Nonorientable 3-manifolds admitting coloured triangulations with at most 30 tetrahedra

We present the census of all non-orientable, closed, connected 3-manifolds admitting a rigid crystallization with at most 30 vertices. In order to obtain the above result, we generate, manipulate and compare, by suitable computer procedures, all rigid non-bipartite crystallizations up to 30 vertices.Comment: 18 pages, 3 figure

Virgil’s ambivalence towards Octavian

There is a clear link between Virgil’s Ecl. 1 and the ending of the Georgics, suggested by the quotation of Ecl. 1. 1 at Georg. 4. 566. Common to the two texts is a dualistic structure, in Ecl. 1 between the different situations of Tityrus and Meliboeus, and in Georg. 4. 559–566 between the different choices of life by Octavian and the poet. But the two texts are also linked by the figure of Octavian, in Ecl. 1 iuvenis deus, but also responsible for the land eviction suffered by Meliboeus, at Georg. 4. 560–562 thundering and shining god, opposite to Virgil’s leisure. It is a symptom of a constantly ambivalent attitude of Virgil towards him, confirmed once again at the end of the Aeneid: here in a new dualism (Aeneas/Turnus, mercy/vengeance) we find a figure (the hero) and a theme (revenge) closely related to Octavian. So these key-points of his poetry offer an opportunity to reflect on the range and limits of Virgil’s consent to the Augustan regime

The Metamorphosis of Daphnis from Theocritus to Virgil

The character of Daphnis, who has intriguing significance in folklore and religion, becomes an important literary figure in Theocritus, who, in his narrative of Daphnis’ death, makes him the founding figure of his new genre, bucolic poetry. Theocritus’ successors, Bion of Smyrna in his Adonidis Epitaphium, and the anonymous author of Bionis Epitaphium, refer to Daphnis – inevitably the Theocritean Daphnis – and transform his figure, adapting it to the themes and purposes of their poems. After them, in founding Latin bucolic poetry, Virgil appropriates Daphnis, not only in order to pay tribute to the previous literary tradition, but as a point of departure (and of arrival) in his reflection on bucolic poetry and his relationship with his great Syracusan predecessor. The paper aims to retrace the path of Daphnis, to understand, in the treatment reserved for him by each poet, the elements of vitality and originality that his great inventor Theocritus gave him and that his successors developed at different levels. Virgil, in particular, is able to employ the figure of Daphnis and charge it with a new significance, in order to highlight the great difference between his own poetry and Theocritus’ bucolic production

The Language of Hardness and Softness in Virgil's Ecl. 10: A Legacy of Gallus?

The analysis of three adjectives (mollis, tener, and durus) in Virgilʹs Ecl. 10 reveals a particular usage which differs from that in the other eclogues. In Ecl. 10, Virgil conforms to an elegiac usage where these adjectives acquire a literary connotation, and when attributed to a person, reflect the elegiac sensibility; such usage is unique in the whole bucolic liber. It gives the poem an elegiac atmosphere which may well reflect imitation of Gallus’ poetry. A comparison with passages of Propertius seems to confirm that the specific occurrences and connotations of these adjectives in Virgilʹs Ecl. 10 originated in Gallus

Cornelio Gallo nell’ecl. 7 di Virgilio

In Virg. ecl. 7, many clues can suggest the presence of Gallus’ poetry as interlocutor and model for Virgil. Besides Theocritus, the author seems to refer to the Gallan poems in a complex dialogue about the originality of the new Latin poetic genres, Virgilian bucolic and Gallan elegy

Felicia Caesaris arma: memoria virgiliana in Ov. Amor. 1.2

In Amor. 1.2 Ovid creates a poetic dialogue not only with Tibullus and Propertius on the theme of the triumph, but also with crucial topics of theAugustan propaganda and with important poems like the Aeneid. The phrase felicia arma, in particular, that recalls complex and ambiguous passages of the Aeneid like the ending, shows a new reading of the puzzling Virgilian point of view about the princeps and his new regime.En amor 1.2 Ovidio establece un diálogo poético sobre el tema del triunfo y otros aspectos cruciales de la propaganda de Augusto, no solo con Tibulo y Propertius, sus predecesores elegíacos, sino también con obras importantes como la Eneida. La expresión arma de felicia, en particular, que recuerda los pasos complejos y ambiguos del poema de Virgilian, contiene una nueva lectura del punto de vista problemático de Virgilian sobre el princeps y su nuevo régimen.In Amor. 1.2 Ovidio stabilisce un dialogo poetico sul tema del trionfo e su altri aspetti cruciali della propaganda augustea non solo con Tibullo e Properzio, suoi predecessori elegiaci, ma anche con opere importanti come l’Eneide. L’espressione felicia arma, in particolare, che richiama passi complessi ed ambigui del poema virgiliano, racchiude una nuova lettura del problematico punto di vista virgiliano sul princeps e il suo nuovo regime

Ecloga haec paene tota Theocriti est: riflessioni sull´Ecloga VII di Virgilio

Vergil’s Eclogue VII, judged paene tota Theocriti by Servius, is instead a poem rich of original features, in which Theocritus is a basis for further comparisons. In this way the Latin poet is able to show and to highlight the novelty of his bucolic production, that is influenced also by other models, among which there are the most modern trends of the contemporary Latin poetry.[it] L’Ecloga VII di Virgilio, giudicata da Servio paene tota Theocriti, è in realtà un componimento ricco di spunti originali, entro il quale Teocrito è citato come termine di confronto: in tal modo il poeta latino può affermare e sottolineare la novità della propria produzione bucolica, debitrice di altri modelli, anche attinti dal panorama culturale contemporaneo

Hesperus nelle Bucoliche di Virgilio

The treatment of the τόπος of morning and evening, or “East / West τόπος” (Eous and Hesperus ) in the Augustan poets, borrowed from Cinna fr. 10 Hollis (= fr. 6 Morel) and variously developed, seems to suggest that it had been treated in an original way by Cornelius Gallus. The analysis of Hesperus in Virgil’s Bucolics seems to confirm this impression, since the term always appears in contexts related to Gallus.Il trattamento del τόπος del mattino e della sera, ovvero dell’oriente e dell’occidente, (Eous ed Hesperus ) nei poeti augustei, mutuato da Cinna fr. 10 Hollis (= fr. 6 Morel) e variamente sviluppato, sembra suggerire che esso fosse stato trattato in modo originale da Cornelio Gallo. L’analisi di Hesperus nelle Bucoliche virgiliane sembra confermare questa impressione, giacché il termine compare sempre in contesti riconducibili a Gallo

Il poeta, Cesare, il trionfo: una rilettura dei vv.2-5 del papiro gallo

The contribution suggests a new interpretation of vv. 2-5 of PQaṣr ibrîm 78-3-11/1 also known as gallus’ Papyru

Immolare in Virgil

The verb immolare has only three occurrences in the entire Virgilian work, all in the Aeneid and all referring to Aeneas: in his slaughter after the death of Pallas in l. X he makes human sacrifices and when he kills Turnus at the end of the poem, he defines it as a sacrifice. The contrast between the sacred value of immolation and the horror of human sacrifice is surprising and deserves an analysis.Il verbo immolare ha solo tre occorrenze nell’intera opera virgiliana, tutte nell’Eneide e tutte riferite ad Enea e ai sacrifici umani che egli compie nell’ira per la morte di Pallante nel l. X e all’uccisione di Turno nel finale del poema, che egli definisce come un sacrificio. Il contrasto tra il valore sacrale di immolare e l’orrore del sacrificio umano è sorprendente e merita un approfondimento