Relevant bibliographies by topics / Metamorphosis, mythology

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Metamorphosis, mythology'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Metamorphosis, mythology"

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Munna, Kanhu Charan. "From Myth to Mythya: A Study on the Metamorphosis of Ramayana in Modern India." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 247–51. http://dx.doi.org/10.22161/ijels.92.37.

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This article explores the enduring impact of Indian mythology on contemporary literature, particularly through the reinterpretation of ancient epics like the Ramayana. It delves into recent literary works that reimagine these timeless tales, offering fresh perspectives that resonate with modern audiences. Beginning with an overview of Indian mythology's rich tapestry, the article highlights its universal themes and relatable characters, from the noble prince Rama to the resilient Sita. It discusses notable works such as Amish Tripathi's Sita: Warrior Of Mithila, P. Lalita Kumari’s The Liberation of Sita, and Anand Neelakantan's Asura: Tale of the Vanquished, which provide alternative viewpoints on familiar mythological narratives. The article also explores the evolution of mythopoeia in Indian epics, emphasizing how these narratives have adapted to contemporary sensibilities while retaining their essence. It discusses the transformative process of "mythya," wherein myths transcend literal truth to convey deeper philosophical truths and allegorical meanings. Moreover, the article delves into the feminist reinterpretation of Indian mythology, spotlighting authors like Chitra Banerjee Divakaruni and Volga, who have reclaimed the voices of subaltern female characters. These retellings offer nuanced portrayals that challenge patriarchal interpretations and provide a platform for marginalized perspectives. Lastly, the article underscores the importance of reclaiming subaltern voices in mythology, showcasing how retellings have amplified the stories of characters traditionally overlooked or sidelined. Overall, it demonstrates the dynamic interplay between ancient mythology and contemporary literature, showcasing the enduring relevance and transformative potential of mythological retellings in shaping our understanding of the human experience.
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Veres, Ottilia. "Spaces in Between in the Myth of Myrrha: A Metamorphosis into Tree." Acta Universitatis Sapientiae, Philologica 11, no. 1 (November 1, 2019): 83–92. http://dx.doi.org/10.2478/ausp-2019-0006.

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Abstract Within the larger context of metamorphoses into plants in Greek and Roman mythology, the paper aims to analyse the myth of Myrrha and her metamorphosis into a tree, focusing on the triggering cause of the transformation as well as the response given to her newly-acquired form of life. Myrrha’s transformation into a myrrh tree takes place as a consequence of her transgressive incestuous act of love with her father, Cinyras. Her metamorphosis occurs as a consequence of sinful passion – passion in extremis –, and she sacrifices her body (and human life/existence) in her escape. I will look at Ovid’s version of the myth as well as Ted Hughes’s adaptation of the story from his Tales from Ovid. My discussion of the transformation into tree starts out from the consideration that metamorphosis is the par excellence place and space of in-betweenness implying an inherent hybridity and blurred, converging subjectivities, a state of being that allows for passages, overlaps, crossings, and simultaneities. I am interested to see in what ways Myrrha’s incestuous desire for her father as well as her metamorphosis into a tree can be “rooted” back to her great-grandfather Pygmalion’s transgressive love for the ivory statue Galatea.
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Meng, Shu. "Glocalizing Metamorphosis: A Post-Humanist Critique of Hybrid Romance in The Legend of White Snake and The Little Mermaid." Asian Journal of Social Science Studies 7, no. 9 (September 20, 2022): 1. http://dx.doi.org/10.20849/ajsss.v7i9.1268.

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As a transcultural archetype in both Eastern and Western mythology, metamorphosis is the main clue in The Little Mermaid by Danish writer Hans Christian Andersen and The Legend of the White Snake rewritten by Feng Menglong, which both demonstrate a cross-species romance between human beings and half-human-half-animal entities. Thus, by paralleling the story of metamorphosis in Eastern and Western cultural contexts, this paper attempts to investigate the “sharedness” rather than “sameness” between the metamorphosis tradition by creating a glocal heterotopia, revealing a possible post-humanistic potential for disrupting the differential human-animal categorization, while the tragic ending of both romances also indicates a shared pessimistic view on the establishment of nature-culture continuum and the underlying anthropocentric conception in the 17th century China and 19th century Europe.
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Duncan, Ian. "George Eliot’s Science Fiction." Representations 125, no. 1 (2014): 15–39. http://dx.doi.org/10.1525/rep.2014.125.1.15.

