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Journal articles on the topic 'Ovidio. Amores'

Author: Grafiati

Published: 4 June 2021

Last updated: 21 February 2023

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1

Pina Terraza, Alejandro. "Risit Amor: masculinidad en Amores de Ovidio." Salduie, no. 20 (December 31, 2020): 229–34. http://dx.doi.org/10.26754/ojs_salduie/sald.2020206756.

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La lectura lineal de la colección elegíaca de Amores de Ovidio nos permite estudiar y caracterizar una masculinidad diferente a la tradicional en la sociedad de Roma. Al contrario que el impasible estoicismo propio del hombre romano tradicional, del vir durus, el joven poeta Ovidio se doblega totalmente a sus sentimientos por Corina: se enamora, queda decepcionado y acepta una novedosa dinámica de relación. Mediante esta lectura, proponemos que todo ello ocurre en un viaje sentimental pero también metaliterario: la elegía se agotará en cuanto Ovidio choque contra la realidad de que no puede tener una relación exclusiva con Corina.

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2

Pina Terraza, Alejandro. "Risit Amor: masculinidad en Amores de Ovidio." Salduie, no. 20 (December 31, 2020): 229–34. http://dx.doi.org/10.26754/ojs_salduiesald.2020206756.

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La lectura lineal de la colección elegíaca de Amores de Ovidio nos permite estudiar y caracterizar una masculinidad diferente a la tradicional en la sociedad de Roma. Al contrario que el impasible estoicismo propio del hombre romano tradicional, del vir durus, el joven poeta Ovidio se doblega totalmente a sus sentimientos por Corina: se enamora, queda decepcionado y acepta una novedosa dinámica de relación. Mediante esta lectura, proponemos que todo ello ocurre en un viaje sentimental pero también metaliterario: la elegía se agotará en cuanto Ovidio choque contra la realidad de que no puede tener una relación exclusiva con Corina.

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3

Quiñones Melgoza, José. "La figura de las libertas en Amores de Ovidio." Nova Tellus 36, no. 2 (June 28, 2018): 39–52. http://dx.doi.org/10.19130/iifl.nt.2018.36.2.795.

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4

Rivero García, Luis. "ἀπροσδόκητον en Ovidio, Amores II 15. 5: nota crítica." Emerita 71, no. 2 (December 30, 2003): 277–82. http://dx.doi.org/10.3989/emerita.2003.v71.i2.94.

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5

Mirones-Lozano, Eunate. "La historia del mal de amores en la literatura hispanohebrea." Revista de História da Sociedade e da Cultura 22, no. 2 (December 28, 2022): 175–94. http://dx.doi.org/10.14195/1645-2259_22-2_8.

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Este trabajo trata de poner en contexto un relato que, si bien breve, resulta excepcional en la literatura hebrea. El fragmento que nos ha interesado versa sobre los ‘remedios al mal de amores’, tópico universal y atemporal. Común a la mayoría de las literaturas conocidas, aparece, sin embargo, en una sola ocasión en corpus literario hebreo. Con el fin de contextualizarlo, recogemos testimonios de la literatura hebrea que habla del amor desde los tiempos del Antiguo Testamento hasta la Edad Media, así como de literaturas muy próximas en un momento dado, como la árabe. Se tienen asimismo en cuenta obras referenciales al respecto, como el Remedia Amoris de Ovidio que consideramos de obligada mención, a pesar de que su arrolladora influencia a lo largo de los siglos y en diversísimas geografías, no alcanzó nunca a la literatura hebrea de ningún periodo.

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6

Daujotas, Gustavo. "Impotencia sexual y experimentación genérica en Ovidio, Amores 3.7." Anales de Filología Clásica 2, no. 34 (March 25, 2022): 41–54. http://dx.doi.org/10.34096/afc.i34.11251.

