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Relevant bibliographies by topics / Ovid. Metamorphosis

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Academic literature on the topic 'Ovid. Metamorphosis'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Ovid. Metamorphosis"

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Sokolov, Danila. "Mary Wroth, Ovid, and the Metamorphosis of Petrarch." Modern Language Quarterly 81, no. 1 (March 1, 2020): 1–31. http://dx.doi.org/10.1215/00267929-7933063.

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Abstract The language of arboreal metamorphosis in Lady Mary Wroth’s pastoral song “The Spring Now Come att Last” from Pamphilia to Amphilanthus (1621) may invoke the myth of Apollo and Daphne. However, the Ovidian narrative so central to Petrarchan poetics celebrates the male poet by erasing the female voice. This essay instead explores parallels between Wroth’s poem and the metamorphosis of the Heliades, who turn into poplars while mourning their brother Phaeton in book 2 of the Metamorphoses. Their transformation is predicated on an act of female speech, however precarious and evanescent. This alternative Ovidian scenario offers a model of lyric that capitalizes on the brief resonance that the female voice acquires at the point of vanishing. By deploying it in her song, Wroth not only rewrites Petrarch through Ovid in order to articulate a gendered lyric voice but shows herself a poet attuned to the crucial developments in English lyric of the sixteenth and seventeenth centuries, in particular the complex relationship between the Petrarchan and the Ovidian legacies.

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Ginsberg, Warren. "Dante, Ovid, and the Transformation of Metamorphosis." Traditio 46 (1991): 205–33. http://dx.doi.org/10.1017/s0362152900004244.

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In the seventh bolgia of the Inferno, Dante encounters the thieves, who are punished by undergoing an horrific series of Ovid-like metamorphoses in which men are changed into snakes or unidentifiable amalgams of matter. Since theft violates particular justice, which is a dynamic process that coordinates relations, I will argue that Dante properly makes metamorphosis and the lack of relation it creates between the forms that are changed the fitting punishment for thieves. Ovidian metamorphosis, however, can only image the mutations they experience because Dante's sinners have undergone a transformation even before they are changed into snakes. For particular justice, as Aristotle says, is only part of a more general kind of justice which is complete excellence. In the Inferno, this global justice is the final cause of Hell (‘Giustizia mosse il mio alto fattore,’ Inf. 3, 4), and the principle of retribution that establishes the balance between the punishment and crime of those in it. This general justice, I shall argue, also effects a metamorphosis in the damned prior to their particular punishments, a metamorphosis of unbecoming which makes each of them a perverse parody of what God had originally made them. Every sinner in Hell is undergoing a deformation, a disordering movement away from form which unbalances the vital relationship between body and soul that had made him or her human. More precisely, even though we learn from Statius in the Purgatorio that the damned retain the rational soul, it no longer functions as the form of the body, for it has ceased to be that determining element which allows us to understand the one it is in is a member of the species man. Indeed, as the particular transformations of Agnello and Buoso will make clear, the substantial form of all the damned has become less the intellectual soul than the shape of their matter, from which the intellect can no longer abstract any intelligible form. And as their increasing corporeality suggests, the sinners throughout Hell are being transformed into creatures of ever greater density, who lack inner depth, creatures devoid of an animating essence whose powers persist despite outer change.

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Barolsky, Paul. "As in Ovid, So in Renaissance Art." Renaissance Quarterly 51, no. 2 (1998): 451–74. http://dx.doi.org/10.2307/2901573.

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AbstractThis essay is a prolegomenon to the general study of Ovid's relations to Renaissance art and art theory. As is well known, the Metamorphoses determined the subjects of numerous works of art during the Renaissance. What is not sufficiently appreciated, however, is the extent to which the ancient poet's sense of "metamorphosis" as a figure of poesis, making or "poetry," helped shape Renaissance notions of poetic transformation in the visual arts. The emergent taste for the non finito in the Renaissance, most notably in the work of Michelangelo, had important roots in Ovidean aesthetics.