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George Eliot’s recourse to comparative mythology and biology in Middlemarch and Daniel Deronda engages a conjectural history of symbolic language shared by the Victorian human and natural sciences. Troubling the formation of scientific knowledge as a progression from figural to literal usage, Eliot’s novels activate an oscillation between registers, in which linguistic events of metaphor become narrative events of organic metamorphosis.
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Plummer, Nicole. "Fear, Sufferation, and Mythology in the Metamorphosis of Ivan to Rhygin." Black Camera 15, no. 1 (September 2023): 45–65. http://dx.doi.org/10.2979/blackcamera.15.1.07.

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Abstract: Mythologies have long reigned supreme in the Jamaican psyche. While there are supernatural stories such as Rivah Mumma, of note to Jamaica's history of resistance to colonialism and enslavement are antiestablishment figures like Nanny and Tacky, then colonial outlaws. More and more popular imagination is consumed by heroics of Hollywood figures such as the legendary outlaws in westerns. Utilizing Cultural Studies textual analysis, this paper explores the transformation of Ivanhoe "Ivan" Martin to Rhygin, from poor country boy to working-class urban dweller to desperate outlaw dying on his own terms. The music and language used in The Harder They Come (dir. Perry Henzell, 1972, Jamaica) will be analyzed to explore this transformation. This paper takes the view that mythmaking was the response to sufferation with fear straddling both sides of the divide—that of the wealthy and powerful whose power the poor fear; and the poor who collectively or individually and legally or illegally rise up against the system that would seek to keep them oppressed.
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Labessan-Malanda, Yannick-Laure. "La fluidité du monde. Mythes, rituels, religions chez Canetti et Lévy-Bruhl." Austriaca 61, no. 1 (2005): 89–99. http://dx.doi.org/10.3406/austr.2005.4491.

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Exploring the marginalia Canetti jotted down in his copy of Lévy-Bruhl’s book Primitive Mythology allows us to understand how the lecture of this book initiated his ideas concerning “primitive religions” and the mythical world. We find ourselves at the source of the ideas he then develops in Crowds and Power : the importance of multiplication, the fluidity of the world, metamorphosis and the redefinition of “totem”.
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Shopin, Pavlo. "The Pygmalion myth in Ovid’s “Metamorphoses” and William Schwenk Gilbert’s “Pygmalion and Galatea”." 93, no. 93 (December 22, 2023): 57–63. http://dx.doi.org/10.26565/2227-1864-2023-93-08.

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This article examines the ambivalent nature of the Pygmalion myth in Ovid’s Metamorphoses and William Schwenk Gilbert’s Pygmalion and Galatea (1870). The versions of the myth in Ovid and Gilbert are regarded as attempts at demythologization, which paradoxically introduce their own mythology. The author argues that the myth serves as both a reality and an illusion for the protagonists, blurring the lines sbetween critical knowledge and mythological worldview. Drawing on conceptual metaphor theory, the author suggests that the Pygmalion myth can be regarded as an allegory within the cognitive paradigm of embodied realism, and the unconscious metaphor behind the myth presents the metamorphosis as rationally explainable yet resistant to critical thinking. The article delves into Pygmalion’s mythical consciousness, highlighting his self-deception and the dialectic between animation and petrification. In Ovid, Pygmalion’s mastery achieves a perfect delusion. He believes in the possibility of animating his statue because it is so life-like. The original story – as we know it from Ovid’s Metamorphoses – treads the line between a miracle and self-delusion. After Ovid, its nature has remained ambivalent over the centuries. Gilbert demythologizes the myth by allowing it to become authentic reality. Pygmalion’s dream is realized to reveal its paradoxical consequences, which change the phantasmagoria of animation into a waking nightmare. The dialectic of the myth is realized through legitimating the magical act of creation and challenging its ramifications. Animation is possible in its initial stage, but the education and socialization of Galatea seemingly fail. The only way out of this predicament appears to be the reverse act of petrification. Pygmalion’s illusion has to come full circle in order to restore the balance. The article concludes that the understanding of the Pygmalion myth requires balancing between mythologizing and demythologizing, knowing and not-knowing.
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Kamalakkannan, K. M. "Metamorphosis as the Crux of the Character Vandiya Devan in Kalki’s Ponniyin Selvan." Shanlax International Journal of English 12, no. 1 (December 1, 2023): 28–32. http://dx.doi.org/10.34293/english.v12i1.6844.

