Lacrimae sua verba sequuntur: elegiac pathos and e­mo­tional reticence in the Herois of Hypermestra. To bridge the physical and psychological distance that separates the women from their men, in Ovid’s Heroides the lamenting girls display a wide range of emotions, expressed with marked rhetorical emphasis. While Penelope and Laodamia hope for the return of their husbands from the Trojan war, Oenone, Hypsipyle, Deianira, and Medea, betrayed by their partners, are tormented by jealousy; not much better fate awaits Phyllis, Dido, and Ariadne, abandoned by the men they had saved and welcomed; finally, Briseis and Hermione lament the laziness of Achilles and Orestes, slow to rescue them from their detestable captivity. However, it seems that this emotional movement is somewhat censored in the letter of Hypermestra to Lynceus, whose cold and formal tone has often been highlighted by scholars: forced, like Canace, to endure the cruelties of a merciless father, the innocent Danaid, on the one hand, omits any reference to the passion of love, while on the other hand, insists on the pietas shown toward the sanctity of marriage. My paper, therefore, aims to compare Hypermestra’s sensibility with the emotional attitude of the other heroines, in order to bring out the originality in Heroides XIV.

Plecând de la cele patru moduri de existență a ficțiunii istorice pe care le teoretizează David Cowart în “History and the Contemporary Novel”, studiul meu începe cu o prezentare succintă a literaturii istorice românești de laînceputul secolului al XX-lea, pentru a continua cu analiza unuia dintre cele maicurajoase texte cu pretext antic scrise în timpul dictaturii antonesciene: “Amo, amas, amat...” (1943) de V. Beneș. Această proză scurtă vizionară, ce ilustreazătipul “The Way it Will Be” din taxonomia lui Cowart, constituie de fapt o distopietotalitară atent deghizată, care se abate de la modelul dominant în epocă. Majoritatea scriitorilor noștri priveau istoria printr-o lentilă vizibil deformată de mizelesocio-politice și ideologice ale zilei. Cu excepția deturnărilor de semn și sens autentic avangardist, exercițiile ficționale de întoarcere în trecutul mai mult sau mai puțin îndepărtat au eșuat de cele mai multe ori: fie în elogii întristătoare ale unui mod de viață revolut, fie în lamentații liricoide de tipul ubi sunt...?, fie în panegirice jenante și pledoarii transparente pentru anumite ideologii naționaliste (de regulă,extremiste). Prin opoziție, “Amo, amas, amat...” configurează un univers distopicale cărui semnificații denunță ororile sistemului totalitar și anunță falimentul on-tologic, pe care niciun construct utopic nu îl poate deghiza.

Lucrarea urmărește felul în care Liviu Rebreanu a perceput Roma în timpul vizitei sale din 1927, experiență consemnată în volumul Metropole.Rebreanu trăiește vizita ca pe o regăsire de sine: pentru el, fiecare ruină e impregnată de semnificații, până la a deveni expresia unei armonii divine și a perfecțiunii.În viziunea sa, Roma nu este doar martora unei civilizații trecute, ci însăși întruparea spiritului latin, fundament al identității românești.

The study of the Italian language at the University of Iași was stimulated by the joint political initiative of Romania and Italy to boost bilateral relations. The political agreement concluded in 1926 paved the way for cultural and academic cooperation, while Mussolini’s objective to develop relations with south-eastern European countries, to the detriment of France, led to a more visible presence of Italian culture in Romania especially due to the opening of language and civilization departments within universities. The first Italian Language Department was established at the University of Iași in 1929. The introduction of Italian as a compulsory discipline for Modern Philology students in the mid-1930s led to an increase in the number of students. However, the development of Romanian-Italian academic relations, which was also politically stimulated by both countries joining the Axis, was halted for political reasons, as well: from 1943 Romania and Italy followed different paths, and the collaboration between universities was thus interrupted.