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CREESE, DAVID. "EROGENOUS ORGANS: THE METAMORPHOSIS OF POLYPHEMUS' SYRINX IN OVID, METAMORPHOSES 13.784." Classical Quarterly 59, no. 2 (November 23, 2009): 562–77. http://dx.doi.org/10.1017/s0009838809990188.

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Blume, Dieter. "Visualizing Metamorphosis: Picturing the Metamorphoses of Ovid in Fourteenth-century Italy." Troianalexandrina 14 (January 2014): 183–212. http://dx.doi.org/10.1484/j.troia.5.108310.

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TEKŞEN-MEMİŞ, Ayşe. "SCOPES OF METAMORPHOSIS IN JOSH MALERMAN S BIRD BOX AND OVID S METAMORPHOSES." INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES, no. 12 (September 30, 2016): 159. http://dx.doi.org/10.17361/uhive.20161222015.

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Stanivukovic, G. "MAGGIE KILGOUR. Milton and the Metamorphosis of Ovid." Review of English Studies 64, no. 263 (September 9, 2012): 154–56. http://dx.doi.org/10.1093/res/hgs091.

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Hopkins, D. "MAGGIE KILGOUR, Milton and the Metamorphosis of Ovid." Notes and Queries 60, no. 1 (January 7, 2013): 136–37. http://dx.doi.org/10.1093/notesj/gjs273.

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Wilkins, Ann Thomas. "Bernini and ovid: Expanding the concept of metamorphosis." International Journal of the Classical Tradition 6, no. 3 (December 1999): 383–408. http://dx.doi.org/10.1007/s12138-000-0003-5.

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Hoefmans, Marjorie. "Myth into Reality : The Metamorphosis of Daedalus and Icarus (Ovid., Metamorphoses, VIII, 183-235)." L'antiquité classique 63, no. 1 (1994): 137–60. http://dx.doi.org/10.3406/antiq.1994.1187.

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Dissertations / Theses on the topic "Ovid. Metamorphosis"

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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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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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Orosco, Gabriela Strafacci 1984. "Metamorfoses de Venus na poesia de Ovídio." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270791.