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Human life is inherently compared. Man compares his life to other people’s lives. He has the intrinsic moral ability to balance the evil and good thoughts that bubble up from the depths of his mind. This is how literature and art have developed throughout all cultures. They have all been created in a comparative way. Literature has been a tool for teaching people about life and how it should and should not be. Images, symbols, and recurring themes from everyday life are used to illustrate the concepts. We refer to them as archetypes. They are the archaic pictures from global mythology that predominate in everyone’s minds. The journey of the hero is one such motif that has been predominating in the literary genre. This style totally maintains the hero’s quest as its foundation. They are fiercely patriotic toward their respective national identities. The great heroes of any nation are represented by their characters. Characters from the film “Ponniyin Selvan” such Aditya Karikalan, Arulmozhi Varman, and Vanthiyathevan are well-known for their quests, adventures, feuds, fights, and wars. Their quest and triumph serve as ideal illustrations of the hero archetype’s journey. In Kalki’s Ponniyin Selvan, the transformation of the character Vanthiya Devan is extra ordinary. Thus, the present paper explores Vanthiya Devan’s transformation and achievements in the novel and film.
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Popović-Bodroža, Ana. "Constructing of the narcissistic artistic character in the autobiography of Salvador Dali: Salvador Dali with an insight into the painting metamorphosis of narcissus, and the Dali museum/bequests." Kultura, no. 170-171 (2021): 167–78. http://dx.doi.org/10.5937/kultura2171167p.

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By applying the methodology of transdisciplinary studies, this work examines the phenomenon of Narcissism and narcissistic artistic character in the autobiography of Salvador Dali "I am the genius" (The Secret World of Salvador Dali), in the paining "The Metamorphosis of Narcissus", and in Dali's original poetry through the prisms of mythology, psychoanalysis and psychosexuality by constructing of the narcissistic character (artistic "Persona") as a model for identity strategies in contemporary art practices. The text is analysing some of Dali's unique personality characteristics and creative and personal expression, with a special insight into his childhood and the term of narcissistic personality structure according to Sigmund Freud, also analysing the key-role of Gala Dali. The text includes some postulates of the art movement of Surrealism that Dali applied in his work, from the "Surrealism Manifesto" and the Surrealism practices. In a case study, the text analyses the painting "Metamorphosis of Narcissus", its content, symbolism, style and visual elements. A possible influence of Sigmund Freud is described, and Dali's original method of "Critical Paranoia" is elaborated. The closing sections are describing the fascinating dimensions of the personality cult that Dali and his narcissistic character reached in the last years of his life. A special focus is made on the musealisation of Dali - his numerous museums and bequests, memorials and collections, the founding of which has contributed to the building of a permanent monument to the artist and finally to the establishment of his status of a mythical personality - the "Dali" brand.
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Dr. Reshu Shukla. "Mythical Metamorphosis: The Timeless Influence of Myths in Literary Realms and Retelling of The Ramayana by R. K. Narayan." Knowledgeable Research: A Multidisciplinary Journal 2, no. 07 (February 29, 2024): 34–49. http://dx.doi.org/10.57067/kr.v2i1.217.

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Indian literature captures the rich historical, spiritual, and cultural fabric of Indian culture through its intricate web of myths and tales. Myths have been used as a literary canvas, a source of inspiration, and a way to preserve culture in anything from classical texts to modern works. The paper explores the many ways that myths and legends have influenced Indian literature, highlighting the continuing power of these ageless stories using a variety of allusions. Myths and philosophical ideas may be found in abundance in the Vedas and Upanishads, the fundamental writings of Hinduism. The Ramayana and Mahabharata, the legendary epics and great Indian classics, continue to inspire generations of writers. This paper aims to study the retelling of myths and legends in R.K. Narayan’s The Ramayana. The work shares a common fascination with mythology and seeks to explore the distinctive ways in which Narayan depicts myths and legends in his work, examining the theme, characters, narrative technique, cultural nuances and contemporary resonance that distinguish this literary masterpiece.
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Dissertations / Theses on the topic "Metamorphosis, mythology"

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Pascone, Valeria. "Piramo e Tisbe, Narciso e Semele : tre miti ovidiani in Dante." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENL036.

