Relevant bibliographies by topics / Tristia (Ovidius)

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Tristia (Ovidius)'

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Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Tristia (Ovidius)"

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Schwind, Johannes. "Tristia - J. B. Hall (ed.): Ovidius, Tristia (Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana). Pp. xxx + 263. Stuttgart and Leipzig: B. G. Teubner, 1995. DM 98. ISBN: 3-8154-1567-5." Classical Review 47, no. 2 (October 1997): 300–302. http://dx.doi.org/10.1017/s0009840x00250774.

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Hinds, Stephen. "Sebastian Posch, P. Ovidius Naso. Tristia 1: Interpretationen. 1. Die Elegien 1–4 (Commentationes Aenipontanae xxvm). Innsbruck: Wagner, 1983. Pp. 197. ISBN 3-7030-0118-6." Journal of Roman Studies 77 (November 1987): 253–55. http://dx.doi.org/10.2307/300625.

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Kenney, E. J. "VI(A) AC Ratione - Sebastian Posch: P. Ovidius Noso, Tristia I. Interpretationen, Band I: Die Elegien 1–4. (Commentationes Aenipontanae, 28.) Pp. 197. Innsbruck: Universitätsverlag Wagner, 1983. Paper, öS. 492/DM. 60." Classical Review 35, no. 2 (October 1985): 284–87. http://dx.doi.org/10.1017/s0009840x00108820.

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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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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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Schwind, J. "Review. Ovidius, Trista. JB Hall." Classical Review 47, no. 2 (February 1, 1997): 300–302. http://dx.doi.org/10.1093/cr/47.2.300.

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Taylor, Helena. "Translating Lives: Ovid and the Seventeenth-Century Modernes." Translation and Literature 24, no. 2 (July 2015): 147–71. http://dx.doi.org/10.3366/tal.2015.0199.

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This essay argues that during the Quarrel of the Ancients and Moderns in late seventeenth-century Paris, the life of the ancient Roman poet, Ovid, held a particular appeal for the ‘Moderns’. Tracing the historiography of Ovid's life from his autobiographical Tristia through the Renaissance vitae Ovidii to the prefatory vies d'Ovide of the seventeenth century reveals that lives were synecdochic for ideological stances towards the representation and translation of the ancient world; and that there was a specific identification between the narration of Ovid's Life and ‘Modern’ approaches to such representation. It suggests that this was because Ovid had already inscribed the interpretation and appropriation of tradition that underpinned the Moderns' attitude towards classical culture into his own version of his life, hence his ‘translation’ into a proto-Moderne, a figure heralding paradigmatic change.
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Fairweather, Janet. "Ovid's autobiographical poem, Tristia 4.10." Classical Quarterly 37, no. 1 (May 1987): 181–96. http://dx.doi.org/10.1017/s000983880003175x.

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Ovid's Tristia4.10 has in the past chiefly been considered as a source of biographical information rather than as a poem, but increasing interest in the poetry of Ovid's exile has now at last started to promote serious efforts to appreciate its literary qualities. The poem presents a formidable challenge to the critic: at first reading it seems a singularly pedestrian account of the poet's life and, although one may adduce plenty of parallels for details in its phrasing elsewhere in the poetry of Ovid and the other Augustans, it is clear that Ovid's thought-processes are not to be explained solely in terms of the main stream of Greco-Roman poetic tradition. Prose biography and autobiography, rhetorical apology and eulogy, subliterary epitaphs and inscriptional lists of achievements: all these types of writing could have influenced Ovid's selection of data.
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Heyworth, S. J. "Notes on Ovid's Tristia." Proceedings of the Cambridge Philological Society 41 (1996): 138–52. http://dx.doi.org/10.1017/s0068673500001966.