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Orientador: Isabella Tardin Cardoso
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O interesse deste estudo é observar a presença da deusa romana Vênus, cujo principal atributo é o amor, em obras do poeta romano Públio Ovídio Nasão (43 a. C - 17 / 18 d. C.), mais especificamente nos poemas Os Remédios do amor (Remedia Amoris) e em passagens selecionadas das Metamorfoses (Metamorphoseon Libri). Ao cotejar esses excertos, verifica-se que a deusa, seja metonimicamente (por exemplo, como sinônimo do substantivo "amor"), seja como personagem de aventuras e desventuras amorosas, abrange muito da poesia ovidiana e configura-se de diversas maneiras: no poema didático Remedia Amoris, por exemplo, Vênus é relacionada, com frequência, a narrativas de infelicidade amorosa. Nessa obra, o eu poético, propondo a cura do amor, cita a deusa como referência a histórias amorosas malfadadas. Observar a participação da deusa do amor em Metamorfoses, em que ela não é apenas referida como metonímia de seu atributo, como também é personagem de narrativas míticas, permite perceber com mais clareza em que medida os respectivos episódios mitológicos são mencionados ou aludidos também em Os Remédios do amor. Os excertos de Metamorfoses respectivos aos mitos referidos em Remedia compõem o corpus traduzido, a saber, Met. IV 169-189, X 298-739 e XIV 441-608 (bem como a comparação com sua menção em Remedia Amoris) é ponto de partida para uma análise da figura de Vênus. O estudo visa, ainda, contribuir modestamente para a discussão sobre a concepção do sentimento amoroso em Ovídio, em particular a ideia de amor como doença
Abstract: This study has as a central interest observing the presence of the Roman goddess Venus, whose main attribute is love, in Publius Ovidius Naso?s work (43 B. C - 17 / 18 A. D.), more specifically in the poems Remedia Amoris (Remedies for Love) and in selected passages of Metamorphoseon Libri (Metamorphoses). Throught the comparison among the latin passages pertaincing to both ovidian works, it is noticed that the goddess presence - either metonymically (for instance, as a synonymous for the noun "love") or as a character of amorous adventures or misadventures - comprises much of the ovidian poetry. In the didactic poem Remedia Amoris, for example, Venus is frequently related to unhappy love narratives. In Remedia the lyric self, purposing the cure for love, mentions the goddess as a reference to unlucky love stories. Observing in the Metamorphoses how the goddess of love participates as a mythical character, helps to perceive the allusion to mythological episodes that also takes part in Remedia Amoris. The respective excerpts of Metamorphoses (namely Met. IV 169-189, X 298-739 e XIV 441-608) that are mentioned in Remedia Amoris compose the corpus of our study. The translation of the selected passages of Metamorphoses, as well as a comparison with their mention in Remedia amoris, is the starting point for the analysis. The study aims also to modestly contribute for the reflection on the conception of the love feeling constituted in Ovid, mainly the idea of love as a disease
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Mera, Ewerton de Oliveira. "Cíniras e Mirra : as figuras do incesto em Ovídio (Metamorfoses, X, 298-502) /." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141901.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta pesquisa apresenta a proposta de investigar a figuratividade poética no texto latino, valendo-se do instrumental teórico que nos fornecem a Poética e a Semiótica Literária, tendo como corpus o episódio de “Cíniras e Mirra”, que integra a obra Metamorfoses (livro X, 298-502) de autoria de Ovídio (43 a.C. - 17 d.C.), considerado um dos maiores poetas da Roma Antiga. As Metamorfoses são um longo poema em versos hexâmetros, composto de quinze livros, que trata do surgimento dos elementos que compõem o mundo e da transformação ocorrida com diversos seres mitológicos em uma narrativa contínua. No trecho selecionado para a análise, conta-se a transformação de uma bela jovem na árvore da mirra, após cometer incesto com o próprio pai, Cíniras, rei de Chipre. Em um trabalho desenvolvido como pesquisa de IC intitulado “Poética e Figuratividade: uma análise de ‘Io’ (Ovídio, Metamorfoses, I, 583-747)”, procurou-se concentrar na primeira etapa dos processos de figuratividade, isto é, na figuração do discurso, quando um tema é revestido por figuras semióticas. Tomando os efeitos de sentido captados pela percepção e apreendidos por meio da leitura como dados de base, pretende-se investigar no corpus o arranjo particular da linguagem. Como resultado dessa investigação produziu-se um discurso metalinguístico a fim de reconhecer os recursos da figuratividade poética determinantes da expressão. Ainda, como base para o desenvolvimento do trabalho, será produzida uma tradução de estudo (literal) acompanhada de notas de referência, com comentários concernentes a dados gerais de cultura (mitologia, história, geografia, filosofia, etc.).
This research is a proposal to investigate the figurative poetics in the Latin text, drawing on the theoretical tools provided by Poetics and Literary Semiotics, with the corpus of the episode "Cinyras and Myrrha", integrating part of the Metamorphoses (Book X, 298-502), by Ovid (43 BC - 17 AD), regarded as one of the greatest poets of Ancient Rome. The Metamorphoses is a long poem in hexameter verses, separated into fifteen books. It depicts the creation of elements of the world and the transmutations of several mythological beings, with a narration that takes place in a continuous form. The selected passage for analysis recounts the transformation of a beautiful young woman into the myrrh tree, after committing incest with her own father, Cinyras, the king of Cyprus. In an already developed undergraduation research entitled “Poetics and Figurativity: an analysis of ‘Io’ (Ovid, Metamorphoses, I, 583-747), we have focused on the first step of the figuration process, that being the figuration of speech, when a subject is covered with semiotic figures. Considering the effects of meaning captured by perception and seized by careful reading as database, we intend to investigate in the corpus particular arrangements of language. The result of this research has produced a metalinguistic discourse to recognize the features of poetical figurativity that are determinants to the expression. Furthermore, as a basis for the development of this work, we will produce a literal study translation, accompanied by background notes, and comments concerning general data culture, such as mythology, history, geography, philosophy, etc.

