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The open access publication of this book has been published with the support of the Swiss National Science Foundation. Death, the ultimate change, is an unexpected Leitmotiv of Ovid’s career and reception. The eighteen contributions collected in this volume explore the theme of death and transfiguration in Ovid’s own career and his posthumous reception, revealing a unity in diversity that has not been appreciated in these terms before now.
The Gendered ‘I’ in Ancient Literature by Lisa Cordes,Therese Fuhrer Pdf
Considering the ubiquity of rhetorical training in antiquity, the volume starts from the premise that every first-person statement in ancient literature is in some way rhetorically modelled and aesthetically shaped. Focusing on different types of Greek and Latin literature, poetry and prose, from the Archaic Age to Late Antiquity, the contributions analyse the use and modelling of gender-specific elements in different types of first-person speech, be it that the speaker is (represented as) the author of a work, be it that they feature as characters in the work, narrating their own story or that of others. In doing so, they do not only offer new insights into the rhetorical strategies and literary techniques used to construct a gendered ‘I’ in ancient literature. They also address the form and function of first-person discourse in classical literature in general, touching on fields of research that have increasingly come into focus in recent years, such as authorship studies, studies concerning the ancient notion(s) of the literary persona, as well as a historical narratology that discusses concepts such as the narrator or the literary character in ancient literary theory and practice.
This introduction to Ovid's Metamorphoses considers how Ovid defined and shaped his narrative, its cultural context, and its vivid depictions of the cruelty of jealous gods, the pathos of human love, and the imaginative fantasy of flight, monsters, magicand illusion.
The Roman Republic of Letters by Katharina Volk Pdf
An intellectual history of the late Roman Republic—and the senators who fought both scholarly debates and a civil war In The Roman Republic of Letters, Katharina Volk explores a fascinating chapter of intellectual history, focusing on the literary senators of the mid-first century BCE who came to blows over the future of Rome even as they debated philosophy, history, political theory, linguistics, science, and religion. It was a period of intense cultural flourishing and extreme political unrest—and the agents of each were very often the same people. Members of the senatorial class, including Cicero, Caesar, Brutus, Cassius, Cato, Varro, and Nigidius Figulus, contributed greatly to the development of Roman scholarship and engaged in a lively and often polemical exchange with one another. These men were also crucially involved in the tumultuous events that brought about the collapse of the Republic, and they ended up on opposite sides in the civil war between Caesar and Pompey in the early 40s. Volk treats the intellectual and political activities of these “senator scholars” as two sides of the same coin, exploring how scholarship and statesmanship mutually informed one another—and how the acquisition, organization, and diffusion of knowledge was bound up with the question of what it meant to be a Roman in a time of crisis. By revealing how first-century Rome’s remarkable “republic of letters” was connected to the fight over the actual res publica, Volk’s riveting account captures the complexity of this pivotal period.
Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana by Tristan E. Franklinos,Laurel Fulkerson Pdf
The Augustan period in Rome was a golden age for poetry, and also the age in which the cult of the author began in the west. By examining some early poetic understandings of what it might have meant to be Vergil, Ovid, and Tibullus, Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana explores what those authors meant to near-contemporaries, and what the construction of authorship they were a part of meant to the later western tradition. Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana takes its starting point from the Appendices attached to three major Augustan poets, exploring how their different conditions of production, and the differences between their authorising authors, result in different notions of what an appendical text 'ought' to contain. So, for instance, Vergil's biography leaves ample room for 'juvenilia', while Ovid's does not; the Tibullan appendix explicitly engages with a wider poetic community. Moving beyond questions of forgery and deception, some chapters ask how we would be able to know the difference between texts of genuine and of disputed authorship, given that most of the stylistic features that distinguish authors are replicable. Other chapters make the case for re-evaluation of poems that have been neglected or disparaged, and still others make sense of individual works in their likely context of composition. The volume is the first to treat in conjunction the majority of the appendical works ascribed to Vergil, Ovid, and Tibullus, and to draw connections across corpora.
Giovanni Colzani,Clemente Marconi,Fabrizio Slavazzi
Author : Giovanni Colzani,Clemente Marconi,Fabrizio Slavazzi Publisher : Walter de Gruyter GmbH & Co KG Page : 300 pages File Size : 42,9 Mb Release : 2023-10-23 Category : History ISBN : 9783110741742
Greek and Roman Small Size Sculpture by Giovanni Colzani,Clemente Marconi,Fabrizio Slavazzi Pdf
Considerations about size and scale have always played a central role within Greek and Roman visual culture, deeply affecting sculptural production. Both Greeks and Romans, in particular, had a clear notion of “colossality” and were able to fully exploit its implications with sculpture in many different areas of social, cultural and religious life. Instead, despite their ubiquitous presence, an equal and contrary categorization for small size statues does not seem to have existed in Greek and Roman culture, leading one to wonder what were the ancient ways of conceptualizing sculptural representations in a format markedly smaller than “life-size.” Even in the context of modern scholarship on Classical Art, few notions appear to be as elusive as that of “small sculpture”, often treated with a certain degree of diffidence well summarized in the formula Klein, aber Kunst? In fact, a large and heterogeneous variety of objects corresponds to this definition: all kinds of small sculpture, from statuettes to miniatures, in a variety of materials including stone, bronze, and terracotta, associated with a great array of functions and contexts, and with extremely different levels of manufacture and patronage. It would be a major misunderstanding to think of these small sculptures in general as nothing more than a cheap and simplified alternative to larger scale statues. Compared with those, their peculiar format allowed for a wider range of choices, in terms, for example, of use of either cheap or extremely valuable materials (not only marble and bronze, but also gold and silver, ivory, hard stones, among others), methods of production (combining seriality and variation), modes of fruition (such as involving a degree of intimacy with the beholder, rather than staging an illusion of “presence”). Furthermore, their pervasive presence in both private and public spaces at many levels of Greek and Roman society presents us with a privileged point of view on the visual literacy of a large and varied public. Although very different in many respects, small-sized sculptures entertained often a rather ambivalent relationship with their larger counterparts, drawing from them at the same time schemes, forms and iconographies. By offering a fresh, new analysis of archaeological evidence and literary sources, through a variety of disciplinary approaches, this volume helps to illuminate this rather complex dynamic and aims to contribute to a better understanding of the status of Greek and Roman small size sculpture within the general development of ancient art.
