Relevant bibliographies by topics / Ovid. Remedia amoris

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Academic literature on the topic 'Ovid. Remedia amoris'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Ovid. Remedia amoris"

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Houghton, L. B. T. "OVID, REMEDIA AMORIS 95: VERBA DAT OMNIS AMOR." Classical Quarterly 63, no. 1 (2013): 447–49. http://dx.doi.org/10.1017/s0009838812000675.

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Anagrams and syllabic wordplay of the kind championed by Frederick Ahl in his Metaformations have not always been favourably received by scholars of Latin poetry; I would hesitate to propose the following instance, were it not for the fact that its occurrence seems peculiarly apposite to the context in which it appears. That Roman poets were prepared to use such techniques to enhance the presentation of an argument by exemplifying its operation at a verbal level is demonstrated by the famous passage of Lucretius (DRN 1.907–14; also 1.891–2) in which the poet seeks to illustrate the tendency of semina … ardoris to create fire in wood by the literal presence of elements from the word for ‘fires’ (IGNes) in that denoting wood (lIGNum). A similar conception may underlie the association insinuated by the love elegists between amor and mors, suggesting that death is somehow ‘written into’ love: so Propertius declares laus in amore mori (2.1.47), while Tibullus appears to point to the lurking presence of death in the pursuit of love in the lines interea, dum fata sinunt, iungamus amores: | iam ueniet tenebris Mors adoperta caput (1.1.69–70) – so swift and unexpected is death's approach that it is already present in aMOReS in the preceding line. Ovid's awareness of the poetic potential of this kind of play (if that is the right word for it) is fully exhibited in his celebrated account of Echo and Narcissus in Metamorphoses 3, where the subject matter gives the poet ample scope to exploit the humorous and pathetic possibilities afforded by Echo's fragmented repetitions of the frustrated entreaties of her beloved.
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Boler, Michael. "Screwtape’s Remedy for Love: C. S. Lewis and Ovid." Renascence 71, no. 1 (2019): 21–38. http://dx.doi.org/10.5840/renascence20197112.

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In the Ars Amatoria Ovid claims to make his audience experts in love; in the Remedia Amoris he teaches them how to fall out of love. These two poems are masterpieces of satirical comedy. At first glance Ovidian satire seems worlds apart from The Screwtape Letters of C.S. Lewis. While written for entirely different aims and differing in many obvious aspects, both works describe the surest means by which to suffocate love. For Ovid, it is romantic love that must be extinguished; for Screwtape, it is the love of God. While it might seem that the irony of The Screwtape Letters is distinctively modern, Lewis’s special form of irony finds its ancient precedent and model in the master of mock-didacticism, Ovid. Not only can the influence of Ovid’s Remedia Amoris be seen in the broad themes contained in The Screwtape Letters, but many of Screwtape’s specific avenues of attack were recommended by Ovid centuries ago.
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Lämmle, Cédric Scheidegger. "Martial on Ovid on Ovid: Mart. 11.104, The Remedia Amoris, and Saturnalian Poetics." Classical World 107, no. 3 (2014): 319–45. http://dx.doi.org/10.1353/clw.2014.0010.

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Beasom, Patrick T. "FORGETTING THEARS MEMORIAE: OVID,REMEDIA AMORIS579–84." Classical Quarterly 63, no. 2 (2013): 903–6. http://dx.doi.org/10.1017/s0009838813000414.

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During his encounter with Lethaeus Amor in theRemedia amoris, in which he discusses techniques to forget a former lover, Ovid writes the following:quisquis amas, loca sola nocent: loca sola caveto;quo fugis? in populo tutior esse potes.non tibi secretis (augent secreta furores)est opus; auxilio turba futura tibi est.tristis eris, si solus eris, dominaeque relictaeante oculos facies stabit, ut ipsa, tuos.This passage has been discussed in Hardie's treatment of Lethaeus Amor, and, while he directly addresses Ovid's use oflociin this passage as I shall below, his focus is on the rich intertextuality – textual remembrances – within theRemediarather than the use oflociin thears memoriaeproper. Hardie points out numerous intertexts in theRemedia, using the character of Lethaeus Amor to highlight the paradox of a learned reader of love poetry being unable to forget the poetry he has read, despite this specific oblivion being a precondition for curing oneself of love (as clearly directed atRem. am. 755–66). In this case, theloca solaOvid warns against are ‘topics of solitude’ which ‘conjure up for the experienced reader scenes of erotic despair’, thus calling to mind the lover's own lovelorn state.
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Michalopoulos, Andreas N. "THE EMOTIONS OF MEDEA THE LETTER-WRITER (OVID, HEROIDES 12)." Greece and Rome 68, no. 1 (2021): 61–75. http://dx.doi.org/10.1017/s0017383520000248.

