study begins with the text which opens the book, a poem that has no title in which aspects of metapoetry can be identified and revealed through images that refer to the ground – garden, flowers, water – and that are repeated throughout the book in order to introduce the reader to the field where roses are grown. The title makes reference to roses. These elements become subject matter to build the idea of writing poetry, mentioned in the beginning of this masterpiece. Next, the poem O Naufrago, which closes the book, is read. Somehow the pursuit of writing poetry is also put to an end. The process is described by the poetic persona as a hard and constant process of working with words and their polysemy. The poet and his struggle with the difficulties of representing seem to be the central idea of this book.

Comment situer Lucien au regard de Gorgias et du gorgianisme ? Dans quelle mesure adhère-t-il à l'ambition magique, médicale, poétique du langage, telle qu'elle a été formulée par Gorgias dans l'Eloge d'Hélène 1 ? Cette question recouvre le problème, bien connu, de la position de Lucien par rapport au mouvement sophistique. On sait en effet que dans les Vies des sophistes, Philostrate, « l'inventeur » de la Seconde Sophistique, ne cite pas même le nom de Lucien, parmi tant d'autres sophistes, parfois absolument oubliés, qui furent ses contemporains. De ce silence étonnant, différentes explications ont été données, invoquant notamment la carrière du Syrien comme « sophiste » au sens étroit du terme, ou encore les attaques que celui-ci a souvent portées contre sa propre caste 2 . Plus profondément, peut-être, le fait que Philostrate installe par ailleurs le gorgianisme au coeur de la Seconde Sophistique, et de la sophistique tout court 3 , invite à formuler le problème dans les termes précis du rapport à Gorgias. Philostrate aurait-il reconnu en Lucien quelque chose de profondément anti-gorgianique, dont il le punirait par cette mise au ban de la Seconde Sophistique 4 ?

Este artículo propone una lectura reflexiva de la actitud del autor y de la dimensión autobiográfica de los Sonetos de Shakespeare, con referencia especial al poema que concluye la edición de 1609, "A Lover's Complaint", frecuentemente ignorado por los críticos de los Sonetos. El poema permite reinterpretar en un sentido metapoético las representaciones de la escritura poética y de la implicación del autor que se dan en los Sonetos.

ABSTRACT:
   
This paper proposes a reflexive reading of the authorial attitude and the autobiographical dimension of Shakespeare's Sonnets, with special reference to the concluding poem of the 1609 edition, "A Lover's Complaint", frequently neglected by critics of the Sonnets. The poem provides some additional evidence for a metapoetic dimension in the Sonnets' representation of authorial involvement and writing.

Note: Downloadable document is in Spanish.

RESUMO: O prólogo de uma peça é metapoético, uma vez que em geral versa sobre a poesia, não raro sobre a ação do próprio drama a ser representado. Pode-se dizer que o prólogo da "tragicomédia" plautina Anfitrião, apresentado pelo deus Mercúrio -que também atua como personagem na trama -contém aspectos metapoéticos singulares em relação aos demais prólogos plautinos. Não se limitando a expor o enredo de Anfitrião, a personagem que o enuncia chega a discorrer acerca do gênero poético no qual a peça se enquadraria (tragicocomoedia v. 59 e v. 63), bem como das personagens que tomam parte na ação, dos versos utilizados, do contexto teatral romano, entre outros temas correlatos. Nosso objetivo aqui é apresentar nossa tradução de algumas das passagens respectivas e sobre elas tecer breves considerações. Palavras-chave: Letras Clássicas -metapoesia -Plauto -Anfitrião -prólogo.

Lucan’s Bellum Civile professes to sing of past internecine strife as the great unmaking of the Roman world (Luc. 1.1-7) while reminding its readers of Rome’s survival through frequent references to Lucan’s contemporary surroundings, and hints towards the demise of earlier literary traditions while revealing these traditions as the building blocks of its own narrative. As much as the Bellum Civile delights in exploring the death of the living, it also delights in exploring the life of the dead, reanimating the civil war of 49-45 BC – Lucan’s bellum victurum – to live again through its fiery verses. Nowhere is this interest more apparent than in the elaborate necromancy carried out by the Thessalian witch Erictho at the bequest of Sextus Pompey (Luc. 6.507-830), a scene which engages extensively – obsessively, even – with the works of Lucan’s predecessors and thus positions the Bellum Civile within the wider epic tradition.

