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Journal articles on the topic 'Epistulae ex Ponto'

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Published: 21 February 2023
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1

Elliot, Alistair. "Ovid, Epistulae ex Ponto, I.v." Translation and Literature 7, no. 2 (September 1998): 205–21. http://dx.doi.org/10.3366/tal.1998.7.2.205.

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2

Elliot, Alistair. "Ovid,Epistulae ex Ponto, I.v." Translation and Literature 7, Part_2 (January 1998): 205–21. http://dx.doi.org/10.3366/tal.1998.7.part_2.205.

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3

Barchiesi, Alessandro. "Ovid, Epistulae ex Ponto, Book 1 (review)." Classical World 100, no. 4 (2007): 457–58. http://dx.doi.org/10.1353/clw.2007.0047.

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4

RAMSBY, TERESA. "OVID AS ETHNOGRAPHER IN THE EPISTULAE EX PONTO." Bulletin of the Institute of Classical Studies 61, no. 2 (December 1, 2018): 33–44. http://dx.doi.org/10.1111/2041-5370.12080.

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Abstract: Ovid's second collection of letters from his place of exile exhibits new strategies to achieve his aims of staying in the public eye and making his case for recall back to Rome. One of these new strategies is to pose as a kind of ethnographer with a ground-level view of Tomitan and Thracian society on the Black Sea coast. In the Epistulae ex Ponto, Ovid poses as a mediator between Rome and the imperial fringe, informing his reader about the activities of the Pontic tribes, describing his alleged interactions with the people of Tomis, and addressing the client king of the region. By doing so, Ovid explores new metaphors of exile, and grants to elegy and the letter a novel utility that slightly empowers his exiled voice.
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5

Myers, K. Sara. "OVID, EPISTULAE EX PONTO 4.8, GERMANICUS, AND THE FASTI." Classical Quarterly 64, no. 2 (November 20, 2014): 725–34. http://dx.doi.org/10.1017/s0009838814000329.

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In Epistulae ex Ponto 4.8, one of the last poems written from exile (dated to 15 or 16 c.e.), Ovid expresses his increasing hopes for Germanicus' assistance in effecting his recall to Rome. Though ostensibly addressed to his stepdaughter's father-in-law, P. Suillius Rufus, the poem contains a petition to Germanicus (27–88), as a poet to a poet, which promises future commemoration in Ovid's poetry if he is removed from Tomis: clausaque si misero patria est, ut ponar in ullo,qui minus Ausonia distet ab Vrbe loco,unde tuas possim laudes celebrare recentesmagnaque quam minima facta referre mora. (85–8)and if my country is closed against me in my misery, may I be placed in any place less distant from the Ausonian city, whence I might celebrate your praises while they are recent and relate your great deeds with the least delay.
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6

Oliensis, Ellen. "Return to Sender: The Rhetoric of Nomina in Ovid's Tristia." Ramus 26, no. 2 (1997): 172–93. http://dx.doi.org/10.1017/s0048671x00001995.

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As Betty Rose Nagle has remarked, Ovid's exile poetry deploys proper names within a kind of economy: ‘Ovid immortalises his own name by publicising it and exhorting his friends and readers to keep it alive, and he rewards his friends for actively remembering him by immortalising them, i.e. by putting their names in his poetry.’ What interests me here is the shortcircuiting of this system of exchange within the Tristia. For one of the most striking features of Ovid's first run of exilic elegies is precisely the omission of the names of Ovid's addressees. As Ovid will claim in the poem that opens the Epistulae ex Ponto, it is this omission (along with a change of title) that differentiates the Tristia poems from their successors: inuenies, quamuis non est miserabilis index,non minus hoc illo triste, quod ante dedi.rebus idem, titulo differt; et epistula cui sitnon occultato nomine missa docet.(Ex Pont. 1.1.15-18)
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7

Rosenmeyer, P. A. "Ovid's Heroides and Tristia: Voices from Exile." Ramus 26, no. 1 (1997): 29–56. http://dx.doi.org/10.1017/s0048671x00002058.