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Medea fascinated Ovid more than any other female mythical figure. She features in the Ars Amatoria (1.336; 2.381–2), the Heroides (6.75, 127–8, 151; 12 passim; 17.229, 233), the Metamorphoses (7.1–424), and the Tristia (3.9). Ovid also composed a tragedy called Medea (Am. 2.18.13–16; Tr. 2.553–4), which unfortunately has not survived.1 In the Remedia amoris Medea is mentioned in a list of mythical men and women who would have been cured of their torturing love passion, if Ovid had been their praeceptor. Medea is not named, but the identification is obvious (Rem. am. 59–60): nec dolor armasset contra sua viscera matrem, / quae socii damno sanguinis ulta virum est (‘Nor would a mother's vengeance on her husband / have steeled her heart to slay their progeny’).
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Trevizam, Matheus. "OS ENSINAMENTOS AMOROSOS DE OVÍDIO COTEJADOS COM OS DE LUCRÉCIO ('DE RERUM NATURA' IV) | OVID’S TEACHINGS ON LOVE COMPARED WITH LUCRETIUS’ ('DE RERUM NATURA' IV)." Estudos Linguísticos e Literários, no. 55 (December 1, 2016): 120. http://dx.doi.org/10.9771/2176-4794ell.v0i55.16591.

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<p>A preceptística galante de Ovídio, constituída pela <em>Ars amatoria </em>e pelos <em>Remedia amoris</em>, encontra paralelos no final do livro IV do <em>De rerum natura</em> de Lucrécio, no qual esse poeta desenvolve assuntos em nexo com os temas de <em>amor </em>e <em>Venus</em>. Em Lucrécio, as ideias expressas sobre o amor vinculam-se, sobretudo, ao Epicurismo, enquanto Ovídio transforma <em>tópoi</em> e situações da elegia erótica romana para a composição temática de seus poemas. Nosso objetivo, nesta exposição, será apontar eventuais pontos de contato entre as “teorias do amor” de um e outro autor romano, bem como algumas de suas diferenças. </p><p><strong>Abstract:</strong><em> </em><em>Ovid’s teachings on love, which constitutes </em>Ars Amatoria<em> and </em>Remedia Amoris<em>, evokes parallels in the final part of Lucretius’ </em>De Rerum Natura<em> IV, where this poet develops themes related to the subjects of </em>amor<em> and Venus. In </em>De Rerum Natura <em>IV</em>, <em>the ideas expressed about love are mainly connected with Epicureanism, whereas Ovid transforms </em>tópoi<em> and situations from Roman love elegy in order to achieve the thematic composition of his poems. The purpose of this discussion is to point out potential coincidences between the “theories of love” of both Roman poets as well as some points of divergence between them</em>.</p>
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Watson, Pat. "Ovid, Remedia amoris. Ed. P. Pinotti (Edizioni e saggi universitari di filologia classica xxxix). Bologna: Patron, 1988. Pp. 360." Journal of Roman Studies 80 (November 1990): 212–13. http://dx.doi.org/10.2307/300305.

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Mayer, Roland. "La Femme Retrouvée?" Classical Quarterly 43, no. 2 (1993): 504. http://dx.doi.org/10.1017/s0009838800040064.

