Playing gods Feldherr, Andrew; Feldherr, Andrew
2010., 20100816, 2010, 2010-08-16
eBook
This book offers a novel interpretation of politics and identity in Ovid's epic poem of transformations, the Metamorphoses. Reexamining the emphatically fictional character of the poem, Playing Gods ...argues that Ovid uses the problem of fiction in the text to redefine the power of poetry in Augustan Rome. The book also provides the fullest account yet of how the poem relates to the range of cultural phenomena that defined and projected Augustan authority, including spectacle, theater, and the visual arts.
Drawing on recent scholarship in art, film, literary theory, and gender studies, A Web of Fantasies examines the complexities, symbolism and interactions between gaze and image in Ovid’s ...Metamorphoses and forms a gender-sensitive perspective. It is a feminist study of Ovid’s epic, which includes many stories about change, in which discussions of viewers, viewing, and imagery strive to illuminate Ovid’s constructions of male and female. Patricia Salzman-Mitchell discusses the text from the perspective of three types of gazes: of characters looking, of the poet who narrates visually charged stories, and of the reader who “sees” the woven images in the text. Arguing against certain theorists who deny the possibility of any feminine vision in a male-authored poem, the author maintains that the female point of view can be released through the traditional feminine occupation of weaving, featuring the woven images of Arachne (involved in a weaving contest in which she tried to best the goddess Athena, who turned her into a spider) and Philomela (who had her tongue cut out, so had to weave a tapestry depicting her rape and mutilation). The book observes that while feminist models of the gaze can create productive readings of the poem, these models are too limited and reductive for such a protean and complex text as Metamorphoses. This work brings forth the pervasive importance of the act of looking in the poem which will affect future readings of Ovid’s epic.
dialogues of styles Константин Лидин
Proekt Bajkal,
04/2024, Letnik:
21, Številka:
79
Journal Article
Recenzirano
Odprti dostop
Every major style goes through a series of metamorphoses after its inception. Styles echo each other, learn from each other, argue and penetrate each other. The selection of materials in this section ...contains the results of historical observations and research, showing these processes on specific examples. How was the great style of classicism reflected in the works of its fiery overthrowers? How was the Enlightenment style transformed on the Far Eastern land? How did Russian architects influence the new architecture of China? How is the cultural heritage of Soviet and German cities reinterpreted? All these materials are united by the theme of the dialogue of styles and the metamorphoses that arise in this process.
Motiv o Salmakidi in Hermafroditu, o spojitvi ženske in moškega v dvospolno telo, sodi med raritete antične mitološke zakladnice. Odstopa tudi od prevladujočega vsebinskega vzorca v Ovidijevih ...Metamorfozah: tokrat nimfa izjemoma ni žrtev posilstva, ampak storilka nasilnega dejanja nad moškim. Ni ugotovljivo, odkod je Ovidij ta motiv povzel, ali pa si ga je izmislil sam, kot domnevajo nekateri komentatorji, vendar hermafrodite pred njim omenja že Diodor Sicilski.
The face of nature Tissol, Garth; Tissol, Garth
2014., 20140714, 2014, 1997, 2014-07-14, Letnik:
367
eBook
In these reflections on the mercurial qualities of style in Ovid'sMeta-morphoses, Garth Tissol contends that stylistic features of the ever-shifting narrative surface, such as wordplay, narrative ...disruption, and the self-conscious reworking of the poetic tradition, are thematically significant. It is the style that makes the process of reading the work a changing, transformative experience, as it both embodies and reflects the poem's presentation of the world as defined by instability and flux. Tissol deftly illustrates that far from being merely ornamental, style is as much a site for interpretation as any other element of Ovid's art.
