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Journal articles on the topic 'Ovid. Metamorphosis'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

Koschmal, Walter. "Poetik einer neuen Metamorphose: zu Róža Domašcynas Dichtung." Zeitschrift für Slawistik 66, no. 1 (March 30, 2021): 1–22. http://dx.doi.org/10.1515/slaw-2021-0001.

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Summary The paper characterizes the poetics of the Sorbian poet Róža Domašcyna (*1951). Domašcyna creates diverse methods of metamorphosis in her numerous lyrical works. Different concepts of metamorphosis from Ovid to Goethe as well as concepts of Chinese philosophy are discussed. The novelty of Domašcyna’s concept lies in her language, particularly in the mutation of sound and transformation of all reality. The paper uses “parkfiguren,” a speech composition created together with the composer Harald Muenz, as an example to analyze Domašcyna’s new metamorphosis. It is precisely her extremely uncertain take on metamorphosis that makes this poetic language the language of our present.

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13

Myers, Sara. "The Metamorphosis of a Poet: Recent Work on Ovid." Journal of Roman Studies 89 (November 1999): 190–204. http://dx.doi.org/10.2307/300740.

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It is by now obvious that Ovidian studies have ‘arrived’, apologies are no longer issued, nor are defences launched at the beginning of books. The nineties alone have seen so far the appearance of over fifty new books on Ovid in English, French, Italian, and German, and not just on the Metamorphoses, but on the Fasti, the Amores and Ars Amatoria, and the exile poetry, including the little known Ibis. Most importantly, there is a flourishing growth industry in commentaries on all of Ovid's works, with a greatly anticipated forthcoming commentary from Italy on the Metamorphoses authored by an international team, new Cambridge Greek and Latin Classics commentaries, including a recent excellent edition on Fasti 4 by Elaine Fantham (with an extremely useful and much-needed section on Ovid's style), the vastly learned commentaries of J. McKeown on the Amores, among others (all seemingly getting longer and longer). The appearance of a series of excellent English translations has made Ovid’s works more widely available for teaching. A number of companion volumes on Ovid are also forthcoming. N. Holzberg's recent impressive German introduction to Ovid evidently made the author, for a while at least, a sort of celebrity in Germany, and the book has already been reissued in a second edition. The rehabilitation of later Latin epic of the first century has more than anything served to place Ovid's work within a vigorous post-Vergilian literary tradition.

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Myers, Sara. "The Metamorphosis of a Poet: Recent Work on Ovid." Journal of Roman Studies 89 (November 1999): 190–204. http://dx.doi.org/10.1017/s0075435800060081.

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15

Walsh, Lisl. "The Metamorphoses of Seneca's Medea." Ramus 41, no. 1-2 (2012): 71–93. http://dx.doi.org/10.1017/s0048671x00000266.

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Seneca's Medea is not a rewriting of Euripides' character. At least, Seneca's Medea shares more similarities with Ovidian Medeas (the extant ones, at any rate) than the Euripidean Medea. Rather than focusing on Seneca's departures from the tragic legacy of Euripides (however important they are for an informed reading of the play), I would like to focus on Seneca's Medea as a potentially Ovidian character. Specifically, I would like to posit that the Senecan Medea reads more like a dramatisation of Medea's experience within the ellipsed Corinthian episode of Ovid's Metamorphoses (7.394-97). Seneca's Medea (more so than Euripides' Medea) identifies with a specifically transformative project, and, one might initially suspect, supplies a neat explication of the transformation missing from Medea's narrative in the Metamorphoses. What we find, however, is that, in dramatising her process of metamorphosis, Seneca irreparably alters our relationship with the transformed Medea.In the Metamorphoses, ‘Ovid does not explain the reason for Medea's transformation into a sorceress and semidivine, evil being…’, but it is clear in the narration that a metamorphosis does occur: ‘Ovid passes abruptly from a sympathetic portrayal of Medea as love-sick maiden to a tragi-comic account of her career as accomplished pharmaceutria (witch) and murderess.’ But the metamorphosis of Medea's character is signalled just as much by her own retreat into silence. The ‘love-sick maiden’, who lays her thoughts out in the open, gives way to the ‘semidivine, evil being’, who speaks only pragmatically (in incantatory language or to the daughters of Pelias) or not at all (e.g., while flying, in Corinth, and in Athens). The loss of Medea's perspective is much of the reason why Ovid's ‘transformed’ Medea seems so unsympathetic. Seneca provides this missing perspective, and in doing so creates a uniquely sympathetic and inhuman result: Seneca's Medea leaves the stage as abruptly as Ovid's Medea leaves Iolcos and Athens (Met. 7.350 and 7.424, respectively), having committed the same crimes as Ovid's Medea, and as ‘supernatural’ as Ovid's Medea (if not more so), yet her newfound system of values is completely comprehensible. In creating a comprehensible account of her motives for transformation, Seneca's Medea, even as the semidivine ‘pharmaceutria’, seems more sympathetic even as she maintains similarities to Ovid's character.