Reconsiders the role played by mimesis - and by Goethe's Wilhelm Meister as a mimetic work - in the novels of Early German Romanticism. Mimesis, or the imitation of nature, is one of the most important concepts in eighteenth-century German literary aesthetics. As the century progressed, classical mimeticism came increasingly under attack, though it also held its position in the works of Goethe, Schiller, and Moritz. Much recent scholarship construes Early German Romanticism's refutation of mimeticism as its single distinguishing trait: the Romantics' conception of art as the very negationof the ideal of imitation. In this view, the Romantics saw art as production (poiesis): imaginative, musical, transcendent. Mattias Pirholt's book not only problematizes this view of Romanticism, but also shows that reflections on mimesis are foundational for the German Romantic novel, as is Goethe's great pre-Romantic novel Wilhelm Meister's Apprenticeship. Among the novels examined are Friedrich Schlegel's Lucinde, shown to be transgressive in its use of the aesthetics of imitation; Novalis's Heinrich von Ofterdingen, interpreted as an attempt to construct the novel as a self-imitating world; and Clemens Brentano's Godwi, seen to signal the endof Early Romanticism, both fulfilling and ironically deconstructing the self-reflective mimeticism of the novels that came before it. Mattias Pirholt is a Research Fellow in the Department of Literature at Uppsala University, Sweden.
Contains Ovid's most influential works: -METAMORPHOSES (TRANSFORMATIONS)-FASTI (THE FESTIVALS)-HEROIDES(THE HEROINES)Publius Ovidius Naso (20 March 43 BC - AD 17/18), known as Ovid in the English-speaking world, was a Roman poet who lived during the reign of Augustus. He was a contemporary of the older Virgil and Horace, with whom he is often ranked as one of the three canonical poets of Latin literature. The Imperial scholar Quintilian considered him the last of the Latin love elegists. He enjoyed enormous popularity, but, in one of the mysteries of literary history, was sent by Augustus into exile in a remote province on the Black Sea, where he remained until his death. Ovid himself attributes his exile to carmen et error, "a poem and a mistake", but his discretion in discussing the causes has resulted in much speculation among scholars.The first major Roman poet to begin his career during the reign of Augustus, Ovid is today best known for the Metamorphoses, a 15-book continuous mythological narrative written in the meter of epic, and for works in elegiac couplets such as Ars Amatoria ("The Art of Love") and Fasti. His poetry was much imitated during Late Antiquity and the Middle Ages, and greatly influenced Western art and literature. The Metamorphoses remains one of the most important sources of classical mythology.
"The first taste I had for books came to me from my pleasure in the fables of the Metamorphoses of Ovid. For at about seven or eight years of age I would steal away from any other pleasure to read them, inasmuch as this language was my mother tongue, and it was the easiest book I knew and the best suited by its content to my tender age." -Michel de Montaigne The Metamorphoses of Ovid (8 AD) is an epic poem by Ovid. Published the same year the poet was sent into exile for the rest of his life, the Metamorphoses are the crowning achievement of the first major poet of the Roman empire. Written in dactylic hexameter, the meter of Homer's Iliad and Odyssey and of Virgil's Aeneid, Ovid's work is an epic poem of transformations, of shape-shifting matter and beings bound to the power of love. Taking as its scope the whole history of the universe from the arrangement of order from chaos to the death of Julius Caesar, the Metamorphoses pays heed to desire's ability to enact long-lasting and at times irreversible change. The story begins at the very beginning, with the creation of the cosmos out of nothing, of order out of unimaginable chaos. Gods and goddesses have their moment in the sun, mankind is born only to be wiped out by an immense flood, then to rise again. Amidst countless little-known descriptions of war, romance, and change are the timeless tales of Perseus, Jason and Medea, Theseus and the Minotaur, and the labors of Hercules. Icarus soars too close to the sun. Orpheus tragically condemns Eurydice to the underworld. Troy is built and destroyed, the immortal Achilles is killed, and Aeneas sets sail to save his life and lay the foundations for Rome itself. Throughout these interwoven stories of individual and epochal change, Ovid explores the inescapability of love and death, essential themes both shared by all and constitutive of everything that was or ever will be. The Metamorphoses of Ovid is an intricate masterpiece of world literature that stands the test of time just as much as it defines it. With a beautifully designed cover and professionally typeset manuscript, this edition of The Metamorphoses of Ovid is a classic work of Roman literature reimagined for modern readers.
Violence, Trauma, and Virtus in Shakespeare's Roman Poems and Plays by L. Starks-Estes Pdf
Employing psychoanalysis, trauma theory, and materialist perspectives, this book examines Shakespeare's appropriations of Ovid's poetry in his Roman poems and plays. It argues that Shakespeare uses Ovid to explore violence, trauma, and virtus - the traumatic effects of aggression, sadomasochism, and the shifting notions of selfhood and masculinity.
