By John F. Miller, Carole E. Newlands
A instruction manual to the Reception of Ovid offers greater than 30 unique essays written by way of best students revealing the wealthy range of severe engagement with Ovid’s poetry that spans the Western culture from antiquity to the current day.
- Offers cutting edge views on Ovid’s poetry and its reception from antiquity to the current day
- Features contributions from greater than 30 top students within the Humanities.
- Introduces frequent and unexpected figures within the heritage of Ovidian reception.
- Demonstrates the iconic and transformative energy of Ovid’s poetry into glossy times.
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Extra info for A Handbook to the Reception of Ovid
166 ∼ Ecl. 1, via Aen. 162 ∼ Ecl. 162–63 quis te casusve deusve / servat ∼ Ecl. 6). Of course, Achaemenides has been rescued from pastoral rather than by pastoral, and this story of his generic elevation acquires an interesting ambiguity precisely when it is narrativized through the lens of epic. On the one hand, the return to the role of grateful Tityrus, instead of being forced to relive the Odyssey, makes the “First Eclogue” an appropriate ending for this epic flashback. On the other, it is specifically via the hero of the Aeneid, or rather through the epic succession, from Homer to Virgil to Ovid, that Achaemenides does more than remain a Greek, that he becomes Macareus (“blessed”; Hinds 1998: 112, n.
It is, of course, Augustus’ reception of the Ars Amatoria, the causa exilii (Pont. 23), that concerns Ovid above all. Ovid’s repeated defenses of the offending poem serve as persistent rebukes to the emperor, who by including the poem in his condemnation of the poet provided Ovid with his best weapon for his self-defense. It suited Ovid to claim that his poetry was the major cause of his exile (Tr. g. Pont. 73–74 quicquid id est (neque enim debet dolor ipse referri, / nec potes a culpa dicere abesse tua), “whatever it is (for the pain itself ought not be recalled nor can you say that you are free from guilt)”).
97–112. Viarre, S. (1988). ” In F. Jouan and B. ), Peuples et pays mythiques. Paris. 149–58. Ovid’s Self-Reception in His Exile Poetry 21 Videau-Delibes, A. (1991). Les Tristes d’Ovide et l’élégie romaine: Une poétique de la rupture. Paris. Williams, G. (1994). Banished Voices. Cambridge. Williams, G. (1997). ” Ramus 26: 113–37. Williams, G. (2002). ” In P. ), The Cambridge Companion to Ovid. Cambridge. 233–45. 2 Modeling Reception in Metamorphoses Ovid’s Epic Cyclops Andrew Feldherr Ovid’s superlative influence on Western artistic production is not to be explained only by the rich diversity of stories his Metamorphoses contains.
A Handbook to the Reception of Ovid by John F. Miller, Carole E. Newlands