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16

Nagle, Betty Rose, and Stephen Hinds. "The Metamorphosis of Persephone: Ovid and the Self-Conscious Muse." Classical World 82, no. 6 (1989): 449. http://dx.doi.org/10.2307/4350460.

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17

Ekman, Erik. "Ovid Historicized: Magic and Metamorphosis in Alfonso X’s General estoria." La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures 42, no. 1 (2013): 23–46. http://dx.doi.org/10.1353/cor.2013.0027.

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18

von Albrecht, Michael, and Stephen Hinds. "The Metamorphosis of Persephone: Ovid and the Self-Conscious Muse." American Journal of Philology 109, no. 3 (1988): 461. http://dx.doi.org/10.2307/294905.

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19

Nagle, Betty Rose. "The Metamorphosis of Ovid: From Chaucer to Ted Hughes (review)." Comparative Literature Studies 43, no. 1 (2006): 210–13. http://dx.doi.org/10.1353/cls.2006.0039.

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20

Polzonetti, Pierpaolo. "Response: Ovid, Haydn, and the Symbiosis of Music and Metamorphosis." Journal of Musicological Research 40, no. 3 (July 3, 2021): 289–91. http://dx.doi.org/10.1080/01411896.2021.1949311.

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21

Marinčič, Marko. "Classical past in Baudelaire's Le cygne: a reconsideration." Acta Neophilologica 42, no. 1-2 (December 30, 2009): 179–86. http://dx.doi.org/10.4312/an.42.1-2.179-186.

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In the the third preface to Les Fleurs du Mal, Baudelaire curiously refers to Virgil as the only 'source' for his Le Cygne. Ithas been seen that Horace's description of the living poet's metamorphosis into a swan (Carmina 2.20) is a much more obvious classical reference as far as the title character is concerned, and the mention of »l'homme d'Ovide« seems to point the reader to Ovid's narrative of the creation of man in the Metamorphoses (1.76-86) as a model e contrario for the degradation of the divine bird in Baudelaire's poem. Baudelaire's modem version of the classical symbol of the sublime at first seems to suggest an ironic response to Horace and Ovid. On a second reading, however, the basic 'negativism' orsaudelaire's swan myth reveais a hidden thread of continuity with the classical past: it reveals Ovid's experience as an exilee as the primary parallel to the situations of Andromache and the swan. Conversely, Horace's swan-metamorphosis, though essentially Platonic, provides, through its over-literal, grotesque realism, an ante litteram alternative to the Platonising aesthetics of the earlier Romantics.

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22

Bernsdorff, Hans. "P.Oxy. 4711 And The Poetry Of Parthenius." Journal of Hellenic Studies 127 (November 2007): 1–18. http://dx.doi.org/10.1017/s0075426900001580.

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Abstract:P.Oxy. 4711 (from a papyrus codex of the sixth century AD) contains elegiacs with at least three metamorphosis myths (Adonis, Asterie, Narcisssus). In this article I argue against the suggestion by (among others) the first editor of this papyrus that the verses might be by Parthenius. I do so by examining the evidence for Parthenian authorship (especially the presumed imitations by Ovid and Gregory of Nazianzus) and by comparing the style of the new piece with what we actually possess of Parthenian poetry (especially with fr. 28 Lightfoot, which might come from the Metamorphoseis). Instead I suggest a late date of composition and would regard the fragments as a collection of the-matically arranged διηέματα in verse which are related to the production of progymnasmata in schools.

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23

Maxwell, Richard. "The Metamorphosis of Ovid: From Chaucer to Ted Hughes. Sarah Annes Brown." Modern Philology 100, no. 2 (November 2002): 258–61. http://dx.doi.org/10.1086/493182.

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24

Thomas, Richard F. "The Metamorphosis of Persephone: Ovid and the Self-Conscious Muse. Stephen Hinds." Classical Philology 85, no. 1 (January 1990): 77–80. http://dx.doi.org/10.1086/367182.

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25

Swift, H. J. "Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe." French Studies 64, no. 1 (December 17, 2009): 76–77. http://dx.doi.org/10.1093/fs/knp231.