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En la elegía 3.7 de Amores de Ovidio el enunciador se queja porque, víctima de impotencia sexual, no ha podido unirse con la joven. Más allá de estas vicisitudes, entendemos el episodio como una metapoética que escenifica el transitorio abandono de la práctica elegíaca y prefigura el abordaje de otros géneros poéticos. En el código elegíaco, donde se persigue un objetivo que no se alcanza (pues de resultar así se terminaría la práctica amatoria y escrituraria), el deseo por el cuerpo de la puella es equiparable al deseo de la práctica amatoria y poética. Consideramos que en esta elegía no solamente se encuentra implicado un anuncio del abandono de esta clase de poesía, sino que la vena poética del enunciador se ve fortalecida y, de este modo, preanuncia el cultivo de otros géneros, en los cuales subyacerá un estrato amoroso, tal como lo demuestra el resto de la producción ovidiana conservada.

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7

Sánchez Galera, José María. "De Amores a Tristia, la metamorfosis de Ovidio a través del libellus." Epos : Revista de filología, no. 29 (January 1, 2013): 45. http://dx.doi.org/10.5944/epos.29.2013.15181.

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Durante los siglos I a. C. y I d. C. la literatura romana refleja la asimilación del libro en tanto que elemento físico que contiene el resultado de un esfuerzo creativo e intelectual. La poesía latina de esa época explica cómo el volumen de papiro constituye el soporte de transmisión de obras y de autores. El presente estudio, centrado en Ovidio, describe el contraste entre su obra erótica y la poesía del exilio, a partir del gran cambio que experimenta el uso del vocablo libellus. El libellus sirve, por tanto, como «termómetro» del estado vital de Ovidio.Roman literature during the period 1st century BC – 1st century AD expresses the assimilation of book as a physical object containing the result of a creative and intellectual effort. Latin poetry shows how the papyrus volumen constitutes a hardware for the transmission of works and writers. The following lines, focused on Ovid, describes the sheer contrast between his erotic works and his exile poetry; based on the deep shift experienced by the libellus. In other words, the libellus is a «thermometer» of Ovid’s state of mind.

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8

Gómez Garrido, Luis Miguel. "Fuegos en la noche y amores contrariados." Boletín de Literatura Oral 11 (July 19, 2021): 103–16. http://dx.doi.org/10.17561/blo.v11.6250.

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Este artículo hace el seguimiento del viejo tópico literario de la luz que guía (o que intenta guiar) por la noche a amantes separados que aspiran a unirse, y que por lo general, acaban muriendo trágicamente. Se analizan leyendas orales modernas registradas en España, cuentos del tipo ATU 666*, mitos clásicos (Ovidio, Museo), recreaciones españolas posteriores (de Truchado, Bocángel, Góngora, Quevedo, Pardo Bazán) y canciones líricas. Se concluye que la oralidad, que vivió en la raíz del mito y que sigue siendo el cauce de las últimas recreaciones del tópico, es el paradigma en que todos estos discursos alcanzan mayores niveles de variación y creatividad.

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9

Laguna Mariscal, Gabriel. "El texto de Ovidio, Amores II 10.9 y el topico del nauigium amoris." Emerita 57, no. 2 (December 30, 1989): 309–15. http://dx.doi.org/10.3989/emerita.1989.v57.i2.567.

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10

Martos, Josep Lluís. "March en Corella: asimilación, perspectiva e innovación en la tragèdia de Caldesa." BOLETÍN DE LA BIBLIOTECA DE MENÉNDEZ PELAYO 86, Único (December 10, 2010): 17–45. http://dx.doi.org/10.55422/bbmp.58.

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Este trabajo describe la evolución poética de Joan Roís de Corella y delimita su segunda etapa creadora a partir de la Medea, en un momento en el cual la presencia de March en Corella deja de ser circunstancial y se construyen obras como la Tragèdia de Caldesa, que se enmarcan y dialogan con su poesía y con el discurso lírico que se ha generado alrededor de ella. Evalúa las diferentes fuentes que la crítica ha sugerido para esta obra y concluye que, más allá de los Amores y de los Remedia amoris de Ovidio, así como de otras fuentes yuxtapuestas para motivos o estilemas concretos, el poema 47 de Ausiàs March debió un importante referente y, tal vez, su principal impulso creador. Así se demuestra, a partir de una revisión de todo el poema, en paralelo a la Tragèdia de Caldesa, junto a otras poesías de March, como la 46, la 96 y la 99, que dejaron su huella en esta pieza.