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Professor J. B. Hall has been kind enough to include some conjectures of mine in the apparatus of his forthcoming Teubner edition of Ovid's Tristia. The notes that follow (bar one – the discussion of 4.2) give some explanation and defence of these proposals.Tristia 1.6.19–26nec probitate tua prior est aut Hectoris uxor,aut comes extincto Laodamia uiro. 20tu si Maeonium uatem sortita fuisses,Penelopes esset fama secunda tuae; 22prima locum sanctas heroidas inter haberes, 33prima bonis animi conspicerere tui. 34siue tibi hoc debes, nullo pia facta magistro, 23cumque noua mores sunt tibi luce dati,femina seu princeps omnes tibi culta per annos 25te docet exemplum coniugis esse bonae …33–4 post 22 ed. Ven. 1486
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Ritchie, A. L. "Notes on Ovid's Tristia." Classical Quarterly 45, no. 2 (December 1995): 512–16. http://dx.doi.org/10.1017/s0009838800043585.

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The text is taken from Georg Luck's edition (Heidelberg, 1967). I have also consulted P. Burman (Amsterdam, 1727), S. G. Owen's editio maior (Oxford, 1889), A. L. Wheeler's Loeb edition (London and New York, 1924) in the 2nd edition revised by G. P. Goold (London and Cambridge, MA., 1988), and Georg Luck's commentary (Heidelberg, 1977). I have also had a preview of J. B. Hall's forthcoming Teubner edition and I have used his apparatus, in which the traditional sigla for the principal manuscripts are retained.
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Dissertations / Theses on the topic "Tristia (Ovidius)"

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Fuchs, Gabriel. "Renaissance Receptions of Ovid's Tristia." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365755599.

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Landry, Desiree. "Ovid's Tristia: Rethinking Memory and Immortality in Exile." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19349.

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In my research, I take up the questions of Ovid’s relationship to his poetry and the rethinking of exilic motifs and poetic motifs through the lens of exile. Throughout the Tristia, in particular, Ovid illustrates a complex series of questions on why he writes in exile. He writes, “What have I to do with you, little books, my unlucky obsession, I, wretched, who was destroyed by my talent?” Ovid provides two direct answers to his own question: first, writing brings him comfort in exile, and second, it keeps his name alive in Rome. I explore how Ovid adapts the motif of poetic immortality to the exilic motif of exile as death and employs the act of writing as a resistance to Augustus.
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GATTI, FABIO. "OVIDIO, "TRISTIA" 4 (1-9). INTRODUZIONE, TESTO E COMMENTO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/98184.

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Il lavoro è dedicato alle prime nove elegie del quarto libro dei 'Tristia' di Ovidio, scritto durante la sua relegazione a Tomi tra il 10 e l'11 d. C. Il testo è accompagnato da un apparato critico selettivo, che si concentra sui problemi testuali più significativi, discussi nel commento per lemmi delle singole elegie, che affronta tutte le questioni contenutistiche, stilistiche, lessicali e filologiche. Il commento alle singole elegie è preceduto da un'introduzione che discute i temi portanti del singolo componimento. Apre il lavoro un'introduzione generale, che mette in luce architettura e temi più significativi del quarto libro anche in rapporto agli altri libri della raccolta, oltre a ripercorrere la storia della sua tradizione manoscritta e della sua fortuna editoriale. Chiude il lavoro un'ampia e aggiornata bibliografia.
The work is dedicated to the first nine elegies of the fourth book of Ovid's 'Tristia', written during his relegation to Tomi between 10 and 11 AD. The text is accompanied by a selective critical apparatus, which focuses on the most significant textual problems. These issues are discussed in the commentary on the elegies, which addresses all the thematic, stylistic, lexical and philological issues. The commentary is preceded by an introduction that discusses the main and peculiar themes of the elegy. The work includes a general introduction, which highlights the architecture and the most significant themes of the fourth book also in link with the other books in the collection. It also examines the history of its manuscript tradition and its publishing success. An extensive and updated bibliography closes the work.
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Martin, Anna Julia. "Was ist Exil? Ovids Tristia und Epistulae ex Ponto /." Hildesheim : G. Olms, 2004. http://catalogue.bnf.fr/ark:/12148/cb41087640v.