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In C.Q. 42 (1992) 551–2 E. J. Kenney impugned the appropriateness of femina in 28 on the grounds that it sabotages the poet's disclaimer to be treating not of women generally, but only of women not ruled out of bounds by the stola and uittae. Hesitantly he proposed to read in its place non or nee proba. It should be borne in mind that when a word has intruded itself from a nearby line and expelled the authentic reading, the ductus litterarum is no guide to emendation. The door stands open to bold measures. I propose to read Thais. The name of the famous courtesan well serves as the type with which Ovid proposes to deal. But what advantage has she over, say, Lais or even Phryne, whose names would fit here as well as hers? The answer comes from Remedia Amoris 385–6 Thais in arte mea est: lasciuia libera nostra est; nil mihi cum uitta; Thais in arte mea est.
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McGowan, Matthew M. "J.D. Hejduk (trans.) The Offense of Love. Ovid: Ars Amatoria, Remedia Amoris, and Tristia 2. Pp. xviii + 268. Madison, WI and London: The University of Wisconsin Press, 2014. Paper, US$19.95. ISBN: 978-0-299-30204-7." Classical Review 67, no. 1 (2016): 307–8. http://dx.doi.org/10.1017/s0009840x16001608.

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Hall, J. B. "E. J. Kenney (ed.): P. Ovidi Nasonis Amores, Medicamina faciei femineae, Ars amatoria, Remedia amoris iteratis curis edidit (Oxford Classical Texts). Pp. xvi + 272. Oxford: Clarendon Press, 1994. Cased." Classical Review 48, no. 1 (1998): 194–95. http://dx.doi.org/10.1017/s0009840x00331262.

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Dissertations / Theses on the topic "Ovid. Remedia amoris"

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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<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-19T11:37:47Z (GMT). No. of bitstreams: 1 Orosco_GabrielaStrafacci_M.pdf: 1499304 bytes, checksum: 8dcba777729471fd896b80f8ef7a63bc (MD5) Previous issue date: 2011<br>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<br>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<br>Mestrado<br>Linguistica<br>Mestre em Linguística
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Cyr-Frechet, Catherine Kany-Turpin José. "Poétique et érotique dans l'élégie d'amour ovidienne "Amores", "Heroides", "Ars Amatoria", "Remedia Amoris /." Créteil : Université de Paris-Val-de-Marne, 2007. http://doxa.scd.univ-paris12.fr:8080/theses-npd/th0253127.pdf.

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Thèse de doctorat : Études latines : Paris 12 : 2004.<br>Thèse électronique uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Bibliogr. f. [461]-470. Index.
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Cyr-Frechet, Catherine. "Poétique et érotique dans l'élégie d'amour ovidienne : "Amores", "Heroides", "Ars Amatoria", "Remedia Amoris"." Paris 12, 2004. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990002531270204611&vid=upec.

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Cette étude aborde le corpus érotique d'Ovide dans la perspective unificatrice d'un genre : l'élégie d'amour. Amours, Héroi͏̈des et traités didactiques ont été considérés du point de vue de la thématique, des modalités énonciatives et de la forme qui lui sont spécifiques. En nous plaçant du point de vue de la réception, nous avons identifié les traits génériques par confrontation des œuvres entre elles et avec les recueils des prédécesseurs. Nous avons toutefois privilégié l'angle de la généricité auctoriale. Sensible à l'ironie du poète et au caractère hautement réflexif de ses œuvres, nous en avons exploré systématiquement le contenu narratif et la matière didactique pour y révéler un discours en filigrane sur les conditions d'existence de l'élégie, et décrypter sous le propos érotique un véritable art poétique élégiaque<br>This study approaches Ovid's erotic works within the unifying perspective of a genre: the love elegy. Amores, Heroides, and the didactic treatises have been considered from the viewpoint of the thematic, of the enunciative modalities and of the form specific to the love elegy. From the receptive point of view, the generic aspects have been identified by confrontation between the works and with their predecessors, placing particular emphasis, however, on authorial genericityʺ. Taking account of the poet's irony and of the highly reflexive quality of his works, the narrative content and the didactic material have been systematically explored in such a way as to reveal the veiled discourse about the conditions under which the elegy can exist and to decipher, under the erotic surface, a true elegiac poetical art
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Books on the topic "Ovid. Remedia amoris"

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Il remedium amoris da Ovidio a Shakespeare. Pisa University Press, 2014.

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2

Purnelle-Simart, Cl. Ovide, Ars amatoria, Remedia amoris, De medicamine: Index verborum, listes de fréquence, relevés grammaticaux. Université de Liège, Faculté de philosophie et lettres, Centre informatique de philosophie et lettres, 1987.

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Ovid's Early Poetry: From His Single Heroides to His Remedia Amoris. Cambridge University Press, 2014.