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11

Ramírez De Verger, Antonio. "La puella sapiens en Ovidio, Amores II 4, 45-46." Emerita 69, no. 1 (June 30, 2001): 1–5. http://dx.doi.org/10.3989/emerita.2001.v69.i1.136.

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12

Gómez Moreno, Ángel. "‘Turpe senex miles, turpe senilis amor’ (Amores, 1, 9, 4): Ovidio, Cranach y Cervantes." Anales Cervantinos 46 (December 30, 2014): 203–24. http://dx.doi.org/10.3989/anacervantinos.2014.012.

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13

Fedeli, Paolo. "Da Properzio agli Amores di Ovidio: su alcuni aspetti dell’allusività ovidiana." Euphrosyne 36 (January 2008): 21–36. http://dx.doi.org/10.1484/j.euphr.5.124574.

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14

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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15

Pérez-Abadín Barro, Soledad. "Estrategias imitativas en las Églogas pastoriles de Pedro de Padilla: la huella de Ovidio." Revista de literatura 79, no. 158 (November 3, 2017): 391. http://dx.doi.org/10.3989/revliteratura.2017.02.014.

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Las Églogas pastoriles de Pedro de Padilla, libro bucólico de extracción virgiliana, diversifican su configuración a través del ejercicio de una imitatio compuesta, que canaliza la adopción de modelos ajenos a la tradición pastoral, entre los que figuran Ovidio, Boccaccio, Petrarca, Sannazaro, Garcilaso y Fray Luis de León, incorporados con diversas tácticas imitativas. Este artículo muestra la presencia de dos obras de Ovidio, los Remedia amoris y la Fábula de Narciso (Metamorfosis, III, vv. 339-510), ejemplos de imitación heurística, que permite adaptar la fuente al marco pastoral, sin desfigurarla. Los Remedia amoris son objeto de un tratamiento selectivo, para añadirse como elemento marginal a la historia de Silvano. La Fábula de Narciso desarrolla el mito ovidiano, mediatizada por la versión italiana de Alamanni, que también dirige las recreaciones de Hernando de Acuña y Gregorio Silvestre.

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16

Murgia, Charles E. "Influence of Ovid's Remedia amoris on Ars amatoria 3 and Amores 3." Classical Philology 81, no. 3 (July 1986): 203–20. http://dx.doi.org/10.1086/366987.

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17

Fantham, Elaine, Paola Pinotti, and P. Ovidio Nasone. "P. Ovidio Nasone: Remedia Amoris." Classical World 83, no. 6 (1990): 534. http://dx.doi.org/10.2307/4350693.

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18

Gantar, Kajetan. "Ovidijeva poezija ob soočenjih z Avgustovim režimom." Clotho 1, no. 1 (July 15, 2019): 9–20. http://dx.doi.org/10.4312/clo.1.1.9-20.

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Ovidij je nedvomno med vsemi avgustejskimi pesniki eden najbolj izrazitih oporečnikov v odnosu do avtokratskega režima cesarja Oktavijana Avgusta. Medtem ko je na primer Vergilij na Avgustov ukaz spremenil zaključni del druge knjige Georgik, tako da je izbrisal iz nje laudes Galli, ki ga je zadela damnatio memoriae, pa se Ovidij niti v svoji mladostni zbirki Amores niti v žalostinkah iz izgnanstva (Tristia) ni bal proslavljati tragično preminulega pesnika, ki velja za začetnika rimske elegije. Zato se ne smemo čuditi, da je tudi Ovidija zadela nekaka damnatio memoriae, saj so morale biti vse njegove pesniške zbirke, ne le spotakljiva Ars amatoria, odstranjene iz rimskih javnih knjižnic (Tristia, 3.1.63–80). Tudi v največjo umetnino, Metamorfoze, je Ovidij zasejal nekaj domiselnih in iskrivih protiavgustovskih bodic. Tako je na primer že v eni prvih epizod, v zgodbi o preobrazbi Likaona, še izraziteje pa v zadnji epizodi, kjer katasterizmu, tj. preobrazbi Julija Cezarja v zvezdo in podobni preobrazbi, ki po smrti čaka Avgusta, dodal za sklep še zaostreno poanto, da bo njegovo ime po smrti povzdignjeno še višje, visoko nad (super!) zvezde (torej še višje kot Cezarjeva in Avgustova zvezda): super alta perennis / astra ferar (Metamorfoze, 15.875–6).

