By John F. Miller, Carole E. Newlands
A instruction manual to the Reception of Ovid provides greater than 30 unique essays written through prime students revealing the wealthy variety of serious engagement with Ovid’s poetry that spans the Western culture from antiquity to the current day.
- Offers leading 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 common and unusual figures within the heritage of Ovidian reception.
- Demonstrates the iconic and transformative strength of Ovid’s poetry into smooth times.
Read Online or Download A Handbook to the Reception of Ovid PDF
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Additional resources for A Handbook to the Reception of Ovid
Writing Exile: The Discourse of Displacement in Greco-Roman Antiquity and Beyond. Leiden. 155–72. Gibson, B. (1999). “Ovid on Reading: Reading Ovid. ” Journal of Roman Studies 89: 19–37. Graf, F. (2002). ” In P. ), The Cambridge Companion to Ovid. Cambridge. 108–21. Green, S. (2004). Ovid, Fasti 1. Leiden. Habinek, T. (1998). The Politics of Latin Literature. Princeton. Hardie, P. ) (2002a). The Cambridge Companion to Ovid. Cambridge. Hardie, P. (2002b). Ovid’s Poetics of Illusion. Cambridge.
Miller and Carole E. Newlands. © 2014 John Wiley & Sons, Inc. Published 2014 by John Wiley & Sons, Inc. Modeling Reception in Metamorphoses 23 ancient literature. The more we consider Ulysses’ situation, the more constrained and conditioned the power of the author appears. 139–40)—and finally the material conditions of the narrative act, that is, the fact that storytelling itself exists in time and requires physical means, whether visual or vocal, and demands the attention and interpretation of a specific audience.
An awareness of this multiple intertextual echo makes the sameness of the story stand out over its individual treatments. Equally significantly, as Papaioannou (2005: 92–95) argues, Ovid stresses the role of reported speech in the presentation of the Cyclops. 167–222). The “hearsay” quality of both stories, appropriate to a figure whose name recalls not only Fama, as Papaioannou points out, but specifically the multiplicity of Ovid’s Fama (POLY-PHEMus),1 reminds the reader that Achaemenides, repeating the story told in the Aeneid—by Achaemenides, himself—figures Virgil’s own retelling of a story from Homer.
A Handbook to the Reception of Ovid by John F. Miller, Carole E. Newlands