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Knifton, Lauren. "Myth and the authorial persona in Ovid's Tristia and Epistulae ex Ponto." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/9481/.

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The Tristia and Epistulae ex Ponto are crucial for understanding Ovid’s use of myth, as he repeatedly uses mythological exempla to illustrate his own condition in exile and to characterise the authorial mask which he adopts in the exilic epistles. My doctorate approaches the author-persona relationship by investigating how Ovid utilises mythological references to construct his persona in literary terms, a methodology that rejects any attempt to reveal the “man behind the mask” and instead focuses on appreciating the complexity of the authorial exilic persona in its own right. By focusing on the mask of the author, this thesis looks in-depth at how the authorial persona is constructed by references to myth and literature, and how this often relates back to other Ovidian personae. My work focuses on the most common myths found in the exile works featuring the gods, epic protagonists, other heroes, the Underworld, and famous wives. The mythical exempla found in the Tristia and Epistulae ex Ponto are commonly equated with the author’s depiction of himself, or paralleled with the portrayals of his wife, friends, and enemies. As these mythical exempla are deployed, Ovid often makes allusions to other texts (Ovidian as well as those by other authors) which feature either the same narratives or characters, giving rise to a rich interplay of myth and intertextual allusions. All in all, the authorial figure in the Tristia and Epistulae ex Ponto, the relegatus poeta, becomes increasingly mythologised as he assumes the guises of the protagonists of tragedy and epic; persecuted, abandoned, and doomed to remain away from his homeland like Ulysses, Jason, and Philoctetes.
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Claassen, Jo-Marie. "Poeta, exsul, vates : a stylistic and literary analysis of Ovid's Tristia and Epistulae ex Ponto /." Online version, 1986. http://bibpurl.oclc.org/web/24196.

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Vollstedt, Barbara. "Ovids "Metamorphoses", "Tristia" und "Epistulae ex Ponto" in Christoph Ransmayrs Roman "Die letzte Welt." Paderborn ; Müchen ; Wien [etc.] : F. Schöningh, 1998. http://catalogue.bnf.fr/ark:/12148/cb38998125f.

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Prata, Patricia 1974. "O carater alusivo dos Tristes de Ovidio : uma leitura intertextual do livro I." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271120.

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Orientador: Paulo Sergio de Vasconcellos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação consiste em um estudo sobre o caráter intertextual do livro I dos Tristes de Ovídio e em sua tradução. Ao longo da exposição, discute-se, primeiramente, o que venha a ser intertextualidade e arte alusiva no âmbito dos estudos clássicos. Depois disso, exemplificam-se os procedimentos da arte intertextual, demonstrando o jogo alusivo que se estabelece entre as elegias 2, 3 e 4 dos Tristes de Ovídio e os cantos I, II e III da Eneida de Virgílio. Assim, esta dissertação encontra-se dividida em dois blocos: um primeiro, que procura discutir as implicações teóricas do tema da intertextualidade, e um segundo, que visa demonstrar a estratégia alusiva dos Tristes I. A tradução, por sua vez, propõe-se a servir de apoio a essa leitura intertextual, bem como intenta divulgar, em língua portuguesa, uma obra que se encontra esquecida no Brasil, ao passo que em outros países toda a obra de Ovídio vem sendo alvo de inúmeros estudos que promovem uma reavaliação crítica de sua poesia
Abstract: This dissertation consists of a study about the intertextual character of the book I of the Ovid' s Tristia and into its translation. At long the exposition, one discusses what intertextuality and allusive art is in the classical studies. After that, one exemplifies the proceedings of the intertextual art, demonstrating the allusive play to be established among the elegies 2, 3 and 4 from the Ovid's Tristia, and the chants I, II, and III from the Virgil's Aeneid. Thus, this dissertation is divided in two blocks: the first one intends to discuss the theoretical implications on the intertextuality theme, and the second one aims to demonstrate the allusive strategy in the Tristia I. The translation, in its turn, proposes to serve as a support to this intertextual reading, as well to divulge, in Portuguese idiom, a forgotten work in Brazil, whereas in other countries, all Ovid's work has been object of a great deal of studies that promote a critical re-evaluation of his poetry
Mestrado
Mestre em Linguística
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Prata, Patricia 1974. "O carater intertextual dos Tristes de Ovidio : uma leitura dos elementos epicos virgiliano." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271118.