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19

Gantar, Kajetan. "Ovidijeva poezija ob soočenjih z Avgustovim režimom." Clotho 1, no. 1 (July 15, 2019): 9–20. http://dx.doi.org/10.4312/clotho.1.1.9-20.

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Ovidij je nedvomno med vsemi avgustejskimi pesniki eden najbolj izrazitih oporečnikov v odnosu do avtokratskega režima cesarja Oktavijana Avgusta. Medtem ko je na primer Vergilij na Avgustov ukaz spremenil zaključni del druge knjige Georgik, tako da je izbrisal iz nje laudes Galli, ki ga je zadela damnatio memoriae, pa se Ovidij niti v svoji mladostni zbirki Amores niti v žalostinkah iz izgnanstva (Tristia) ni bal proslavljati tragično preminulega pesnika, ki velja za začetnika rimske elegije. Zato se ne smemo čuditi, da je tudi Ovidija zadela nekaka damnatio memoriae, saj so morale biti vse njegove pesniške zbirke, ne le spotakljiva Ars amatoria, odstranjene iz rimskih javnih knjižnic (Tristia, 3.1.63–80). Tudi v največjo umetnino, Metamorfoze, je Ovidij zasejal nekaj domiselnih in iskrivih protiavgustovskih bodic. Tako je na primer že v eni prvih epizod, v zgodbi o preobrazbi Likaona, še izraziteje pa v zadnji epizodi, kjer katasterizmu, tj. preobrazbi Julija Cezarja v zvezdo in podobni preobrazbi, ki po smrti čaka Avgusta, dodal za sklep še zaostreno poanto, da bo njegovo ime po smrti povzdignjeno še višje, visoko nad (super!) zvezde (torej še višje kot Cezarjeva in Avgustova zvezda): super alta perennis / astra ferar (Metamorfoze, 15.875–6).

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20

Torres Lara, Germán. "La traducción del “Remedia Amoris” de Ovidio, por Mariano Melgar." FENIX, no. 6 (December 30, 2020): 511–89. http://dx.doi.org/10.51433/fenix-bnp.1949.n6.p511-589.

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21

Montemayor Aceves, Martha Elena. "Publii Ovidii Nasonis Amorum libri tres. Publio Ovidio Nasón, Amores. Tres libros, intr., vers. rítmica, notas e índice de nombres José Quiñones Melgoza, México, Universidad Nacional Autónoma de México (Bibliotheca Scriptorum Graecorum et Romanorum Mexicana), 2018, CXCVI + 93 + 93 págs., ISBN: 978-607-30-0124-3." Nova Tellus 37, no. 2 (July 25, 2019): 207–13. http://dx.doi.org/10.19130/iifl.nt.2019.37.2.826.

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22

Benediktson, D. Thomas. "Pictorial Art and Ovid's "Amores"." Quaderni Urbinati di Cultura Classica 20, no. 2 (1985): 111. http://dx.doi.org/10.2307/20538876.

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23

Davis, P. J. "Ovid's Amores: A Political Reading." Classical Philology 94, no. 4 (October 1999): 431–49. http://dx.doi.org/10.1086/449457.

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24

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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25

Clarvoe, Jennifer. "Vivamus, Vivamus: Living with Ovid's "Amores"." Antioch Review 62, no. 1 (2004): 77. http://dx.doi.org/10.2307/4614600.