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26

Keith (book editor), Alison, Stephen Rupp (book editor), and Thomas E. Mussio (review author). "Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe." Quaderni d'italianistica 29, no. 2 (June 1, 2008): 167–70. http://dx.doi.org/10.33137/q.i..v29i2.8467.

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27

Woolf, J. "Review: Transformation Scenes: Metamorphoses and Cultural History * Sarah Annes Brown: The Metamorphosis of Ovid: From Chaucer to Ted Hughes." Cambridge Quarterly 33, no. 3 (March 1, 2004): 294–97. http://dx.doi.org/10.1093/camqtly/33.3.294-a.

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28

Curley, Dan. "Ovid and Hesiod: The Metamorphosis of the Catalogue of Women by Ioannis Ziogas." American Journal of Philology 138, no. 2 (2017): 382–84. http://dx.doi.org/10.1353/ajp.2017.0018.

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29

Masó, Joana, and Gabriela García Hubard. "Écho-Graphie et Précipitations Beckettiennes dans : Ovide et Montale." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 293–306. http://dx.doi.org/10.1163/18757405-023001019.

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In , his publication of the 1930th, Beckett invents a curious way of quoting that we try to understand in following Derrida's ideas about writing and echo. This will permit us to reflect on Beckett's rewriting of the of Ovid and of Montale's . These two authors will bring us to the question of writing as metamorphosis and as an event at the limit of the organic and the unorganic, of sense and non-sense.

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30

Karen Casebier. "Metamorphosis: The Changing Face of Ovid in Medieval and Modern Europe (review)." ESC: English Studies in Canada 34, no. 4 (2008): 171–73. http://dx.doi.org/10.1353/esc.0.0155.

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31

Olmsted, Wendy. "On the Margins of Otherness: Metamorphosis and Identity in Homer, Ovid, Sidney, and Milton." New Literary History 27, no. 2 (1996): 167–84. http://dx.doi.org/10.1353/nlh.1996.0025.

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32

Kallendorf, Craig. "Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe (review)." JEGP, Journal of English and Germanic Philology 109, no. 1 (2010): 124–25. http://dx.doi.org/10.1353/egp.0.0087.

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33

Reid, Lindsay Ann. "Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe (review)." University of Toronto Quarterly 80, no. 2 (2011): 273–75. http://dx.doi.org/10.1353/utq.2011.0090.

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34

Frances Muecke. "Metamorphosis: the Changing Face of Ovid in Medieval and Early Modern Europe (review)." Parergon 25, no. 1 (2008): 232–33. http://dx.doi.org/10.1353/pgn.0.0029.

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35

Knoespel, Kenneth J. "Maggie Kilgour Milton and the Metamorphosis of OvidMilton and the Metamorphosis of Ovid. Maggie Kilgour. Oxford: Oxford University Press, 2012. Pp. viii+373." Modern Philology 111, no. 3 (February 2014): E334—E337. http://dx.doi.org/10.1086/673355.

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36

Russell, Daniel. "Another Reality: Metamorphosis and Imagination in the Poetry of Ovid, Petrarch, and Ronsard (review)." Philosophy and Literature 17, no. 1 (1993): 164–65. http://dx.doi.org/10.1353/phl.1993.0083.

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37

Papaioannou, Sophia. "Book review: Ovid and Hesiod: The Metamorphosis of the Catalogue of Women, written by Ziogas, I." Mnemosyne 67, no. 5 (August 19, 2014): 854–59. http://dx.doi.org/10.1163/1568525x-12341751.

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38

Lyne, Michael, and Jonathan Parker. "From ovid to COVID: the metamorphosis of advanced decisions to refuse treatment into a safeguarding issue." Journal of Adult Protection 22, no. 6 (September 25, 2020): 361–69. http://dx.doi.org/10.1108/jap-07-2020-0027.

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Purpose This paper aims to examine advance decisions to refuse treatment (ADRTs) in the context of the COVID-19 (Coronavirus 2019) pandemic. This study considers the development of ADRTs, the lack of take up and confusion among the general public, clinicians and health and social care staff. Design/methodology/approach The paper is a conceptual piece that reflects on ADRTs in the particular context of COVID-19. It considers professional concerns and pronouncements on ADRTs. Findings ADRTs have a low take up currently. There is misunderstanding among public and professionals. There is a need for raising awareness, developing practice and a need to allay fears of misuse and abuse of ADRTs in clinical, health and social care settings. Practical implications The authors make recommendations that reflexive training and awareness become the norm in health and social care, that reform of ADRTs is undertaken to prevent misunderstandings and that the person becomes central in all decision-making processes. Originality/value This paper is original in considering ADRTs as a safeguarding issue from two perspectives: that of the person making the ADRT and being confident in respect for the decisions made; and that of clinicians and other professionals being reflexively aware of the need to accept advance decisions and not acting according to unconscious biases in times of crisis.