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La thèse, intitulée "Tre miti ovidiani in Dante : Piramo e Tisbe, Narciso e Semele" est une analyse de la présence de ces trois fabulae des Métamorphoses dans l'œuvre de Dante. La sélection des mythes a été dictée par la nécessité de définir un champ aussi vaste et par l'intention de mettre en évidence la relation entre l'Eros et la Connaissances, qui est si important dans le système poétique et philosophique de l'auteur florentin.Cette étude se fie par ailleurs l'objective de souligner la manière dont Dante utilise le modèle d'Ovide: la rencontre avec la source classique prévoit un dialogue continu, à la fois textuel et théorique-conceptuel. Le mythe devient ainsi un récit qui faut démêler dans ses applications multiples et parfois contradictoires. En ce qui concerne les sources, une attention particulière a été accordée aux commentaires médiévaux sur les Métamorphoses. En particulier, les œuvres suivantes ont été gardées à l'esprit : le Allegoriae super Ovidii Metamorphosi de Arnolfo d'Orléans, le Integumenta Ovidii de Jean de Garland, l'exégèse de Giovanni del Virgilio et l'Ovide moralisé. Ce poème mythographique de la première moitié du XIVe siècle, même si postérieur, s'est révélé utile en vue d'une reconstruction de la réception du mythe après la Commedia. On a donc essayé de reconstruire la perception réelle que le Moyen Age avait du texte d'Ovide, en prenant également en compte la présence des fabulae dans la littérature vernaculaire antérieure ou contemporaine de Dante.L'ensemble de l'analyse tend à montrer comment, dans le voyage de perfectionnement de Dante, le concept d'Eros soit intimement lié à la possibilité d'une vraie connaissance, à condition qu'elle soit soutenue par la raison et la foi
Analysis of three ovidian myths in Dante's Comedy
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Fisher, Elizabeth A. "Planudes' Greek translation of Ovid's Metamorphoses." New York : Garland Pub, 1990. http://catalog.hathitrust.org/api/volumes/oclc/21077839.html.

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James, Paula. "Unity in diversity a study of Apuleius' Metamorphoses : with particular reference to the narrator's art of transformation and the metamorphosis motif in the Tale of Cupid and Psyche /." Hildesheim ; New York : Olms-Weidmann, 1987. http://catalog.hathitrust.org/api/volumes/oclc/15604421.html.

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Schmitzer, Ulrich. "Zeitgeschichte in Ovids "Metamorphosen" Mythologische Dichtung unter politischem Anspruch /." Stuttgart : B. G. Teubner, 1990. http://catalogue.bnf.fr/ark:/12148/cb35488106p.

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Tronchet, Gilles. "La métamorphose à l'oeuvre recherches sur la poétique d'Ovide dans les "Métamorphoses /." Louvain ; Paris : Peeters, 1998. http://catalogue.bnf.fr/ark:/12148/cb36709145t.

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McKinnon, Emily Grace. "Ovid's Metamorphoses: Myth and Religion in Ancient Rome." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1483.

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The following with analyze Ovid’s Metamorphoses, a collection of myths, as it relates to mythology in ancient Rome. Through the centuries, the religious beliefs of the Romans have been distorted. By using the Metamorphoses, the intersection between religion and myth was explored to determine how mythology related to religion. To answer this question, I will look at Rome’s religious practices and traditions, how they differed from other religions and the role religion played in Roman culture, as well as the role society played in influencing Ovid’s narrative. During this exploration, it was revealed that there was no single truth in Roman religion, as citizens were able to believe and practice a number of traditions, even those that contradicted one another. Furthermore, the Metamorphoses illustrated three integral aspects of Roman religious beliefs: that the gods existed, required devotion, and actively intervened in mortal affairs.
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Dorotiak, Jared. "Transformative Intersections: Theatre and Adaptation in Mary Zimmerman's Metamorphoses." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1375201350.

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Pfirter-Kern, Jane-Ann. "Aspects of Ovid's "Metamorphoses" : its literary legacy /." [Zürich] : Juris Druck + Verl. Dietikon, 1993. http://catalogue.bnf.fr/ark:/12148/cb36669378d.