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Orientador: Paulo Sergio de Vasconcellos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta tese apresenta as discussões atuais sobre intertextualidade no âmbito dos estudos clássicos, mais especificamente, da literatura latina, bem como um estudo intertextual da obra Tristes de Ovídio, o qual propõe uma leitura dos elementos épicos desses livros do exílio, baseada no intertexto que divisamos a partir da comparação com a Eneida virgiliana e, finalmente, sua tradução anotada, em versão bilíngüe. Tal trabalho, dada a diversidade de seus propósitos, encontra-se dividido em duas partes: a primeira traz a discussão da teoria intertextual e a análise das elegias; a segunda, a tradução dos Tristes. A tradução intenta divulgar, além de servir de apoio à leitura intertextual que dela propomos, em língua portuguesa, uma obra muito pouco traduzida e estudada no Brasil. Temos apenas uma tradução completa dos Tristes publicada, a de Augusto Velloso, de 1952, que se propõe ser didática, pois é justalinear, seguindo a ordem direta do texto latino, ao passo que em outros países toda a obra de Ovídio vem sendo traduzida e alvo de inúmeros estudos que promovem uma reavaliação crítica de sua poesia
Abstract: This thesis presents some of the current discussions of intertextuality in the area of classical studies, specifically Latin literature. It also provides a unique reading of the epic elements of Ovid's Tristia, based on the intertext furnished by a comparison with Virgil's Aeneid, as well as an annotated bilingual translation. The thesis is divided into two parts, the first being the discussion of intertextual theory and the analysis of the elegies, and the second the actual translation. In addition to supporting the intertextual reading proposed, the translation into Portuguese provides access to a literary work which has been little studied and translated in Brazil. There is only one other complete translation of the Tristia available: the 1952 translation of Augusto Velloso, which is a line-by-line translation of the original Latin text. In other countries, however, the entire works of Ovid have been translated and have been the focus of numerous studies which have led to a critical revaluation of his poetry
Doutorado
Linguistica
Doutor em Linguística
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Benites, Vinicius Marcus [UNESP]. "Interdiscursividade em Ovídio: recorrências expressivas entre Amores II, 4; Pônticas III, 8 E Tristes I, 11." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/132206.

