Aeneas se onderwêreldse reis in illustrasie : ’n resepsie-historiese studie van tonele in Aeneïs VI

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dc.contributor.advisor Malan, C. A.
dc.contributor.advisor Cornelius, I.
dc.contributor.author Swanepoel, Liani Colette en_ZA
dc.contributor.other University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Ancient Studies.
dc.date.accessioned 2008-07-31T12:48:53Z en_ZA
dc.date.accessioned 2010-06-01T08:30:48Z
dc.date.available 2008-07-31T12:48:53Z en_ZA
dc.date.available 2010-06-01T08:30:48Z
dc.date.issued 2006-03 en_ZA
dc.identifier.uri http://hdl.handle.net/10019.1/1690
dc.description Thesis (MA (Dept. of Ancient Studies) -- University of Stellenbosch, 2005.
dc.description.abstract Throughout the centuries artists have visualised the imaginative works of Publius Vergilius Maro in a variety of art forms. Paintings, frescoes, sculptures and even tapestries have made the wordscenes of his great epic, the Aeneid, concrete. The thesis investigates only the illustration of the epic in manuscripts and printed texts or translations. The illustrations of scenes in Book VI – the journey of Aeneas in the underworld – are studied using the reception-historical approach. This is to determine whether the illustrations of the Trojan hero’s journey in the underworld reflect the reception of the Aeneid in the different eras or periods. The illustrator is a “reader” of the Aeneid text or translation and consequently his/her illustration of a particular scene reflects his/her own visual interpretation thereof. Illustrations of Book VI in manuscripts like the Vergilius Vaticanus of late Antiquity and the mid- 15th century Riccardiana Vergilius of Apollonio di Giovanni are examined. A study of illustrations in printed texts or translations range from the 1502 Grüninger edition of Vergil edited by Sebastian Brant to the Book VI illustration of Thom Kapheim in a textbook published in 2001. The aim is to establish how illustrators associated with Book VI, interpreted it, how their environment and the spirit of the age influenced their visualisation and how their illustrations reflect the reception of the epic throughout the centuries. Such a study hopes to provide a contribution to Vergilian reception and Nachleben. In the process a better understanding can be obtained for the importance and changing role of Aeneid VI and the whole epic in different eras. It is found that the illustrators of the Aeneid – influenced by the different spirit of their times and environments – brought forth unique visual interpretations of scenes in Book VI that suggest a particular reception of the epic at that specific point of time. The illustrative spectrum of Book VI throughout the centuries can be summarised as follows: revival, allegorisation, pedagogic, realistic decoration and eventually increasingly unrealistic decoration. From late Antiquity to the beginning of the 21st century, the illustrative visualisation of the journey of Aeneas in the underworld indicates that there has always been a definitive response to Vergil and his epic. en_ZA
dc.language.iso af en_ZA
dc.publisher Stellenbosch : University of Stellenbosch
dc.subject Dissertations -- Ancient studies en
dc.subject Theses -- Ancient studies en
dc.subject Virgil en
dc.subject Aeneis en
dc.subject Illumination of books and manuscripts, Ancient en
dc.subject Illustrated books en
dc.subject Illustration of books -- Themes, motives en
dc.title Aeneas se onderwêreldse reis in illustrasie : ’n resepsie-historiese studie van tonele in Aeneïs VI af
dc.type Thesis en_ZA
dc.rights.holder University of Stellenbosch


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