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dc.contributor.authorMiller, Kaori
dc.date.accessioned2014-03-04T21:59:38Z
dc.date.available2014-03-04T21:59:38Z
dc.date.issued2002-08
dc.identifier.othermiller_kaori_200208_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/miller_kaori_200208_ma
dc.identifier.urihttp://hdl.handle.net/10724/29267
dc.description.abstractThrough a complex network of allusion, Vergil models the funeral games for Anchises in Aeneid 5 on the games presented in Iliad 23, in part because the thematic content of Iliad 23 (competition, father-son relationships, fictional reality) is surprisingly adaptable to his own needs. The Iliadic games thus offer Vergil a means both to imitate and to surpass his predecessor as epic poet. By analyzing the references to and deviations from the Iliadic paradigm, Vergil’s adaptation of these games becomes clear. He used the framework of the games in Iliad 23 as a starting point for an exploration of particular Roman concepts, especially pietas, with the result of creating a text that is derivative, yet innovative, Greek, yet Roman.
dc.languageFrom carcer to meta
dc.publisheruga
dc.rightspublic
dc.subjectAeneid 5
dc.subjectIliad 23
dc.subjectFuneral Games
dc.subjectPietas
dc.titleFrom carcer to meta
dc.title.alternativeVergilian and Homeric funeral games in the intertextual agon
dc.typeThesis
dc.description.degreeMA
dc.description.departmentClassics
dc.description.majorClassics
dc.description.advisorSarah Spence
dc.description.committeeSarah Spence
dc.description.committeeMario Erasmo
dc.description.committeeNancy Felson


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