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Adriano, Geisy Nunes. "Das sereias ao canto do jaguar em “Meu tio o Iauaretê”, de Guimarães Rosa." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20626.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-04T11:55:18Z No. of bitstreams: 1 Geisy Nunes Adriano.pdf: 1512084 bytes, checksum: 0f2b73fdeb56e8d8c6994962f13588e7 (MD5)
Made available in DSpace on 2017-12-04T11:55:18Z (GMT). No. of bitstreams: 1 Geisy Nunes Adriano.pdf: 1512084 bytes, checksum: 0f2b73fdeb56e8d8c6994962f13588e7 (MD5) Previous issue date: 2017-10-20
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This dissertation investigates the presence of the song of the sirens by Homer in "Meu tio o Iauaretê ", by Guimarães Rosa, using as theoretical reference the studies of Blanchot (2005), Oliveira (2008),), Agamben (2014) and Nogueira (2014), among others. In the wake of the interpretation of Blanchot, which traces an analogy between the song of the sirens and the literature making, every writer repeats the deed of Homeric’s character, since the narrative is an unpredictable and infinite searching movement, which makes present the navigation from the actual song to the imaginary song. We question whether there is a resumption of the song of the sirens in the studied narrative, with the goal of specifying how it happens and what its significance is, assuming that the jaguanhenhém song erupts from the threshold experience of metamorphosis between human and inhuman voice/song; portuguese, tupi and animal noise; articulated and unarticulated language. After analysis, we have come to the conclusion that this narrative stages the act of narrating itself, using a language between human-inhuman, in the process of enchantment, seduction and perdition of the triad author-narrator-reader
Esta dissertação investiga a presença do canto das sereias homéricas em “Meu Tio o Iauaretê”, de Guimarães Rosa, tendo como referencial teórico os estudos de Blanchot (2005), Oliveira (2008),), Agamben (2014) e Nogueira (2014), dentre outros. Na esteira da interpretação blanchotiana, que traça uma analogia entre o canto das sereias e o fazer literário, todo escritor repetiria o feito da personagem homérica, uma vez que a narrativa é um movimento imprevisível e infinito de busca, que presentifica a navegação do canto real ao canto imaginário. Questionamos se há uma retomada do canto das sereias na narrativa estudada, com o objetivo de elencar como isto se dá e qual o seu significado, partindo da hipótese de que o canto jaguanhenhém irrompe da experiência liminar de metamorfose entre voz/canto humano e inumano; português, tupi e ruído animal; língua articulada e não articulada. A conclusão a que chegamos, após a análise, é a de que, nesta narrativa roseana, encena-se o gesto do próprio ato de narrar, em uma linguagem entre humano-inumano, no processo de encantamento, sedução e perdição da tríade autor-narrador-leitor
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Hollenburger-Rusch, Caroline. "Liquitur in lacrimas zur Verwendung des Tränenmotivs in den Metamorphosen Ovids /." Hildesheim : Olms-Weidmann, 2001. http://catalogue.bnf.fr/ark:/12148/cb39090160m.

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Books on the topic "Metamorphosis, mythology"

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Buxton, R. G. A. Forms of astonishment: Greek myths of metamorphosis. Oxford: Oxford University Press, 2009.

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Sarangi, Sanjay Kumar, joint author, ed. Patterns of metamorphosis in Greek and Indian mythology. Kolkata: Punthi Pustak, 2012.

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1936-, Warden John, ed. Orpheus: The metamorphosis of a myth. Toronto: University of Toronto Press, 1985.

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Ovid. The metamorphoses. New York: New American Library, 2009.

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Bertrand-Py, Françoise. Métamorphoses. Lausanne: L'Age d'Homme, 2006.

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Koppenfels, Werner von. Bild und Metamorphose: Paradigmen einer europäischen Komparatistik. Darmstadt: Wissenschaftliche Buchgesellschaft, 1991.

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Ovid. The essential Metamorphoses. Indianapolis, IN: Hackett Pub. Co., 2011.

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Hofmann, Michael, 1957 Aug. 25- and Lasdun James, eds. After Ovid: New metamorphoses. London: Faber and Faber, 1994.

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illustrator, Bachinski Walter, Butler Janis, Goodman Jon printer, Garth, Samuel, Sir, 1661-1719, translator, Shanty Bay Press, and Press Collection (Library of Congress), eds. Stories from the metamorphoses. Shanty Bay, ON: Shanty Bay Press, 2013.

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Frontisi-Ducroux, Françoise. L' homme-cerf et la femme-araignée: Figures grecques de la métamorphose. Paris: Gallimard, 2003.

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Book chapters on the topic "Metamorphosis, mythology"

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de Rogatis, Tiziana. "Metamorphosis and Rebirth: Greek Mythology and Initiation Rites in Elena Ferrante’s Troubling Love." In The Works of Elena Ferrante, 185–206. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57580-7_8.

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Hardie, Philip. "The Metamorphoses of Sin." In Metamorphic Readings, 183–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864066.003.0010.