Acest articol prezintă imaginea provinciei Moesia Inferior în istoriografia românească, de la Vasile Pârvan până la Istoria Românilor, lucrare publicată de Academia Română în 2001. Parcurgând principalele istorii ale Dobrogei, regiunea istorică românească care a făcut parte din provincia Moesia Inferior, devenită ulterior Scythia, sunt prezentate aspectele principale ale fiecărei lucrări, dar și modul în care scrierea istoriei s-a schimbat de la perioada in-terbelică la perioada comunistă și după 1989. Sunt evidențiate aspecte specificeperioadei comuniste/staliniste timpurii, apoi se trece la perioada de relaxare, începând cu anii 1960, pentru a ajunge la ultimii ani ai regimului, caracterizați de ideologia național-comunistă. În opinia autoarei, naționalismul este încă puternic prezent în istoriografia românească, dar la fel sunt și alte teme, precum romanizarea și continuitatea daco-romană.

Blaj Vulgate’s Book of Psalms (1760-1761): between the Latin model and tradition. The first Romanian translation of the Bible from Latin, dating from the second half of the 18th century, shows multiple concordances with previous versions, translated from Slavonic and Greek. Studying the hypothesis of a possible Latin source of the 16th-century Romanian psalters, we aim to investigate to what degree translation options from the Blaj Vulgate’s Book of Psalms are similar to those of the old translators. The analysis of several translation choices, mainly at the syntactic level, showed multiple resemblances in the use of some prepositions, most of them due to the Latin origin of Romanian; on the other hand, Vulgate explains the use of various prepositions in the translation from Blaj compared to older versions. As for the particular traits of biblical Latin, also occurring in the Romanian versions, the concordances can be explained by the existence of similar structures in Greek (often influenced by Hebrew) that were transferred both in the Latin and Slavonic translations, the latter transmitting them to the Romanian versions, or through the existence of similar structures in Latin and Slavonic.

Deceptive face and truthful smell (Cic. Pis. 1; 13). The lexical analysis of the descriptive elements of Lucius Calpurnius Piso Caesoninus’ vultus (Cic. Pis. 1) and his bad bodily smells (Cic. Pis. 13) is the focus of this work: it aims at understanding the way Cicero builds the ‘figure of the enemy’ in the speech In Pisonem. Cicero shows that Piso’s facial signals are deceptively falsified, aimed at providing a false image of himself (Cic. Pis. 1). Instead, the sensory analysis of odors, which he leaves behind, reveals his true degenerate nature. In a vituperatio full of comical vis, the proof of the physical and moral turpitudo of Piso is provided by the eloquentia corporis. The evocation of a visit to his home (Cic. Pis. 13) offers the opportunity for a full description of the olfactory perceptions: the smell of wine and ganeae around Piso recreate with great evidentia the atmosphere of the meeting. In this way, Cicero reveals the marks of Piso’s vitia and stimulates disgust and condemnation towards him.

Rediscovering the “old” Dacia in modern Romanian literature. Between nostalgia and claiming another beginning of the historical destiny. At the dawn of Romanian modernity, a new concept began taking shape in the local culture – Old Dacia. With a semantic resonance and a temporal scope extending beyond the perspectives provided by Romanised Dacia, this “first draft” introduced an exoticism with a scholarly note into the public sphere, maintained curiosity and stirred a certain degree of amazement. The historical origins were discussed, and occasionally even questioned, in harmless narrative registers; those who had been presented as the earliest ancestors were reevaluated, and a different homeland was outlined on the world map. Its acclimatisation and acceptance into the collective mindset, inclusion in school curricula, and presence in popular literature were challenging. There was a lack of necessary information, of storytellers gifted with the ability to put words to paper; above all, however, there was a scarcity of readers.

Culture and power in the age of Valentinian I. This paper analyses the cultural policy of Valentinian I. The Pannonian emperor acted in a complex era in which military problems took priority. He did not, however, disregard culture; he took wide-ranging measures that, starting from individual aspects, had general repercussions and were part of the military perspective of a general control over the vital ganglia of society.

The Image of the Dacians in Dimitrie Cantemir’s Historical Works. In this paper, we aim to analyze the historiographical work of Dimitrie Cantemir, written in Latin and Romanian, in order to identify the ways in which the image of the Dacians is used in the author’s rhetorical and argumentative strategies. The Dacians are associated with the figures of the emperors Oc­tavianus Augustus and Trajan, which are emblematic in the author’s view, for the ethnogenesis of the Romanian people. Although Cantemir believes that the Dacians were exterminated by the Romans, he uses their image, portrayed with positive, heroic features, as an argument and a proofe regarding the antiquity and nobility of the Romanian people.