This thesis examines the Bellum Civile’s necromancy – a triumph of this interest in life and death – as a major metapoetic episode, the overarching themes of which suggest that Lucan’s conception of his central civil war subject is far less pessimistic and more pragmatic than a surface reading of his epic might suggest. The first three chapters of this thesis focus upon three metapoetic tropes within the necromancy episode – i) the vates figure, ii) the body, and iii) ‘songs’ – and argue that Lucan’s negotiation of these tropes shows that his wider poetic programme is far more nuanced and constructive than previously assumed. The first chapter examines the Bellum Civile’s negotiation of the vates figure and identifies Erictho as a key internal figure aligned with Lucan’s own vatic self-identification through which Lucan reflects upon his position and powers as a poet. The second chapter looks at one area of Erictho’s necromantic activities – her use of bodily materials – and argues that the sophisticated and rational characteristics of her actions offer a foil through which to understand Lucan’s constructive acquisition and reuse of literary materials. The third chapter substantiates this reading with a close examination of the literary qualities of Erictho’s carmina, before turning to consider the often-overlooked corpse and its utterances and suggesting that Erictho’s powers of reanimation mirror Lucan’s own powers of poetic creation and control. The final chapter draws out the productive and progressive themes which characterise the Bellum Civile’s poetic programme as highlighted in the previous three chapters and proposes that Lucan presents a pragmatic picture of civil war not as the end of all things, but as a totalistic process of transformation which - for better or for worse - leaves behind a new Roman world in its wake.

Cum Horatius in primo carmine quarti libri alludit ad versus, qui in tribus prioribus
libris inveniuntur, significare videtur se non tam de dubiis, an rursus sibi amandum
sit, loqui, quam potius haesitare, num sint ei plura carmina scribenda.

Seules seize épigrammes de Léonidas de Tarente accordent une place à un ou plusieurs personnages féminins non divins et individualisés. Dans l’épigramme 39 GP (= AP VI, 355), une mère offre à Bacchus une œuvre d’art, un portrait de son fils, dont elle reconnaît la mauvaise qualité. Cette caractérisation négative de l’objet offert est peu courante dans l’épigramme grecque ...

Only sixteen epigrams of Leonidas of Taranto give a place to one or more non-divine and individualized female characters. In epigram 39 GP (= AP VI, 355), a mother offers Bacchus a work of art, a portrait of her son, which she recognizes as being of poor quality. This negative characterization of the offered object is uncommon in Greek epigrams ...

https://www.mediterraneanchronicle.org/content.asp?catid=52

Although the body of criticism that discusses the comic elements of Euripides' tragedies (esp. the so-called tragic–comedies) is extensive, very little attention has been given to their satyric aspects. The aim of this paper is to examine the Parodos (ll. 184–236) of Euripides' Ion in terms of its intertextual familiarity with the Aeschylean satyric drama Theoroi or Isthmiastai. The degree of the " parasatyric " referentiality present in the Parodos demonstrates the sophistication of Euripides' metapoetic strategies.

Este artículo pretende contribuir en alguna medida a la descripción de la forma de las Odas de Píndaro. Teniendo en cuenta que el decir poético es en primera instancia un proyecto de mímesis, intentamos mostrar en qué sentido los epinicios están diseñados para romper constantemente la ilusión mimética. Esta ruptura asume diversas formas, entre las cuales paremias, deixis y pasajes autorreferenciales son quizá las más relevantes.

The aim of this paper is to examine in the Ion the Euripidean models for the audience’s emotional response. Throughout the play, the audience is encouraged to engage in a process of emotional reaction to what they see. To provide some instances, in the first dialogue between Creusa and Ion, Euripides suggests pity as the appropriate way of emotional reaction to this dialogue. Watching their lady’s husband find a “son”, Creusa’s maids invite the spectators to share with them the feelings of disaffection and fear. Feeling compassion for “tragic” heroine’s “misfortunes”, they suggest tear dropping as a mutual emotional reaction: πᾶς ἂν ἐκβάλοι δάκρυ (l.924 “everyone would shed a tear at this”).

Clemens Brentano (1778-1842) gilt als der Prototyp des romantischen Dichters überhaupt. Zerrissen wie seine Existenz und Persönlichkeit wirken auch viele seiner Texte, nicht zuletzt das hermetische Prosafragment "Der schiffbrüchige Galeerensklave vom todten Meer", in dem Brentano die vier Diskursbereiche Liebe, Handel, Kunst und Religion in eine spannungsreiche Analogiebeziehung bringt. Wenn man den Galeerensklaven, wie in der Forschung üblich, nur als autobiographischen Schlüsseltext versteht, läßt er sich damit also noch längst nicht erschöpfend interpretieren. Diese Studie versucht mittels eines dichten semantischen Protokolls, das disparate Fragment kohärent lesbar zu machen und seine innere Logik zu erschließen. So entpuppt sich der "Galeerensklave" als poetologischer Text: Brentanos Ich-Erzähler, der Dichter Benone, muß erleben, wie seine Imaginationen von Weiblichkeit sich verselbständigen und gegen ihn auflehnen. Frau und Kunstwerk entgleiten ihm.

Clemens Brentano (1778-1842) is often considered as the prototypical Romantic poet. Many of his texts appear just as ruptured and torn as his existence and character, among them even the hermetic novel fragment "The shipwrecked galley slave of the Dead Sea", which combines four areas of discourse - love, trading, art, and religion - in a tense net of analogies. Thus, following the tradition of interpreting the "Galley slave" as an autobiographical roman a clef will not suffice to determine the specific profile of this text. This study attempts a coherent reading of the disparate fragment by means of a close semantic protocol, reconstructing its inner logic. The "Galley slave" emerges as a poetological text: Its narrator, the poet Benone, experiences how his images of the feminine become independent and start rebelling against their own creator. He loses control of both his lovers and his works of art.