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Ovid’s Metamorphoses, the encyclopedia of pagan mythology for later centuries, was also pressed into the service of Christian theology. This chapter shows how three Christian poets—Prudentius, Dante, and John Milton—reworked metamorphosis into a snake, each in his own specific way. The central text is Metamorphoses 4.569–603, where Cadmus and his wife Harmonia are transformed into snakes in fulfilment of a supernatural prophecy, the ultimate consequence of Cadmus’ slaying of the serpent of Mars on the site of Thebes. While the metamorphosed Cadmus falls physically to the ground, in the Christian authors serpentine metamorphosis signifies a theological and spiritual fall. In the late fourth century, Prudentius projects the transformation on to Satan, while Dante in the early fourteenth century exploits Ovidian metamorphosis into snakes for the punishment of sinners in Inferno. Milton, a reader of both Prudentius and Dante, applies the metamorphosis to Satan, but in a very different way from Prudentius. Each of these Christian poets explores the motif of serpentine metamorphosis in their own language, and within their own culture. The demonic repetition of falls into serpentine metamorphosis also figures the repetitive migration of the Ovidian motif through the Christian centuries.
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"Myth in Metamorphosis: Ancient and Medieval Versions of the Yamatotakeru Legend." In Japanese Mythology, 74–92. Routledge, 2016. http://dx.doi.org/10.4324/9781315539089-9.

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Forbes Irving, P. M. C. "Animals, 1 The Ritual Theory." In Metamorphosis in Greek Myths, 38–57. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198147305.003.0003.

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Abstract It is the stories of transformation into large mammals that have most frequently prompted religious explanations, for several reasons. First, most of them appear early and have therefore been seen as belonging to the more primitive stage of Greek mythology. Secondly, most of them are not actiological in form and therefore cannot be explained as animal just-so stories. Thirdly, in most of them the gods play a central role as characters and often have an intimate connection with the human heroes: Io, Callisto, and Taygete are all loved by Zeus, and Actaeon is Zeus' rival in love. Fourthly, the animals of the transformations have a close connection with the gods of the stories as their sacred animals: Io is a cow, the sacred animal of Hera; Callisto, Taygete, and Actaeon are bears and deer, the sacred animals of Artemis.
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Létoublon, Françoise. "The Decisive Moment in Mythology: The Instant of Metamorphosis." In Time and Space in Ancient Myth, Religion and Culture, edited by Anton Bierl, Menelaos Christopoulos, and Athina Papachrysostomou. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110535150-021.

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Andreoli, Ilaria. "Ovid’s ‘Meta-metamorphosis’: Book Illustration and the Circulation of Erotic Iconographical Patterns." In Shakespeare’s Erotic Mythology and Ovidian Renaissance Culture, 19–40. Routledge, 2016. http://dx.doi.org/10.4324/9781315608730-2.

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Solodow, Joseph B. "Mythology." In The World of Ovid's Metamorphoses, 74–109. University of North Carolina Press, 1988. http://dx.doi.org/10.5149/northcarolina/9780807854341.003.0004.

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Morales, Helen. "4. Metamorphoses of mythology." In Classical Mythology, 56–67. Oxford University Press, 2008. http://dx.doi.org/10.1093/actrade/9780192804761.003.0005.

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"Multiple Selves and Egyptian Mythology." In The Metamorphoses of Myth in Fiction since 1960. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781501359903.0006.

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Keith, Alison. "Labor and pestis in Ovid’s Metamorphoses." In Philosophy in Ovid, Ovid as Philosopher, 184–206. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197610336.003.0010.

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Abstract:
This chapter treats the relationship between philosophy and mythology in Ovid’s Metamorphoses, in connection with two famous “problems” of Epicurean philosophy: labor (“toil” or “trouble”) and pestis (“plague”). Labor and pestis come together in Lucretius’ account of the rise and fall of civilization in two passages of De rerum natura, literally in Book 5 and symbolically in Book 6. Ovid recuperates this complex in three passages of the Metamorphoses: the rejuvenation of the earth’s population by Deucalion and Pyrrha after the great flood (1.348–415), the plague at Aegina (7.517–660), and Hercules’ death on Mt. Oeta (9.152–272). The chapter argues that Ovid pointedly undermines the tenets of Epicurean ethics in remythologizing his Latin epic predecessor. His elaboration and refutation of Epicurean ethics in the Metamorphoses exhibits both his characteristic playfulness and the comprehensive knowledge of Hellenistic philosophies that so excited the imaginations of Lucretius and the Augustan poets.
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