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Hellman, James. ""As Mind to the Body": Prudence and Artificial Memory in the Illustrations and Commentary of George Sandys' Ovid's Metamorphosis Englished (1632)." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/506.

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This thesis is an analysis of an English verse translation of Ovid's Metamorphoses, published in 1632 by the Englishman George Sandys. This book included a full English commentary and was illustrated by several full-plate engravings. This study examines the edition's elaborate utilization of the rhetorical practices of artificial memory and related concepts of rhetorical invention. It demonstrates that these rhetorical practices were chosen and implemented for their inherent structural appropriateness for the cultivation of prudence, or practical wisdom. It reveals that the lessons in practical wisdom encoded in the work through the techniques of artificial memory were particularly aimed at political issues and the concerns of rulers. From the work's preoccupation with prudence as appropriate for a ruler, and from the dedication and prefatory texts, it becomes clear that it was intended to provide a means of counsel, or advice, to the King Charles I in an elaborate poetic format.

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Estes, Darrell Wayne. "Physical and Ontological Transformation: Metamorphosis and Transfiguration in Old French and Occitan Texts (11th –15th Centuries)." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500553664939406.

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Telesinski, Anne-Marie. "Pétrarque, le poète des métamorphoses." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030151.

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Lire la poésie de Pétrarque sous l'angle de la métamorphose est en soi une approche originale, d’autant plus que la métamorphose s'y présente sous de multiples formes : élément narratif explicite, transformation implicite par la métaphore, allusion à des mythes ovidiens, mutatio extérieure et intérieure des personnages de la fabula lyrique autobiographique, transformation des textes et de la poétique de l'auteur au fil du passage du temps, lui-même métamorphosant. Cette thèse aborde la poétique de Pétrarque en-dehors des sentiers battus, en étudiant d'abord la tradition médiévale des commentaires allégoriques des trois mythes ovidiens, Daphné, Méduse, Narcisse, qui sont fondamentaux dans les Rerum Vulgarium Fragmenta, afin de déterminer ensuite les points de contact ou de divergence avec les poésies du livre. C’est également par une démarche nouvelle que ces trois mythes principaux, auxquels s'ajoutent des fables secondaires, sont appréhendés d’après la chronologie réelle de l'écriture et ses interférences avec la construction progressive du livre-canzoniere. La thématique métamorphique d’ascendance ovidienne est ainsi confrontée à la problématique de la mutatio animi augustinienne. Enfin, la double présence des mythes métamorphiques et de la métamorphose comme réécriture, autobiographique ou métapoétique, est élargie aux Triomphes et à la poésie latine (Epystole, Africa, Bucolicum Carmen), jamais étudiés dans cette perspective
Reading Petrarch's poetry from the angle of metamorphosis is in itself an original approach, all the more since metamorphosis takes there many different forms : a narrative explicit component, implicit transformation by metaphor, allusion to ovidian myths, external and internal mutatio of the characters of the lyric and autobiographical fabula, transformation of the texts and the author's poetics with the passing of time, which has itself a metamorphosing action. This thesis approaches Petrarch's poetics geting off the beaten paths, by studying first the medieval tradition of allegorical commentaries, particularly those concerning three ovidian myths, Daphne, Medusa, Narcissus, which are fundamental in the Rerum Vulgarium Fragmenta, with the purpose to determine then common features and divergences with the poems of the book. These three main myths, completed by secondary fables, are also studied by means of a new method, that is according to the chronology of writing and its implications with the progressive construction of the canzoniere. The metamorphic theme, of ovidian origin, is in this way confronted to the problematic of the augustinian mutatio animi. Lastly, the double presence of metamorphic myths and of metamorphosis as rewriting, autobiographical or metapoetical, is extended to the Triumphs and to latin poetry (Epystole, Africa, Bucolicum Carmen), never analysed from that viewpoint

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Bishop, Anne Washington. "The battle scenes in Ovid's Metamorphoses /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008277.

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Curley, Daniel E. "Metatheater : heroines and ephebes in Ovid's Metamorphoses /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11481.

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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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Books on the topic "Ovid. Metamorphosis"

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Ovid: Myth and metamorphosis. London: Bristol Classical Press, 2005.

