Julia Haig Gaisser
Biographic Data
| ID | 979342 |
|---|---|
| NAME | Julia Haig Gaisser |
| GIVEN NAMES | Julia Haig |
| FAMILY NAME | Gaisser |
| SIGNATURE | GAISSER J H |
| AFFILIATIONS | Bryn Mawr College |
| VERIFIED | No |
| TOTAL WORKS | 35 |
| TOTAL CITATIONS | 103 |
| WORKS AS AUTHOR | 35 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1971 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 5 |
Fortunes of Apuleius and the Golden Ass
The complete poems of Tibullus
Preface Introduction Julia Haig Gaisser Tibullus: Books 1 and 2 Lygdamus: Corpus Tibullianum 3.1--6 Sulpicia: Corpus Tibullianum 3.13--18 = 4.7--12 Domitius Marsus Epigram Appendix: Ovid Amores 3.9 Notes to the Translations Glossary Select Bibliography Index
Ovid’s Metamorphoses in English Poetry (review)
Reviewed by: Ovid’s Metamorphoses in English Poetry Julia Haig Gaisser Sabine Coelsch-Foisner and Wolfgang Görtschacher (eds.) Ovid’s Metamorphoses in English Poetry. Wissenschaft und Kunst, 10. Heidelberg: Universitätsverlag Winter, 2009. Pp. xxi, 303. €48.00. ISBN 978-3-8253-5520-3. As Sabine Coelsch-Foisner explains in her introduction, this volume of essays on the reception of Ovid’s Metamorphoses in English poetry was produced under the aegi…
The Virgilian Tradition
Reviewed by: The Virgilian Tradition: The First Fifteen Hundred Years Julia Haig Gaisser Jan M. Ziolkowski and Michael C. J. Putnam (eds.) The Virgilian Tradition: The First Fifteen Hundred Years. New Haven: Yale University Press, 2008. Pp. xxxix, 1082. $100.00. ISBN 978-0-300-10822-4. Reception studies have become a hot field in the last few years, and no author has been a greater beneficiary of this interest than Virgil. Since 2000 we have seen…
Catullus
The Fortunes of Apuleius and the Golden Ass
The Reception of Plutarch’s Lives in Fifteenth-Century Italy
Marianne Pade. The Reception of Plutarch’s Lives in Fifteenth-Century Italy. 2 vols. Copenhagen: Museum Tusculanum Press, 2007. 644 pp. + 18 color pls. index. append. illus. bibl. $105. ISBN: 978-87-635-0532-1. - Volume 61 Issue 2
Catullus in the Renaissance
This chapter contains section titled: Martial's Legacy The First Interpreters Catullus at the University of Rome The French Connection Conclusion
Printing the Classical Text
Howard Jones. Printing the Classical Text. Bibliotheca Humanistica & Reformatorica 62. Utrecht : Hes & de Graaf Publishers BV, 2004. x + 228 pp. index. append. illus. tbls. bibl. €132.50. ISBN: 90-6194-279-9. - Volume 58 Issue 2
Picturing Catullus
Catullus
The Rise and Fall of Goritz's Feasts
At his festival in 1513 the talking statue Pasquino took the character of Apollo to celebrate the election of Leo X and to predict a golden age of patronage and poetry. “I used to be an exile,“ Pasquino/Apollo remarks, “But I'm back in Leo's reign. / So burn your midnight oil, boys, / And follow in my train, / For no one leaves my Leo / Without a handsome gain. / Bards will sing for prizes, / And they'll not sing in vain.“ The new era lived up to…
Catullus and His Renaissance Readers
Threads in the Labyrinth
The Roman Odes at School
Interpretatio
Although his companions in the first edition had all received printed commentaries by 1475 and were well on their way to acquiring a modern critical tradition, it was to be another decade before anyone published a commentary on Catullus. Renaissance readers could use Propertius and Tibullus to explain each other, and they found Statius’ subjects well documented in Martial and Pliny, but they lacked contemporary comparandaand sources for Catullus.…
Appendices
Subject Literary Studies (British and Irish) Literary Studies (Early Modern) Textual Criticism Collection: Oxford Scholarship Online
Abbreviations
Imitatio
Catullus’ first Renaissance readers searched his text for tags to ornament their own writings and correspondence, but their successors were more ambitious. By the first decade of the fifteenth century poets (or would-be poets) were attempting to write their own versions of Catullus’ poems; by mid-century, Giovanni Pontano, the major poet of the age, had produced two remarkable collections of poetry in the style of Catullus, and within a few years…
Parodia
The distinctive qualities of 4 inspired the only parody of a whole poem that survives from Antiquity, the 10th Catalepton.2No one knows the author of Cat al.10, but in the Renaissance he was most often identified with the young Vergil; and the Vergilian aura and authority prevailed in spite of the caution or protests of individual scholars. Vergil (as we shall call him) produced a parody so close to the original that the texts of the two poems ha…
Title Pages
Illustrations
Subject Literary Studies (British and Irish) Literary Studies (Early Modern) Textual Criticism Collection: Oxford Scholarship Online
Emendatio
After being lost to sight for a thousand years Catullus came to light again in a single corrupt manuscript, the Veronensis, on the very eve of the Renaissance. An ‘exile returning from a distant land’, as Benvenuto Campesani describes him, he had narrowly survived the neglect and vicissitudes of the Middle Ages, and he was scarred and mutilated from his passage.