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Résumé: La critique la plus traditionnelle, sur la base du biographisme, avait la tendance à voir les poèmes du exil inférieurs aux poèmes de la phase amoureuse d'Ovide. La raison en était la crédulité aux vers déterministes du énonciateur ovidien, présentes dans le recueil des Tristes. Selon cet énonciateur, les conditions défavorables du banissement seraient responsables pour une rédaction moins élaborée en esthétique que celle des vers des oeuvres précédentes. Mais la comparaison entre les élégies de cette phase e les autres de la phase dite amoureuse montre un même style, qui semble imprégner toute sa production élégiaque . Ce style de composition, fondé sur l'utilisation libre de l'expressivité artistique, était également responsable du fait que le poète latin a été marqué, par divers chercheurs, comme rhétorique et exagéré . Cependant, les analyses des textes qu'ont été faites au cours du travail de recherche indiquent que l'utilisation de figures de style dans la composition des vers suggère des nouvelles possibilités de significations textuelles. Ainsi, il y a une espèce d'approbation entre les deux plans du langage, le plan de l'expression et le plan du contenu, qui permet voir que les relations phonologiques dans le texte sont aussi des relations sémantiques. On s'interroge, alors, sur la pertinence des études qu'ont le biographisme comme une méthode d'analyse, car il détermine trop et délimite généralement les études sur Ovide. Par contre, il faut proposer des analyses qui mettent en scène une attention spéciale aux relations interdiscursives - entre les poèmes d'Ovide -, c'est à dire, celles qui privilégient la vérification et l'interprétation des figures de style qui traversent les élégies des différentes phases d'écrite du poète e qui peuvent apporter, comme conséquence, des nouvelles lectures
A crítica mais tradicional ao poeta latino Ovídio, tendo como base o biografismo, tendeu a ver, nos poemas do exílio, obras inferiores àquelas das outras fases de sua produção poética. O motivo para isso foi a credulidade nas afirmações deterministas do próprio enunciador ovidiano, presentes nas elegias do desterro, de que as condições adversas de escrita seriam responsáveis por textos com menos qualidade estética que os anteriores. No entanto, comparando-se elegias dessa fase com as de sua fase erótico-amorosa, percebe-se um mesmo estilo, perene, que perpassa toda sua produção elegíaca. Esse estilo de composição, fundado na utilização mais livre de recursos expressivos, também foi responsável pelo fato de o poeta latino ter sido tachado, por parte de seus estudiosos, como retórico e exagerado. Contudo, as análises feitas aos textos indicam que a utilização de figuras de linguagem na composição dos versos sugere novas possibilidades de sentidos textuais. Assim, há homologação entre os planos da expressão e do conteúdo, em que relações fonológicas, no texto, também constituem relações semânticas. Deste modo, questiona-se o biografismo como método de análise, pelo que ele condiciona e delimita os estudos a respeito de Ovídio. Propõem-se, em contrapartida, análises que levem em conta, de forma predominante, relações interdiscursivas, ou seja, aquelas que, privilegiando a verificação e interpretação dos recursos expressivos, possam trazer novas leituras
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Books on the topic "Tristia (Ovidius)"

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Ovid. Ovid's Tristia: Ex Ponto. Cambridge, Mass: Harvard University Press, 1988.

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Ovid. P. Ovidi Nasonis Tristia. Stutgardiae: B.G. Teubner, 1995.

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Commento al II libro dei Tristia di Ovidio. Bari: Edipuglia, 2003.

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Ciccarelli, Irma. Commento al 2. libro dei Tristia di Ovidio. Bari: Edipuglia, 2003.

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Bonvicini, Mariella. Le forme del pianto: Catullo nei Tristia di Ovidio. Bologna: Pàtron, 2000.

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Rufo, Antonia Izzi. Tristia: L'anelante voce di speranza nelle Tristezze di Ovidio. Venafro [Isernia]: Eva, 2000.

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Komik in den Tristien Ovids. Basel: Schwabe, 2006.

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Was ist Exil?: Ovids Tristia und Epistulae ex Ponto. Hildesheim: G. Olms, 2004.

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Ovid. Lettera ai posteri: Ovidio, Tristia 4, 10 ; [a cura di] Aldo Luisi. Bari: Edipuglia, 2006.

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Vollstedt, Barbara. Ovids "Metamorphoses," "Tristia" und "Epistulae ex Ponto" in Christoph Ransmayrs Roman "Die letzte Welt". Paderborn: F. Schöningh, 1998.

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Book chapters on the topic "Tristia (Ovidius)"

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Reid, Lindsay Ann. "The Brief Ovidian Career of Isabella Whitney: From Heroidean to Tristian Complaint." In Early Modern Women's Complaint, 89–113. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42946-1_5.

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2

Feather, Jennifer. "Power, Emotion, and Appropriation in Ovid’s Tristia and Shakespeare’s Henry V." In Ovid and Adaptation in Early Modern English Theatre, 147–62. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474430067.003.0009.