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Michael, Hofmann, and James Lasdun. After Ovid: New metamorphoses. New York: Noonday Press ; Farrar, Straus, and Giroux, 1996.

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Brunauer, Dalma Hunyadi. The metamorphoses of Ovid. Piscataway, N.J: Research & Education Association, 1996.

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Ovid. Ovid in Sicily. New York: Sheep Meadow Press, 1986.

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Ovid. The Metamorphoses of Ovid. New York: Harcourt Brace, 1993.

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Ovid. The metamorphoses of Ovid. Baltimore: Johns Hopkins University Press, 1994.

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Ovid. The metamorphoses of Ovid. Harmondsworth [Middlesex]: Penguin Books, 1986.

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Brown, Sarah Annes. The metamorphosis of Ovid: From Chaucer to Ted Hughes. New York: St. Martin's Press, 1999.

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Brown, Sarah Annes. The Metamorphosis of Ovid: From Chaucer to Ted Hughes. London: Duckworth, 1999.

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Ovid. The student's Ovid: Selections from the Metamorphoses. Norman: University of Oklahoma Press, 2000.

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Book chapters on the topic "Ovid. Metamorphosis"

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Clay, Diskin. "The Metamorphosis of Ovid in Dante'sDivine Comedy." In A Handbook to the Reception of Ovid, 174–86. Chichester, UK: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118876169.ch12.

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Eickmeyer, Jost. "Metamorphosen." In Ovid-Handbuch, 97–105. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05685-6_14.

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Böhme, Hartmut. "Wirkungsaspekte der Metamorphosen." In Ovid-Handbuch, 337–42. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05685-6_52.

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Harzer, Friedmann. "Arbeit am Mythos — Metamorphosen und Fasten." In Ovid, 67–112. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-05162-2_3.

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Aresi, Laura. "Metamorphose: Kontinuität und Wandel." In Ovid-Handbuch, 223–27. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05685-6_33.

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Loporcaro, Laura. "Die Metamorphosen in der Musik." In Ovid-Handbuch, 351–54. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05685-6_54.

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Thimann, Michael. "Die Metamorphosen in der bildenden Kunst." In Ovid-Handbuch, 343–50. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05685-6_53.

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Ciccone, Lisa. "«Ut testatur Ovidius»: Boccaccio lettore dei commenti alle Metamorfosi." In Intorno a Boccaccio / Boccaccio e dintorni 2019, 77–91. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-236-2.05.

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The article investigates the relationship between Boccaccio's Genealogie and the exegesis of Ovid's Metamorphoses. For each character included in his genealogy, Boccaccio reports first of all the contents of the myth related to it and then the different literal and allegorical interpretations. The main sources are, besides Ovid, Paolo da Perugia and a mysterious Theodontius, who can be identified with a commentary on the Metamorphoses produced in the 11th or 12th century. The article aims to demonstrate that Boccaccio follows the method used by medieval exegetes of the Metamorphoses: rejecting the pagan contents of the myth, the commentators offered an allegorical and moralising interpretation, in fact rewriting the Metamorphoses as a 'medieval' work.

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Park, Eun-Kyoung. "Ovids Metamorphosen bei Heine." In »… meine liebe Freude an dem Göttergesindel«, 89–114. Stuttgart: J.B. Metzler, 2005. http://dx.doi.org/10.1007/978-3-476-00102-3_3.

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Feldherr, Andrew. "Metamorphosis in the Metamorphoses." In The Cambridge Companion to Ovid, 163–79. Cambridge University Press, 2002. http://dx.doi.org/10.1017/ccol0521772818.012.

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Conference papers on the topic "Ovid. Metamorphosis"

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Romanescu, Sinziana. "OVID AND THE VISUAL ARTS � ASPECTS OF THE METAMORPHOSES." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s23.010.

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Cojocaru, Daniela. "THE MYTHOLOGICAL CHARACTERS FROM OVID�S METAMORPHOSES IN BENJAMIN BRITTEN�S PERSPECTIVE." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s24.018.

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