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4

Ovid. The Love Books of Ovid Being the Amores, Ars Amatoria, Remedia Amoris and Medicamina Faciei Femineae of Publius Ovidius Naso. Kessinger Publishing, LLC, 2005.

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Ovid. The Love Books of Ovid Being the Amores, Ars Amatoria, Remedia Amoris And Medicamina Faciei Femineae of Publius Ovidius Naso. Kessinger Publishing, 2005.

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6

K, Gibson Roy, Green Steven J. 1973-, and Sharrock Alison, eds. The art of love: Bimillennial essays on Ovid's Ars amatoria and Remedia amoris. Oxford University Press, 2006.

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7

Boyd, Barbara Weiden. Homer in Love. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680046.003.0008.

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Chapter 7 considers a second central theme in Ovid’s Homeric reception, desire, and its evocation through repetition. The erotic tradition of Homeric reception that Ovid inherited can be seen in the longest extant fragment of the elegiac poem Leontion, in which the Hellenistic poet Hermesianax offers a catalogue of ancient poets and the women they loved. In Tristia 1.6, Ovid expands upon the central trope of this catalogue, in which poetry is personified as the beloved object of a poet’s desire. The love-poet, suggests Ovid, strives continually to renew his love by recreating the great loves of past poetry, aspiring always to surpass them. Discussions of Ovid’s treatment of Penelope in Heroides 1, Calypso in Ars amatoria Book 2, and Circe in the Remedia amoris explore Ovid’s continuing interest in figuring himself as a second Homer by imagining Homer as an elegiac poet.
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Book chapters on the topic "Ovid. Remedia amoris"

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Cardoso, Isabella Tardin. "Remedia amoris." In Ovid-Handbuch. J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05685-6_13.

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Schmalzriedt, Egidius, and Peter Alois Kuhlmann. "Ovid: Remedia amoris." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_15881-1.

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"Remedies (Remedia Amoris)." In Love Poems, Letters, and Remedies of Ovid. Harvard University Press, 2011. http://dx.doi.org/10.4159/harvard.9780674061224.c4.

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Morgan, Llewelyn. "2. Love poetry." In Ovid: A Very Short Introduction. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198837688.003.0002.

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'Love poetry' examines Ovid’s ventures into the sub-genre of love-elegy and describes the development of this exclusively Roman literary form over the previous two generations, and the conventions that Ovid had inherited. Ovid wrote three books on the subject of love, these are Amores (Loves), Ars Amatoria (Art of Love) and Remedia Amoris (Cures for Love), a meeting of love-elegy and the popular ancient tradition of didactic poetry. The Amores was the collection that launched Ovid’s poetic career, and it set the terms for the rest of it, marking him out as the leading proponent of elegiac verse in Rome. In his approach to love-elegy we also see a style that will characterize much of his later work, playful and intensely self-aware. The Amores is less poetry about love than poetry about love poetry, its primary appeal lying in witty manipulation of poetic convention. Meanwhile, the Ars Amatoria teaches men and women how to find and keep a lover, and then the Remedia Amoris explains how to ‘unlearn’ the lessons of the Ars.
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Ingleheart, Jennifer. "Vates Lesbia." In Roman Receptions of Sappho. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829430.003.0012.

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This chapter argues that the representation of Sappho the poet appears as a coherent portrait in the poetry of Ovid, and that this portrait closely resembles that of Ovid himself. This is so even when Heroides 15, also known as Epistula Sapphus, where Sappho as poet is centre stage, is set aside. The argument emerges from close readings of passages from the earliest of Ovid’s poetic career, such as the Amores, Ars amatoria (Book 3), and Remedia amoris, and also deals with some of his latest poetry in the Tristia, written in exile, all in the context of passages in Sappho and other Latin poetry and prose.
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Liveley, Genevieve. "Ovid in Defeat? On the reception of Ovid’s Ars Amatoria and Remedia Amoris." In The Art of Love. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780199277773.003.0016.

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"P. OVIDI NASONIS REMEDIA AMORIS." In Carmina amatoria. B. G. Teubner, 2006. http://dx.doi.org/10.1515/9783110918014.265.

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"Love Poems (Amores)." In Love Poems, Letters, and Remedies of Ovid. Harvard University Press, 2011. http://dx.doi.org/10.4159/harvard.9780674061224.c2.

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