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26

Courtney, E. "SOME LITERARY JOKES IN OVID'S AMORES." Bulletin of the Institute of Classical Studies 35, Supplement_51 (February 1, 1988): 18–23. http://dx.doi.org/10.1111/j.2041-5370.1988.tb02006.x.

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27

McKie, D. S. "Ovid's Amores: The Prime Sources for the Text." Classical Quarterly 36, no. 1 (May 1986): 219–38. http://dx.doi.org/10.1017/s0009838800010673.

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Within the increasingly complex picture which has emerged in recent years of the manuscript tradition of Ovid's Amores the relationship of the two earliest MSS appears to remain firm: cod. P or Puteaneus (Par. Lat. 8242) of the 9th or early 10th century, which begins at Am. 1.2.51, was copied, probably directly, from the second half of the 9th-century cod. R or Regius (Par. Lat. 7311), whose first half now ends at Am. 1.2.50. This view, which originates in S. Tafel's dissertation of 1910 and lies behind the stemma constructed by E. J. Kenney for his OCT edition of 1961 (p. vi), has come to be taken by Ovidian scholars (with the exception, however, of Munari, who left the question open) to be the truth. My purpose in this first section is to show that this idea is unlikely to be the truth and, in the form in which it has most strongly been put forward, cannot be the truth. In the second section consequences for the manuscript tradition as a whole are explored.First we shall need some details. P, the slightly later manuscript, consists in all of 99 folia, of which 1–54 contain most, but not all, of the Heroides — not all, because they are in a lacunose state, a point to which we shall return in greater detail later. Foll. 55–6 are blank sheets of paper, not parchment, clearly inserted at a much later date during rebinding.

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28

Houghton, L. B. T. "OVID, REMEDIA AMORIS 95: VERBA DAT OMNIS AMOR." Classical Quarterly 63, no. 1 (April 24, 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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29

Henderson, John. "A Doo-Dah-Doo-Dah-Dey at the Races: Ovid Amores 3.2 and the Personal Politics of the Circus Maximus." Classical Antiquity 21, no. 1 (April 1, 2002): 41–65. http://dx.doi.org/10.1525/ca.2002.21.1.41.

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Ovid's two versions of his encounter with a woman at the races in the Circus Maximus (Amores 3.2; Ars Amatoria 1.135-70) are re-read together as celebrations of the spectacle of the spectators in the arena. The analytical approaches of "Everyday Life" collage and "Foucauldian panopticism" structure are shown to "over-achieve." Ovid dramatizes personal politics at the Circus in a sustained display of the self-reflexive poetics of erotic metaphor. When elegiac amor is acted out as a race, victory and favor are eroticized, steering between crude explicitness and bland circumlocution, into an expert triumph of sexual asymmetry. Ovid finds a version of femineus amor which brings his poem to a climax, and a climax to his poem, in spite of public decency and myriad spectators. Every quirk, routine, or landmark of the ludi circenses, including the parade of the gods, is included as a challenge for Ovid's poetic chariot, another lap in the race-or another race, re-run according to a fresh strategy. Re-playing the meta-literary terms of poetic genre, Amores 3.2 gives an "epinician" turn to Amores 3, playing games on Callimachean strategies for re-starting a work on a new lap.

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30

Ramsby, Teresa. "Loving Writing/Ovid’s Amores by Ellen Oliensis." Classical World 114, no. 3 (2021): 358–59. http://dx.doi.org/10.1353/clw.2021.0010.

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31

Agag, E. M. "(Egypt in Ovid's Poetry (Amores II. 13." Bulletin of the Center Papyrological Studies 28, no. 2 (December 1, 2011): 33–54. http://dx.doi.org/10.21608/bcps.2011.28842.

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32

Hines, Caitlin. "Loving Writing / Ovid's Amores by Ellen Oliensis." Phoenix 73, no. 3-4 (2019): 417–19. http://dx.doi.org/10.1353/phx.2019.0016.