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exulis haec uox est: praebet mihi littera linguam,et si non liceat scribere, rautus ero.Epist. ex Pont. 2.6.3f.This is the exile's voice; the written word gives me a tongue,and if writing is forbidden, I shall be dumb.Ovid's exilic persona reveals itself over the course of his correspondence as a literary pastiche of other texts and identities. We hear the narrator's voice in the Tristia and Epistulae ex Ponto echoing that of Horace and Propertius, Homer's Odysseus and Vergil's Aeneas. These allusions to canonical works are widely recognised and catalogued. But equally crucial to Ovid's self-presentation are allusions to his own previous masterpieces. I interpret his choice of the letter form for the exile poems as not only an allusion to, but also an authorial statement of identification—on some level—with his earlier epistolary work, the Heroides. The Heroides may be read as letters from exile, epistulae ex exilio in which Ovid pursues his fascination with the genre of letters and the subject of abandonment through literary characters; the Tristia take that fascination one step further as the author himself, in letters to loved ones, writes from the position of an abandoned hero of sorts.
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8

Samuel, Alan E., and Ralph J. Hexter. "Ovid and Medieval Schooling. Studies in Medieval School Commentaries on Ovid's Ars Amatoria, Epistulae ex Ponto and Epistulae Heroidum." Classical World 83, no. 1 (1989): 71. http://dx.doi.org/10.2307/4350540.

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9

Coulson, Frank T. "Ovid and Medieval Schooling: Studies in Medieval School Commentaries on Ovid’s Ars amatoria, Epistulae ex Ponto, and Epistulae heroidum." Manuscripta 32, no. 1 (March 1988): 52–53. http://dx.doi.org/10.1484/j.mss.3.1262.

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10

Moskalewicz, Monika. "Winowajczyni, niewinna, femme fatale, pocieszycielka... – Muzy w twórczości wygnańczej Owidiusza." Symbolae Philologorum Posnaniensium Graecae et Latinae 31, no. 2 (December 30, 2021): 9–26. http://dx.doi.org/10.14746/sppgl.2021.xxxi.2.4.

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The main purpose of this paper is to present the variable and diverse Ovid’s attitude towards Muses in his works from exile (Tristia, Epistulae ex Ponto and Ibis). The poet seeks in these goddesses both the comfort and the cause of his exile, identifies them with his poetry frequently, as their faithful servant feels deceived but also hopes that Muses can ease the anger of Augustus. The article is an attempt to analyze this complex relationship.
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11

Lechi, Francesca. "Piger ad poenas, ad praemia velox: un modello di sovrano nelle Epistulae ex Ponto." Materiali e discussioni per l’analisi dei testi classici, no. 20/21 (1988): 119. http://dx.doi.org/10.2307/40235908.

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12

Boyle, A. J. "Postscripts from the Edge: Exilic Fasti and Imperialised Rome." Ramus 26, no. 1 (1997): 7–28. http://dx.doi.org/10.1017/s0048671x00002046.

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Fasti is Ovid's prime exilic work. Begun at the same time as Metamorphoses it is yet the last of Ovid's poems, rewritten in exile to juxtapose past and present, centre and periphery, tradition, religion, time and their ideological appropriation and abuse. Ovid's carmen ultimum, it joins Epistulae ex Ponto in straddling the principates of Augustus and Tiberius and bearing witness with Epistulae to the factuality of dynastic succession and the consolidation of imperial power. There is no evidence that any of Fasti was recited, or otherwise made public, before Ovid's departure for Tomis; indeed the only reference to Fasti outside itself is the second Tristia's description of the rupturing of the work (opus ruptum, Tr. 2.552) by Ovid's exilic ‘fate’ (sors). Pre-exilic and exilic strata exist in the poem, as many critics have too frequently noted, but, since they were never read in separate contexts but always within the frame of Ovid's exile, their dynamic interplay serves only to enrich and to deepen the exilic nature of Fasti's discourse.
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13

Claassen, Jo-Marie. "Ovid, Epistulae ex Ponto, Book 1. Edited with introduction, translation, and commentary by Jan Felix Gaertner." Gnomon 79, no. 2 (2007): 124–27. http://dx.doi.org/10.17104/0017-1417_2007_2_124.

