Relevant bibliographies by topics / Ovide moralisé (Poem)

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Academic literature on the topic 'Ovide moralisé (Poem)'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Ovide moralisé (Poem)"

1

Feimer, Joel N. "Medea in Ovid's Metamorphoses and the Ovide Moralisé: Translation as Transmission." Florilegium 8, no. 1 (January 1986): 40–55. http://dx.doi.org/10.3138/flor.8.004.

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Ovide Moralisé of the early fourteenth century is much more than a translation into Old French of the first-century Latin Metamorphoses of Ovid. It has long been observed that mediaeval translators were not driven by a passion for "accuracy," or torn by a sense of the futility of their task as their modern counterparts have been. As a comparison of the two texts clearly shows, the mediaeval poet augmented Ovid's work where he found it lacking, displaying an encyclopaedic erudition in the process. The author of Ovide Moralise also adapted the pagan content of Ovid's Metamorphoses to convey Christian dogma to his audience. Every narrative element, every character, and every symbol is employed to represent a Christian significance by means of allegorical exegeses which are as long as or longer than the passages they explicate.
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Aubert, Christine. "Ideological Clash in L’Ovide moralisé." Beacon: Journal for Studying Ideologies and Mental Dimensions 2, no. 1 (April 1, 2019): 010210910. http://dx.doi.org/10.55269/thebeacon.2.010210910.

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“The Art of love,” “Metamorphoses,” “Heroides” and “The Love Elegies” written by Publius Ovidius Naso, represent important formative elements of the Roman Catholic homiletic poem “The Moralised Ovid” (L’Ovide Moralisé) written in the early 14th century by an unknown author in Old French. In the article, the ideological use of allusions and reminiscences of this poem to “The Art of Love” and “The Loves”, is analysed. Based on the comparison of Ovid’s quotes on gender roles and Christian maxims, an attempt is made to evaluate the success of the methodology of citing “The Art of Love” and “The Loves” for the purposes of creating medieval Christian ideological narrations.
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3

Kołodziej, Piotr. "They were never wrong… Masters of Word and Picture about Suffering." CLEaR 3, no. 1 (March 1, 2016): 61–72. http://dx.doi.org/10.1515/clear-2016-0007.

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Abstract To handle physical, mental or existential pain, man resorts to medicine, psychology, religion, philosophy ... This issue has also been discussed by writers and painters of all epochs. Artists have the advantage though - using the language of art, they can reach the truth about human life which cannot be accessed in a different way. The departure point for the deliberations about suffering and the sense of debating about it by means of words and pictures is a poem by W. H. Auden “Musée des Beaux-Arts”, from which the title quotation is derived. Auden refers to P. Bruegel’s Landscape with the Fall of Icarus, which applies to Ovid. In this paper, besides the aforementioned works (Auden, Bruegel; Metamorphoses), other paintings by Bruegel as well as the prose by Z. Herbert The Passion of our Lord Painted by an Anonymous Hand from the Circle of Rhenish Masters are used, allowing one to reflect on suffering, on the language of art, on making sense of the work in the reception process, and also on the morality of art and the morality of art understanding.
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"II. Text." New Surveys in the Classics 20 (1988): 5–9. http://dx.doi.org/10.1017/s0533245100021738.

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Catullus more or less disappeared from sight between Isidore of Seville who in the seventh century quoted two passages (attributing one to Calvus) and somewhere around 1300 when Hieremias de Montagnone of Padua quoted seven passages in his Compendium Moralium Notabilium, followed in 1329 by a citation from the 22nd poem in an anonymous Liber Florum Moralium Auctoritatum in Verona. Catullus reemerges in the fourteenth century implausibly, like Ovid and Martial, as a purveyor of moral saws.Two shafts of light break the darkness. One is a ninth-century MS (Paris Lat. 8071), Codex Thuaneus (T), once owned by Jacques de Thou (1553-1617), containing the 62nd poem, Epithalamium Catulli, in an anthology of Latin poetry. Centuries older than the rest of the tradition, in the lacuna after 62.32 and in other mistakes it is close to the rest. Still, it is independent and important. 62.7 is a simple example. Modern editors read Oetaeos. T has oeta eos, the rest hoc eos.
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Books on the topic "Ovide moralisé (Poem)"

1

Ovide moralisé. Paris: Société des anciens textes français, 2018.

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2

Capelli, Roberta. Allegoria di un mito: Tiresia nell'Ovide moralisé. Verona: Fiorini, 2012.

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3

Clier-Colombani, Françoise. Images et imaginaire dans l'Ovide moralisé. Paris: Honoré Champion éditeur, 2017.

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4

Le privilège des livres: Bilinguisme et concurrence culturelle dans le Roman de Fauvel remanié et dans les gloses au premier livre de l'Ovide moralisé. Genève: Droz, 2021.

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5

Ovidius Explanatus: Traduire Et Commenter Les Metamorphoses Au Moyen Age. Classiques Garnier, 2018.

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Book chapters on the topic "Ovide moralisé (Poem)"

1

Hutchinson, G. O. "Ovid, Metamorphoses." In Motion in Classical Literature, 78–117. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.003.0004.

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Striking depictions of motion in the Metamorphoses come readily to mind: Daphne, Actaeon, Daedalus and Icarus…. The motion shows copious diversity more than rigorous structuring, as in the Iliad. Wandering motion is frequent; a great range of spaces is covered. But the poem is interested in motion as a state of the universe, as Pythagoras’ philosophical speech brings out. The relation of metamorphosis to motion is manifold and complex; motion is connected to life and type of creature. Imagined possibilities of motion are important as well as narrated movement. The interest of the poem in motion is indicated by the frequency of moueo and motus there as compared to Aeneid and Fasti. Passages discussed include Niobe turning to not quite unmoving stone, supremely fast animals in impossible competition, the girl Iphis becoming a man and moving like one, Medea contemplating a voyage, Myrrha moving towards her father’s bedroom, Dis abducting Persephone. The depiction of motion is thus related to paradox, puzzles, refined observation, thought, morality, hierarchy. Motion is made conspicuous by drastic differences (as between the Greek army and snake and birds). The gods’ motion is both universal and individual (Venus briefly takes up Diana’s); more philosophically universal is the movement of time. The diversity of motion is held together by the flair of style.
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Jillions, John A. "Other Roman Writers." In Divine Guidance, 64–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190055738.003.0005.

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Other Roman writers add breadth to the range of attitudes toward divine guidance. Propertius became more pious toward the end of his life, but his early poems are cynical and depict Jupiter as self-centered, spiteful, and deaf to prayer. Even so he mentions numerous forms of divination: astrology, dreams, omens, necromancy, casting lots, throwing dice, offering incense at household shrines. Ovid prefers “simple truth” and rails against popular religion and morality in The Art of Love and Metamorphoses. Livy detested the immorality and cynicism of the new generation represented by Ovid and the Epicurean Petronius, who in Satyricon was biting in his mockery of merchant-class pieties. But in his History of Rome Livy believes more in the tradition of Rome than in poetic stories of divine guidance. Lucan too largely dismisses divine interventions in history yet has a warm attitude toward Delphi’s holiness and accessibility.
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