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33

RIEHLE, WOLFGANG. "MARLOWE'S TRANSLATION OF OVID'S AMORES I.xv.19." Notes and Queries 41, no. 4 (December 1, 1994): 450–51. http://dx.doi.org/10.1093/nq/41-4-450.

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34

Bate, Jonathan, and M. L. Stapleton. "Harmful Eloquence: Ovid's "Amores" from Antiquity to Shakespeare." Shakespeare Quarterly 49, no. 4 (1998): 438. http://dx.doi.org/10.2307/2902242.

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35

De Boer, Katherine R. "Violence and Vulnerability in Ovid's Amores 1.5–8." American Journal of Philology 142, no. 2 (2021): 259–86. http://dx.doi.org/10.1353/ajp.2021.0006.

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36

Nagle, Betty Rose, and M. L. Stapleton. "Harmful Eloquence: Ovid's "Amores" from Antiquity to Shakespeare." Classical World 92, no. 1 (1998): 51. http://dx.doi.org/10.2307/4352185.

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Moles, John. "The Dramatic Coherence of Ovid, Amores 1.1 and 1.2." Classical Quarterly 41, no. 2 (December 1991): 551–54. http://dx.doi.org/10.1017/s0009838800004766.

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In his magisterial new commentary on the Amores J. C. McKeown alleges an ‘inconsistency’ or ‘flaw in the dramatic continuity’ between Amores 1.1 and 1.2: ‘whereas Ovid is fully aware in 1.1 that he is under Cupid's domination, he shows no such awareness in the opening lines of 1.2.’ Previously A. Cameron had used this ‘inconsistency’, together with the evident programmatic character of 1.2, as an indication that the second poem must in fact have been the first poem of one of the original five books of Amores; then when Ovid decided to reduce the number of books from five to three, he wanted to keep Esse quid hoc dicam and had no choice but to put it as near as possible the front of the first book, immediately after that book's own introductory poem. This reconstruction McKeown rightly rejects on the ground that 1.2's emphasis on Ovid's newness to love makes it out of place in any book other than the first.

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38

Sebastián Perdices, Irene, and Bienvenido Morros Mestres. "Interpretación y sentido en unos versos de Ovidio. A propósito del suicidio por amor y de ecdótica." Nueva Revista de Filología Hispánica (NRFH) 62, no. 1 (January 1, 2014): 1–32. http://dx.doi.org/10.24201/nrfh.v62i1.1169.

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Fecha de recepción: 27 de mayo de 2013.Fecha de aceptación: 28 de febrero de 2014. El presente trabajo estudia el uso que autores de distintas épocas hacen de un verso de las Metamorfosis de Ovidio. En ese uso, se produce una variante que obliga a suponer un error en su transmisión manuscrita y que justifica la lectura que hace de él Garcilaso de la Vega en su égloga II. Es una lectura que el Brocense ya proponía corregir, pero que debe dejarse tal como la editó Carlos Amorós, porque es obra del propio autor.

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Murgatroyd, Paul, Barbara W. Boyd, and Ovid. "Ovid's Literary Loves: Influence and Innovation in the "Amores"." Phoenix 51, no. 3/4 (1997): 413. http://dx.doi.org/10.2307/1192550.

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40

Greene, Ellen. "Sexual Politics in Ovid's Amores: 3.4, 3.8, and 3.12." Classical Philology 89, no. 4 (October 1994): 344–50. http://dx.doi.org/10.1086/367432.

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41

William C. Waterhouse. "Emodulanda in Ovid’s Amores 1.1." Classical World 101, no. 4 (2008): 533–34. http://dx.doi.org/10.1353/clw.0.0027.

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Phyllis Katz. "Teaching the Elegiac Lover in Ovid’s Amores." Classical World 102, no. 2 (2009): 163–67. http://dx.doi.org/10.1353/clw.0.0063.

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Goh, Ian. "THE END OF THE BEGINNING: VIRGIL'S AENEID IN OVID, AMORES 1.2." Greece and Rome 62, no. 2 (September 10, 2015): 167–76. http://dx.doi.org/10.1017/s0017383515000042.