Praelectio
In November of 1521 Pierio Valeriano began a series of lectures on Catullus at the University of Rome, at a moment when he was at the height of his success and Roman poetry and humanism were enjoying a golden age under the patronage of Pope Leo X.
Selective Chronology
Subject Literary Studies (British and Irish) Literary Studies (Early Modern) Textual Criticism Collection: Oxford Scholarship Online
Catullus and his Renaissance Readers
This is the first general study of the fortunes of Catullus in the Renaissance. After a brief introduction tracing the transmission of the poet from antiquity to the middle of the fifteenth century, the book follows his reception and interpretation by editors, commentators, university lecturers, and poets from the first edition (1472) through the sixteenth century. The focus is on Catullus but also on his Renaissance readers. Their text and inter…
Catullus
Threads in the Labyrinth
Catullus
Tibullus 1. 7
The Roman Odes at School
The Rise and Fall of Goritz's Feasts
At his festival in 1513 the talking statue Pasquino took the character of Apollo to celebrate the election of Leo X and to predict a golden age of patronage and poetry. “I used to be an exile,“ Pasquino/Apollo remarks, “But I'm back in Leo's reign. / So burn your midnight oil, boys, / And follow in my train, / For no one leaves my Leo / Without a handsome gain. / Bards will sing for prizes, / And they'll not sing in vain.“ The new era lived up to…
Catullus. A Critical Edition
Tibullus 1. 7
Mythological Exempla in Propertius 1.2 and 1.15
Latin
A Critical Concordance to Catullus
Catullus. A Critical Edition
Virgil
Interpretatio
Although his companions in the first edition had all received printed commentaries by 1475 and were well on their way to acquiring a modern critical tradition, it was to be another decade before anyone published a commentary on Catullus. Renaissance readers could use Propertius and Tibullus to explain each other, and they found Statius’ subjects well documented in Martial and Pliny, but they lacked contemporary comparandaand sources for Catullus.…
Appendices
Subject Literary Studies (British and Irish) Literary Studies (Early Modern) Textual Criticism Collection: Oxford Scholarship Online
Abbreviations
Imitatio
Catullus’ first Renaissance readers searched his text for tags to ornament their own writings and correspondence, but their successors were more ambitious. By the first decade of the fifteenth century poets (or would-be poets) were attempting to write their own versions of Catullus’ poems; by mid-century, Giovanni Pontano, the major poet of the age, had produced two remarkable collections of poetry in the style of Catullus, and within a few years…
Parodia
The distinctive qualities of 4 inspired the only parody of a whole poem that survives from Antiquity, the 10th Catalepton.2No one knows the author of Cat al.10, but in the Renaissance he was most often identified with the young Vergil; and the Vergilian aura and authority prevailed in spite of the caution or protests of individual scholars. Vergil (as we shall call him) produced a parody so close to the original that the texts of the two poems ha…
Title Pages
Illustrations
Subject Literary Studies (British and Irish) Literary Studies (Early Modern) Textual Criticism Collection: Oxford Scholarship Online
Emendatio
After being lost to sight for a thousand years Catullus came to light again in a single corrupt manuscript, the Veronensis, on the very eve of the Renaissance. An ‘exile returning from a distant land’, as Benvenuto Campesani describes him, he had narrowly survived the neglect and vicissitudes of the Middle Ages, and he was scarred and mutilated from his passage.
Praelectio
In November of 1521 Pierio Valeriano began a series of lectures on Catullus at the University of Rome, at a moment when he was at the height of his success and Roman poetry and humanism were enjoying a golden age under the patronage of Pope Leo X.
Selective Chronology
Subject Literary Studies (British and Irish) Literary Studies (Early Modern) Textual Criticism Collection: Oxford Scholarship Online
Commentarius
As we saw in Chapter 2, the first generation of Catullan commentators laboured mightily just to make sense of Catullus’ poems—-often with little success. None of the three was a famous or distinguished scholar. Partenio and Palladio were schoolmasters; Alessandro Guarino, though of a famous humanist family, was himself primarily a courtier. Each, to the extent that he is known at all, is known almost exclusively for his work on Catullus. There is…
Conclusion
Subject Literary Studies (British and Irish) Literary Studies (Early Modern) Textual Criticism Collection: Oxford Scholarship Online
Dedication
Catullus and his Renaissance Readers
This is the first general study of the fortunes of Catullus in the Renaissance. After a brief introduction tracing the transmission of the poet from antiquity to the middle of the fifteenth century, the book follows his reception and interpretation by editors, commentators, university lecturers, and poets from the first edition (1472) through the sixteenth century. The focus is on Catullus but also on his Renaissance readers. Their text and inter…
The Roman Odes at School
The Rise and Fall of Goritz's Feasts
At his festival in 1513 the talking statue Pasquino took the character of Apollo to celebrate the election of Leo X and to predict a golden age of patronage and poetry. “I used to be an exile,“ Pasquino/Apollo remarks, “But I'm back in Leo's reign. / So burn your midnight oil, boys, / And follow in my train, / For no one leaves my Leo / Without a handsome gain. / Bards will sing for prizes, / And they'll not sing in vain.“ The new era lived up to…
Catullus and His Renaissance Readers
Threads in the Labyrinth
Catullus
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