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Stanivukovic, G. "ALISON KEITH and STEPHEN RUPP (eds). Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe." Review of English Studies 59, no. 242 (October 25, 2007): 768–70. http://dx.doi.org/10.1093/res/hgn093.

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40

Green, Mandy. "MILTON AND OVID - M. Kilgour Milton and the Metamorphosis of Ovid. Pp. xxiv + 373. Oxford: Oxford University Press, 2012. Cased, £70, US$135. ISBN: 978-0-19-958943-2." Classical Review 63, no. 2 (September 12, 2013): 597–98. http://dx.doi.org/10.1017/s0009840x13001388.

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41

Lederer, Thomas. "Metamorphosis: The Changing Face of Ovid in Medieval and Early Modern Europe, edited by Alison Keith and Stephen Rupp." Reformation & Renaissance Review 9, no. 2 (May 2007): 220–21. http://dx.doi.org/10.1558/rrr.v9i2.220.

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42

Reisner, Noam. "Maggie Kilgour. Milton and the Metamorphosis of Ovid. Oxford: Oxford UP, 2012. xxiv + 373pp. ISBN 13: 9780199589432. $135.00 (cloth)." Milton Quarterly 47, no. 1 (March 2013): 36–39. http://dx.doi.org/10.1111/milt.12023.

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43

Cowan, Robert. "Passing Over Cephisos' Grandson: Literal Praeteritio and the Rhetoric of Obscurity in Ovid Met. 7.350-93." Ramus 40, no. 2 (2011): 146–67. http://dx.doi.org/10.1017/s0048671x00000382.

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After tricking Pelias' daughters into killing their father, Ovid's metamorphic Medea flies in her (future reflexive) Euripidean dragon chariot from Thessaly to Corinth by a very circuitous route. In so doing, she performs a physical and narrativepraeteritio, passing rapidly over both the landscape and its local myths, which remain unnarrated. This article will reflect on some of the metapoetic connotations of thepraeteritioand its rhetoric of obscurity, and propose an identification for one of the most obscure of the figures over whom Medea passes. It will also identify a technique whereby Ovid plays with concepts of obscurity anddoctrinato unmask and dramatise a common reading practice.Medea's literal enactment of a rhetorical strategy is one among many instances in the poem of the reification of figurative language, an operation which most commonly takes place in the process of metamorphosis or the depiction of personifications, but by no means always. Among such reifications, the particular instance of the ‘literalpraeteritio’ has antecedents in Apollonius’Argonautica, where the Argonauts ‘passed by’ (παϱάμειβον) Calypso's island, and in Virgil'sAeneid, where Aeneas and the Trojans on at least three occasions pass by sites such as Ithaca, the land of the Phaeacians, and Circe's island. In each of these four cases the epic narrator is also ‘passing over’ the Odyssean narrative associated with the site.

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Hexter, Ralph. "The Metamorphosis of Sodom: The Ps-Cyprian ‘De Sodoma’ as an Ovidian Episode." Traditio 44 (1988): 1–35. http://dx.doi.org/10.1017/s0362152900006991.

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The mysteries and challenges presented by the Latin poem known as De Sodoma are many and varied. The identity of its author will likely never be known. Date and place of composition can only be expressed in terms of probabilities, and portions of the poem are extremely difficult to read and interpret. I am currently involved in the preparation of a critical edition, with translation and commentary, of both De Sodoma and its shorter, perhaps superior companion-piece De Iona, in the hope that this might pave the way for easier reading. In the present discussion I also address problems of readability, returning to that aspect of the poem which first attracted my attention and which, on balance, seems to offer the greatest help comprehending it: its relation to Ovid's Metamorphoses. While the poet of De Sodoma makes explicit and dramatic reference to the tale of Phaethon as told by Ovid, Ovid's text functions at a yet more basic level. In my view, the defining characteristic of De Sodoma is its structure as an Ovidian episode. This structure sets it apart from earlier Latin Biblical epics, canonical school texts by the time De Sodoma was composed. Read against the backdrop of its Ovidian model, the poem reveals a unity and coherence which has previously not been recognized, and extends our appreciation of the interests of some early medieval audiences and of the learning and artistry of at least one early medieval poet.