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14

D’Alfonso, Dalila. "Due voci sul mar Nero: Luca Desiato alla (ri)scoperta dell’esilio ovidiano." Cuadernos de Filología Clásica. Estudios Latinos 40, no. 1 (September 15, 2020): 103–27. http://dx.doi.org/10.5209/cfcl.71534.

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Le elegie dei Tristia e delle Epistulae ex Ponto rappresentano, ancora oggi, un riferimento imprescindibile per quanti vogliano indagare l’esperienza esilica in tutte le sue sfaccettature e in tutta la sua complessità. Non a caso, numerosi autori della contemporaneità hanno guardato alla poesia tomitana dell’ultimo Ovidio come a un vero e proprio paradigma per le scritture da e sull’esilio di ogni tempo. Nei quarantaquattro capitoli in cui articola il romanzo Sulle rive del Mar Nero (1992), Luca Desiato “scompone” l’animo umano toccato dalla sorte dell’esilio, un esilio che si presenta come condanna soprattutto interiore. Il protagonista, uno scrittore che vive l’ultimo corso della sua esistenza nella Roma borghese degli anni Novanta, alterna la propria voce a quella del poeta romano, condannato da Augusto nell’8 d.C. alla relegatio perpetua. Saverio rappresenta, in primis, un esule dell’esistenza, un prigioniero del tempo ultimo che sta vivendo, un tempo estremo, come le terre del Ponto Eusino.
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15

Boyd, Barbara Weiden. "M. Helzle (ed.), Ovids Epistulae ex Ponto Buch I–II: Kommentar. Heidelberg: Winter, 2003. Pp. 424. ISBN 3-8253-1429-4. €65.80." Journal of Roman Studies 94 (November 2004): 251–52. http://dx.doi.org/10.2307/4135072.

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16

Boyd, Barbara Weiden. "M. Helzle (ed.), Ovids Epistulae ex Ponto Buch I–II: Kommentar. Heidelberg: Winter, 2003. Pp. 424. ISBN 3-8253-1429-4. €65.80." Journal of Roman Studies 94 (November 2004): 251–52. http://dx.doi.org/10.1017/s0075435800064807.

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17

Michalopoulos, Andreas N. "famaque cum domino fugit ab urbe suo: aspectos da fama na poesia de exílio de Ovídio." CODEX – Revista de Estudos Clássicos 4, no. 1 (June 19, 2016): 79. http://dx.doi.org/10.25187/codex.v4i1.3336.

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<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p>Através de sua poesia pré-exílio, Ovídio revela grande interesse em <em>Fama/fama</em> em todos os seus significados e funções: reputação pessoal, fama literária, tradição literária e mitológica, rumor, boato. Ovídio é obcecado por sua própria reputação como poeta, enquanto também emprega <em>Fama/fama</em> como fonte de inspiração e como fonte de informação numa ampla variedade de temas e tópicos. Seu grande interesse em <em>Fama/fama</em> culmina em sua famosa descrição de seu domicílio no livro XII das <em>Metamorfoses</em>. O objetivo deste artigo é discutir o uso e o papel de <em>Fama/fama</em> na poesia do exílio de Ovídio, escrita num momento em que as circunstâncias da vida do poeta mudaram dramaticamente. O poeta se encontra em arredores bárbaros e incivilizados, longe da linda e confortável vida da capital. A discussão dos poemas selecionados dos <em>Tristia</em> e das <em>Epistulae ex Ponto</em> ilustrarão de forma promissória a relação de Ovídio com a Fama/fama.</p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>Abstract</strong></p><p><span>Throughout his pre-exilic poetry Ovid shows a keen interest in Fama/fama in all its meanings and functions: personal reputation, literary fame, literary and mythological tradition, rumour, hearsay. Ovid is obsessed with his own reputation as a poet, while he also employs Fama/fama as a source of inspiration and as a source of information on a wide variety of themes and topics. His great interest in Fama/fama culminates in his famous description of her abode in the 12th book of the Metamorphoses. The object of this paper is to discuss the use and the role of Fama/fama in Ovid’s exilic poetry, written at a time when the circumstances of the poet’s life changed dramatically. The poet finds himself in barbaric and uncivilized surroundings, away from the beautiful and comfortable life of the capital. The discussion of selected poems from the Tristia and the Epistulae ex Ponto will hopefully illustrate Ovid’s relationship with Fama/fama. </span></p><p><strong>Keywords</strong><span><strong>:</strong> Ovid; </span><span>Fama</span><span>; exile poetry </span></p></div></div></div></div></div></div>
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18