In the first chapter, Tissol argues that verbal wit and wordplay are closely linked to Ovidian metamorphoses. Wit challenges the ordinary conceptual categories of Ovid's readers, disturbing and extending the meanings and references of words. Thereby it contributes on the stylistic level to the readers' apprehension of flux. On a larger scale, parallel disturbances occur in the progress of narratives. In the second and third chapters, the author examines surprise and abrupt alteration of perspective as important features of narrative style. We experience reading as a transformative process not only in the characteristic indirection and unpredictability of Ovid's narrative but also in the memory of his predecessors. In the fourth chapter, Tissol shows how Ovid subsumes Vergil'sAeneidinto theMetamorphosesin an especially rich allusive exploitation, one which contrasts Vergil's aetiological themes with those of his own work.
Originally published in 1997.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Abstract In Book 4 of Ovid’s Metamorphoses , the famous backstory of the Gorgon Medusa is related by her slayer Perseus: Neptune raped her in the temple of Minerva, and the goddess turned her hair ...into snakes out of divine vengeance for the desecration of her sanctuary. With few exceptions, most Ovid scholars are hesitant to posit any explanation for Medusa’s appearance at the temple, which does not appear to be justified in Ovid’s poem as it stands. In this article, the possibilities will be further explored: was Medusa (1) a priestess, (2) a suppliant or (3) simply a young woman of otherwise unspecified status? On further examination of the Book 4 passage, it will be argued that Ovid presents the metamorphosis myth of Medusa as an allusion, and that earlier sources were more likely to be forthcoming in their identification of the character.
This is the first direct literary adaptation of Vergil'sAeneid. The present study demonstrates how, in less than one thousand lines, Ovid revisits the epic world of Aeneas and subjects it to a ...reading that is a paradigm of critical analysis, a statement of originality, and a powerful claim to the epic heritage and Vergilian succession.
The epic Metamorphoses , Ovid’s most renowned work, has regained its stature among the masterpieces of great poets such as Vergil, Horace, and Tibullus. Yet its irreverent tone and bold ...defiance of generic boundaries set the Metamorphoses apart from its contemporaries. Ovid before Exile provides a compelling new reading of the epic, examining the text in light of circumstances surrounding the final years of Augustus’ reign, a time when a culture of poets and patrons was in sharp decline, discouraging and even endangering artistic freedom of expression.     Patricia J. Johnson demonstrates how the production of art—specifically poetry—changed dramatically during the reign of Augustus. By Ovid’s final decade in Rome, the atmosphere for artistic work had transformed, leading to a drop in poetic production of quality. Johnson shows how Ovid, in the episodes of artistic creation that anchor his Metamorphoses , responded to his audience and commented on artistic circumstances in Rome.
Trends in Classics, a new series and journal to be edited by Franco Montanari and Antonios Rengakos, will publish innovative, interdisciplinary work which brings to the study of Greek and Latin texts ...the insights and methods of related disciplines such as narratology, intertextuality, reader-response criticism, and oral poetics. Both publications will seek to publish research across the full range of classical antiquity. The series Trends in Classics Studies welcomes monographs, edited volumes, conference proceedings and collections of papers; it will provide an important forum for the ongoing debate about where Classics fits in modern cultural and historical studies. The journal Trends in Classics will be published twice a year with approx. 160 pp. per issue. Each year one issue will be devoted to a specific subject with articles edited by a guest editor.
This paper argues that Ovid was familiar with the philosophy of the Hellenistic dialectician Diodorus Cronus, in particular, his views on fate, which he probably knew from Cicero’s De Fato, and the ...so-called “horned” and “veiled” arguments associated with him. Ovid draws on these aspects of Diodorus’ philosophy to tell the story of Cipus in Metamorphoses 15 ; he uses them to portray Cipus’ attempt to avoid kingship as a highly ambiguous and unnecessarily risky, if not self-defeating, exercise in forestalling fate and thus leaves open the question of whether Cipus, in the end, succeeds in his attempt. This reading complements others that have argued that the inescapability of kingship, not Cipus’ moral choice, is the central point of the story. It also adds to our appreciation of Ovid’s use of philosophical material in his epic, an area of growing interest in Ovidian studies, which has thus far paid no attention to Diodorus Cronus and only a little to the influence of Cicero’s philosophical works.
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