By Dr Victoria Rimell
Important to Ovid's elegiac texts and his Metamorphoses is his preoccupation with how needing topics have interaction and seduce one another. This significant learn, which shifts the focal point in Ovidian feedback from intertextuality to intersubjectivity, explores the connection among self and different, and particularly that among female and male worlds, that is on the middle of Ovid's imaginative and prescient of poetry and the mind's eye. a chain of shut readings, targeting either the extra celebrated and not more studied elements of the corpus, strikes past the extra often-asked questions of Ovid, comparable to no matter if he's 'for' or 'against' ladies, in an effort to discover how gendered topics communicate, compete and co-create. It illustrates how the story of Medusa, along that of Narcissus, reverberates all through Ovid's oeuvre, changing into a basic delusion for his poetics. This publication deals a compelling, usually troubling portrait of Ovid that would entice classicists and all these drawn to gender and distinction.
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Extra info for Ovid's Lovers: Desire, Difference and the Poetic Imagination
In afﬁrming, at once, both Ovid’s tragic powerlessness in exile and his successful survival as an artist in the most testing of circumstances, these lines encapsulate the nervous paradoxes running through the Tristia and Ex Ponto. Kristeva (2003) 43, talks of a ‘g´en´ealogie secr`ete entre le pouvoir des Gorgones et l’exp´erience esth´etique. ’ 22 v i c to r i a r i m e l l in Ovid’s ﬁrst elegiac verse, and I am conscious of the fact that, at either end of a poetic career, the Amores and Epistulae Ex Ponto border and extend this book’s central concerns.
656–7), Philomela hurls Itys’ grisly Medusan head into his father’s face: prosiluit Ityosque caput Philomela cruentum misit in ora patris . . Philomela jumps out and thrusts the gory head of Itys right into his father’s face . . 200; cf. 463. Rosati (1983). g. 407–9 (ultusque parente parentem / natus erit facto pius et sceleratus eodem / ‘and his son shall avenge parent on parent, ﬁlial and wicked in the same act’). 32 v i c to r i a r i m e ll In his agony, Tereus calls on those (already present) snaky sisters (vipereas sorores 662), vowing in his metamorphosed state to hit back with his own armed look (facies armata videtur 674).
802–3) takes them and places them on the feathers of her peacock wings, a Narcissus–Medusa revelling in the beauty of her super-charged gaze:82 79 80 81 82 Williams (2002) 244, Hinds (1985). g. 310– 12. 103–5, where Ovid compares his own unwitting crimen to that of Actaeon. 672–7, cf. 780–1 cf. 177–209] . . 663 makes this literal (the sword Perseus uses to behead Medusa is still stained with the blood of ‘another monster’, Argus). 627. 28 v i c to r i a r i m e l l excipit hos volucrisque suae Saturnia pennis conlocat et gemmis caudam stellantibus implet.