Chesnokova, Tatiana G. "Winter in Tomis and “Winter” in Hell: Once More about the Parallels between Dante and Ovid." Studia Litterarum 7, no. 2 (2022): 40–61. http://dx.doi.org/10.22455/2500-4247-2022-7-2-40-61.

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Among the probable sources of “winter” imagery in the last cantos of Inferno a special place belongs to the motif of Scythian winter, developed in detail by Ovid in his “exile poetry” and (before him) by Virgil in the Georgics (III). Despite the absence of direct mentions of Tristia and Epistulae Ex Ponto in Dante’s oeuvre, the majority of modern scholars challenge the statement of E. Moore, who suggested in the late 19th century that later writings by Ovid created in exile may have remained unknown to the author of the Divine Comedy. In correlation with the view of Michelangelo Picone, who, beside tracing the characteristics of Ovid’s winter, also saw in Dante’s wintry parts of Hell a reconsideration of the motif of exile (central to Tristia), the author of the article examines the most important parallels, uniting the Commedia’s first cantica with Ovid’s “exile” verses, namely the description of the solidity of ice covering the river or lake; the hero-author walking on the ice and gazing at beings bound in it; the correlation between winter’s dominance and the escalation of hostility in the relations of persons and tribes; the connection of winter’s setting with the motifs of “death-in-the-life” and the loss of spiritual home; a longing for spiritual Absolute under the reign of winter; potential ambiguousness of “winter” motifs.
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19

INGLEHEART, JENNIFER. "(J.F.) Gaertner (ed., trans.) Ovid, Epistulae ex Ponto, Book I. Edited with Introduction, Translation and Commentary. Pp. xvi + 606. Oxford: Oxford University Press, 2005. Cased, £90. ISBN: 978-0-19-927721-6." Classical Review 57, no. 1 (February 6, 2007): 112–14. http://dx.doi.org/10.1017/s0009840x06003453.

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20

Geyssen, John. "M. McGowan, OVID IN EXILE: POWER AND POETIC REDRESS IN THE TRISTIA AND EPISTULAE EX PONTO (Mnemosyne. Supplements 309). Leiden/Boston: Brill, 2009. Pp. viii + 261. ISBN 978-9-00417-076-6. €99.00/US$147.00." Journal of Roman Studies 100 (November 2010): 298–99. http://dx.doi.org/10.1017/s0075435810000638.

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21

Michalopoulos, Charilaos N. "G. TISSOL (ED.), OVID: EPISTULAE EX PONTO, BOOK I (Cambridge Greek and Latin Classics). Cambridge: Cambridge University Press, 2014. Pp. ix + 191. isbn 9780521819589 (bound); 9780521525626 (paper). £50.00/US$90.00 (bound); £19.99/US$36.99 (paper)." Journal of Roman Studies 106 (February 11, 2016): 344–45. http://dx.doi.org/10.1017/s0075435816000125.

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22

Michalopoulos, Charilaos N. "Ovid's Poetry of Exile - (M.M.) McGowan Ovid in Exile. Power and Poetic Redress in the Tristia and Epistulae ex Ponto. (Mnemosyne Supplementum 309.) Pp. x + 261. Leiden and Boston: Brill, 2009. Cased, €99, US$147. ISBN: 978-90-04-17076-6." Classical Review 60, no. 2 (September 28, 2010): 453–55. http://dx.doi.org/10.1017/s0009840x10000582.