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It is well known that Ovid's Amores begin with a reference to Virgil's Aeneid in the very first word, arma (‘weapons’, Am. 1.1.1 = Verg. Aen. 1.1), which implies that the elegist had been composing epic before Cupid, by stealing a foot, apparently forced him to write elegy. In spite of this incapacitation at the hands of the love god, Ovid continues to toy with Virgil's epic by making the first two poems of his collection of elegiacs into a mini-Aeneid, or – to be precise – by making the second poem of the collection into the second half of the Aeneid. One result is that the three-book edition of Amores threatens to be over even before it has begun. Another is that Ovid can be identified with the Latin enemies, on the wrong side of history, from the Aeneid. I restrict the argument largely to what can be observed in Amores 1.2, leaving aside, for instance, the possibility that Ovid shot by Cupid's arrow in 1.1 might be thought comparable to Dido, similarly shot and causing Aeneas to dally in Carthage with her in Aeneid 4.

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Gonçalves, Ana Teresa Marques, and Mariana Carrijo Medeiros. "AMOR E ALUSÃO À MORTE: UM ESTUDO ACERCA DAS REPRESENTAÇÕES DAS HEROÍNAS DE OVÍDIO." Classica - Revista Brasileira de Estudos Clássicos 27, no. 1 (November 3, 2015): 197. http://dx.doi.org/10.24277/classica.v27i1.340.

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As heroínas construídas por Ovídio, na obra Epistulae Heroidum, vivenciam amores extremos, que as levam a pensar na morte como escapatória dos sofrimentos que enfrentam na ausência de seus seres amados. Muitas das personagens representadas por Ovídio prometem cometer suicídio se não conseguirem trazer de volta os heróis ausentes. Neste artigo, objetivamos analisar como o amor e a morte são partes integrantes do pensamento ovidiano expresso nas Heroides.

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MARTÍNEZ SÁEZ, NICOLÁS. "Ovidio como fuente principal en el De amore de Andrés el Capellán." Revista chilena de estudios medievales, no. 17 (June 2020): 67–72. http://dx.doi.org/10.4067/s0719-689x2020000100067.

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Altamirano Pacheco, Sebastián. "Las víctimas femeninas: el uulnus amoris de Medea y Dido." Revista de Filología y Lingüística de la Universidad de Costa Rica 46, Especial (April 16, 2020): 17–34. http://dx.doi.org/10.15517/rfl.v46iespecial.41432.

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El tema de la presente investigación es el análisis del uulnus amoris que ocasionan los dioses Eros y Cupido en Medea y Dido a partir de la intervención divina de las diosas Afrodita y Venus, respectivamente. Se investiga el medio por el que Medea y Dido son víctimas de la pasión amorosa, mediante la identificación de los agentes-míticos que intervienen y la determinación del motivo por el cual otra deidad solicita intervención de Afrodita y Venus. El marco teórico consiste en la retórica clásica y los atributos de Eros y Cupido, los cuales se extraen de las obras de los autores Píndaro, Eurípides, Apolonio de Rodas, Virgilio y Ovidio.

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Keith, A. M. "Corpus Eroticum: Elegiac Poetics and Elegiac Puellae in Ovid's "Amores"." Classical World 88, no. 1 (1994): 27. http://dx.doi.org/10.2307/4351614.

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Nagle, Betty Rose. "Ovid's Literary Loves: Influence and Innovation in the Amores (review)." American Journal of Philology 120, no. 3 (1999): 468–71. http://dx.doi.org/10.1353/ajp.1999.0040.

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Athanassaki, Lucia. "The Triumph of Love and Elegy in Ovid's Amores 1, 2." Materiali e discussioni per l’analisi dei testi classici, no. 28 (1992): 125. http://dx.doi.org/10.2307/40236002.

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Miller, Paul Allen. "Harmful Eloquence: Ovid's Amores from Antiquity to Shakespeare. Michael L. Stapleton." Modern Philology 96, no. 4 (May 1999): 504–8. http://dx.doi.org/10.1086/492786.

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