Exceto onde especificado diferentemente, a matéria publicada neste periódico é licenciada sob forma de uma licença Creative Commons -Atribuição 4.0 Internacional. https://creativecommons.org/licenses/by/4.0/ ENSAIOS https://dx.Resumo: O objetivo deste artigo é identificar alguns dos princípios teóricos que nortearam o trabalho poético do poeta português Afonso

In his “linear” poetic works, Adriano Spatola has always reflected on metapoetic and metalinguistic aspects. Metatextuality is a particular feature of his reflections, and it occurs when a poem refers to itself in so far as it is a poetic text. This paper analyzes a corpus that consists of twelve poems included in the poetry collections Majakovskiiiiiiij (1971), La composizione del testo (1978), La piegatura del foglio (1983) and La definizione del prezzo (1992). The linguistic and stylistic analysis of these poems has brought to light the recurring presence of performative verses in metapoetic texts. This means that it is possible to include the “linear” metatextuality in Spatola’s «total poetry». Therefore, in his work the extra-textual reality and the co-textual reality tend to coincide on the written page, which is typical of the performative dimension of poetry.

Resumo Refletindo sobre as singularidades da arte poética de Glauco Mattoso, esse trabalho analisa alguns metapoemas da chamada fase cega do escritor, em que a audição passa a ser ferramenta fundamental no processo de criação, assim como a predominância da forma poética do soneto, eleito por sua intrínseca sonoridade e facilidade mnemônica. Aliado ao trabalho sensitivo com o som e ritmo, o poeta estabelece um processo de definição/redefinição do soneto, no qual se assenta uma tensão entre o espírito criador da persona literária e a tradição – especialmente a fescenina. Nessa revisão crítica, veremos como a abjeção surge não apenas como tema nos poemas do escritor, mas integra e sustenta o seu projeto estético, ou seja, define seu estatuto poético.

Resumo: O poema I.20 de Propércio é frequentemente apontado pelos críticos como uma composição complexa, ou mesmo obscura. Nessa elegia de 52 versos, Propércio, lidando com matéria pederástica, alude ao episódio do rapto de Hilas, e traça um paralelo entre o famoso mito e a atual situação vivenciada por Galo no plano amoroso. Ao fazer isso, Propércio recorre a diversos elementos típicos de um locus amoenus, de modo a descrever o lugar onde os eventos narrados transcorrem. Na verdade, uma análise atenta mostra como essa tópica também recebe um tratamento metapóetico, na medida em que certos vocábulos e imagens a ela associados parecem remeter diretamente ao gênero elegíaco. O presente artigo consistirá numa breve apresentação do mencionado poema, enfocando particularmente o motivo do cenário aprazível, em sua relação com a elegia e com outros gêneros poéticos. Palavras-chave: Propércio I.20; elegia; locus amoenus; mito de Hilas; metapoesia.

Metalyrik bezeichnet einen besonderen Modus des poetischen Ausdrucks, der seit Anbeginn lyrischen Schaffens die Dichtung als poetologische Konstante begleitet. Insbesondere im 20. Jahrhundert wird die Metalyrik als autoreferentielle Poesie zu einem nicht mehr wegzudenkenden Element der Literatur. Die vorliegende Arbeit untersucht zunächst anhand einer sprachlogischen Systematik der „metalyrischen Aussage“ die bis dato noch wenig beleuchtete metapoetische Produktion Italiens, die an Reichtum kaum zu übertreffen ist.

Die weiteren Analysen zur indirekt vermittelten Metalyrik gehen von konventionalisierten Metaphernfeldern aus, die schon vor dem Novecento als kennzeichnend für diesen Modus betrachtet werden können. Die Vielzahl einzelner Metaphernbereiche lässt sich dabei auf vier Grundpositionen lyrischer Selbstdarstellung zurückführen.

Von D’Annunzio bis Zanzotto spannt sich der Bogen der Untersuchung und zeigt so anhand der Autoren die Unterschiede und Gemeinsamkeiten in der Entwicklung eines selbstreferentiellen literarischen Systems.

As we follow Valerius' Argonauts on their bold voyage around the Mediterranean world, we are able to trace their course using references to coastal landscapes bordering the vast sea. In casting the Argonauts' great unknown in civilised and Roman terms, Valerius creates a paradox between the expedition's inherent primacy and the established familiarity of the topographical features which these intrepid sailors use as navigational aids throughout their journey. These catalogues have been discussed in relation to their engagement with comparable aetiological passages in Apollonius Rhodius' Argonautica (Manuwald, 2014), their discussion of Roman imperial expansion (Slaney, 2014), and their place within Valerius' negotiation of his belated position within the epic tradition (Malamud & McGuire, 1993, Hershkowitz 1998).