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Armstrong, Charles I. ""Some Ovid of the Films": W. B. Yeats, Mass Media, and the Future of Poetry in the 1930s." International Yeats Studies 3, no. 1 (November 1, 2018): 49–63. http://dx.doi.org/10.34068/iys.03.01.04.

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This essay addresses Yeats’s negotiation of poetry’s relationship, during the 1930s, with the emerging mass culture. Rather than contextualizing Yeats’s view on the future with a traditional critical framework such as Romantic apocalyptical discourse, a closeness to Aldous Huxley’s Brave New World and dystopian novels is explored. The main focus is on an unfinished draft for A Vision, “Michael Robartes Foretells,” and the way it envisages the changing situation for literature at the end of an epoch. Yeats’s use of classical parallels and linking of poetry and cinema are given special attention. His suggestion that the poetry of the future may be affected by the emergent medium of cinema provides an ambivalent perspective, not simply suggesting the degeneration of poetry in a context of Americanized mass culture but also possibilities of metamorphosis and spirituality. The interpretation of “Michael Robartes Foretells” is framed by other examples of Yeats’s engagement with mass media in the 1930s, in the form of Virginia Woolf’s diary report of table talk and Yeats’s radio broadcasts. All in all, Yeats’s view on poetry’s position balances between a conservative fear of marginalization and a more hopeful view of its potential to reinvent itself in a new historical context.

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Fantham, Elaine, Ovid, and A. D. Melville. "Ovid: Metamorphoses." Classical World 81, no. 1 (1987): 54. http://dx.doi.org/10.2307/4350140.

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Butrica, J. L., and Neil Hopkinson. "Ovid: Metamorphoses 13." Phoenix 57, no. 3/4 (2003): 345. http://dx.doi.org/10.2307/3648529.

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Kovacs, David. "Ovid, Metamorphoses 1.2." Classical Quarterly 37, no. 2 (December 1987): 458–65. http://dx.doi.org/10.1017/s0009838800030664.

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The purpose of this paper is, first, to demonstrate to future editors of the Metamorphoses , whether conservative or sceptical, just how improbable is the reading of the majority of MSS, illas , and how strong are the claims of the variant ilia , first recommended by P.Lejay in 1894 and vigorously championed by E.J.Kenney in 1976; and, second, to suggest an interpretation of this reading that is open to fewer objections than the one proposed by Kenney.I have given above the beginning of Ovid's longest poem as it ought to stand in all modern editions and as it stands in fact in only one, the French school edition of selections edited by Lejay in 1894: ‘Gods, on my undertakings (for you have changed them as well) breathe your favour.’ To be sure, all of Ovid's MSS read illas in line 2, and ilia is attested only as a variant in two of them.But majorities, in textual as in other matters, are frequently wrong.Even before the minority report of the Urbinas had been heard, Lejay adopted ilia , av.1.in the Erfordensis.1

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Gilchrist, Katie E. "Ovid, Metamorphoses 8.476." Classical Quarterly 39, no. 2 (December 1989): 562. http://dx.doi.org/10.1017/s0009838800037630.

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In these lines Ovid introduces Althaea's debate whether or not to kill her son Meleager by burning the brand which was his life, because he had killed her two brothers during the Calydonian boar hunt. A. S. Hollis (Oxford, 1970) says of line 476 that it contains ‘a forced and almost pointless word-play’. If sanguis is taken in its primary meaning, ‘blood’, this condemnation is quite justified. However, if one takes into account a secondary sense, the word-play acquires more strength. This sense is that of ‘offspring’ or ‘descendant’. Examples of this usage (see Lewis and Short s.v. Bib and Oxford Latin Dictionary s.v. 10) include Virgil, Aeneid 6.835 ‘sanguis meus’ (Julius Caesar), Horace, Carmen Saeculare 50 ‘clarus Anchisae Venerisque sanguis’ (Aeneas), Odes 3.27.65 ‘regius sanguis’ (Europa), and, in the Metamorphoses itself (5.514–15) ‘pro…meo veni supplex tibi, Iuppiter, …sanguine’. It may well be that Ovid was intending implications of both meanings in his choice of the word.

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Fratantuono, Lee. "Ovid and Hesiod: The Metamorphosis of the “Catalogue of Women.” By Ioannis Ziogas. Cambridge and New York: Cambridge University Press, 2013. Pp. [xii] + 247." Classical Philology 109, no. 3 (July 2014): 270–74. http://dx.doi.org/10.1086/676295.

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