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23

Smith, Emlen Matthew. "Ovid's Quarrel with His Poetry: Epistulae Ex Ponto 3.3." SSRN Electronic Journal, 2010. http://dx.doi.org/10.2139/ssrn.1607613.

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24

Hardy, Maxwell. "EMENDATIONS IN THE THIRD BOOK OF PROPERTIUS." Cambridge Classical Journal, May 11, 2022, 1–21. http://dx.doi.org/10.1017/s1750270522000069.

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Five conjectures are proposed on the text of the third book of Propertius, one a slight alteration of an idea already proposed, four mainly original contributions: 1.23 postremo for post obitum, 4.18 supra uinctos for subter captos, 8.13 seu grege custodum for custodum gregibus (custodum grege seu Heinsius), 10.13 somnos for somnum, 11.40 adulta canis for adusta nota. One additional conjecture is made in passing on the text of Ovid, Epistulae ex Ponto 3.4.104, where duces probably ought to be read for uiros.
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25

Tola, Eleonora. "Ille referre aliter saepe solebat idem (Ovidio, Ars II, 128): reflexiones sobre el uso de la repetición en las Tristia de Ovidio." Journal of Latin Linguistics 9, no. 2 (January 2005). http://dx.doi.org/10.1515/joll.2005.9.2.957.

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SummaryBecause of the interaction and oscillation between poetic imagery and subjective experience, Ovid’s exilic texts are a privileged locus for studying the relationship of rhetorical and poetic discourse. The use of repetition in its various features (at the level of the phoneme, of the word, of the meter, etc.) allows us to investigate the functioning of these two kinds of discourse in Tristia and Epistulae ex Ponto. In this paper we will examine the mise en scene of this rhetorical device in Tristia, considered as a structural part of a poetic design which includes it not as a mere formal technique but as a per- formative strategy. From this perspective, repetition assumes a functional role. For our analysis we will take some significative examples of a corpus which presents a semantic unity, the elegies of Naso’s journey to Tomi (7>. 1,2; 1,4; I, 10 and I, 11).
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26

Lingenberg, Wilfried H. "Garth tissol, Ovid, Epistulae ex Ponto, Book I, ed. by G. T., Cambridge Greek and Latin Classics, Cambridge: Cambridge University Press, 2014, ix + 191 pp. ISBN 978-0-521-52562-6." Exemplaria Classica 20 (January 10, 2017). http://dx.doi.org/10.33776/ec.v20i0.2937.

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27

Galasso, Luigi. "J. F. Gaertner, Ovid, Epistulae ex Ponto, Book I. Edited with Introduction, Translation, and Commentary, Oxford: Oxford University Press, 2005, xvi + 606 pp., ISBN 0-19-927721-4 978-0-19-927721-6." Exemplaria Classica 11 (December 1, 2007). http://dx.doi.org/10.33776/ec.v11i0.483.

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28

Fues, Wolfram Malte. "Martin Kiel, Nexus. Postmoderne Mythenbilder – Vexierbilder zwischen Spiel und Erkenntnis. Mit einem Kommentar zu Christoph Ransmayrs „Die letzte Welt“. 1996 – Angela Fitz, „Wir blicken in ein ersonnenes Sehen“. Wirklichkeits- und Selbstkonstruktion in zeitgenössischen Romanen. Sten Nadolny – Christoph Ransmayr – Ulrich Woelk. 1998 – Esther Felicitas Gehlhoff, Wirklichkeit hat ihren eigenen Ort. Lesarten und Aspekte zum Verständnis des Romans ‚Die letzte Welt‘ von Christoph Ransmayr. 1998 – Barbara Vollstedt, Ovids „Metamorphoses“, „Tristia“ und „Epistulae ex Ponto“ in Christoph Ransmayrs Roman „Die letzte Welt“. 1998." Arbitrium 20, no. 1 (January 10, 2002). http://dx.doi.org/10.1515/arbi.2002.114.

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