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This chapter analyzes a relatively weak allusion to Ovid – Shakespeare and Ovid’s shared use of natural metaphors for emotional states – to understand the operation of authority in early modern dramatic adaptation. Both Ovid’s Tristia and Henry V are deep examinations of the workings of state power that analyze human feeling in terms of natural metaphors associated with particular locales. This chapter compares the language of cruelty in Ovid’s Tristia to Henry’s rhetoric of power in Henry V,arguing that Shakespeare appropriates Ovidian metaphor to imagine the emotive operation of hegemonic power. This appropriation enables audiences to see cruelty and sympathy operating in the register of emotional experiences that are geographically defined and provokes a consideration of the politics of appropriation.
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Morgan, Llewelyn. "6. Exile poetry." In Ovid: A Very Short Introduction, 96–111. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198837688.003.0006.

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In 8/9 CE Ovid was sent by the emperor Augustus to the town of Tomi in modern Romania, at the time at the far edge of the Roman Empire. 'Exile poetry' focuses on the Tristia (Sad Songs) and the Epistulae ex Ponto (Letters from the Black Sea), in total nine books of laments in which Ovid begs to be restored to Rome, or at least to be moved to a more congenial location. The main development between Tristia and ExPonto is Ovid's formal adoption in the later series of a letter format natural to poems sent over a long distance. The circumstances of this poetry, and particularly the identification of the addressee in the Ex Ponto, allows a degree of poignancy rare elsewhere is his poetry. Certainly, for all his claims to the contrary, Ovid’s poetic powers do not abandon him on the Black Sea, and what has made Ovid's exile poetry one of the most influential parts of his oeuvre is the rarity of a classical poet offering an intimately personal account of estrangement and alienation. In turn, these poems provided perhaps unexpected inspiration for modern writers exercised by themes of separation.
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Jolowicz, Daniel. "Chariton and Latin Elegy II." In Latin Poetry in the Ancient Greek Novels, 62–90. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894823.003.0003.

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Chapter 2 establishes Ovid’s Heroides, Tristia, and Epistulae ex Ponto as central to a number of specific features of Chariton’s novel (especially the embedded letters). Section 2.2 focuses on the Heroides and the following epistolary motifs: the processes of composition and reception; the presence of tears; the recognition of handwriting; the role of memory and possessive adjectives; and the eroticization of the letter’s materiality. These contribute to the characterization of Chaereas and Dionysius as lamenting and abandoned heroines. Section 2.3 argues that Chariton has digested a number of motifs that characterize the exilic persona in Ovid’s Tristia and Epistulae ex Ponto, such as the role of finger rings and various psychosocial neuroses. As in Chapter 1, thematic proximities between Chariton and the elegiac corpus are supported by strikingly close points of verbal contact.
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Hejduk, Julia Dyson. "Ovid." In The God of Rome, 212–90. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607739.003.0006.

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In the beginning, Ovid’s depiction of Jupiter accords with the usual elegiac fare. There is a certain amount of rivalry, as Ovid fears Jupiter might steal his girl; some flippant one-upmanship, as Ovid drops Jupiter-cum-thunderbolt when his girlfriend locks her door; copious irony, as the praeceptor Amoris instructs his pupils to imitate Jupiter in perjuring themselves. Ovid particularly enjoys “correcting” his predecessor Propertius on certain points of Jovian theology. The great works written close to the time of Ovid’s exile add a bitter edge to this playfulness, revisiting elegiac scenarios with a dramatic shift in focalization. Jupiter’s rapes and the suffering they cause are a leitmotif of Ovid’s epic Metamorphoses. In the Fasti, Jupiter is subjected to complex manipulation, instructed, diminished, and reframed according to the poet’s wish-fulfilling fantasies. As Augustus transformed the Roman experience of time by modifying the calendar, so Ovid seizes control of the discourse by shaping the calendar to his own poetic ends. When the thunderbolt strikes, banishing him to the Black Sea, Ovid creates a Jovian/Augustan mythology all his own. Like the Metamorphoses and Fasti, the Tristia and Epistulae ex Ponto show two possibilities for Jupiter, yet the Tristia’s impression of the cruelly wrathful Thunderer predominates over the Ex Ponto’s possibility of revivifying rain. Most importantly, by figuring himself as the heroes and—especially—heroines persecuted by the autocratic ruler of the Olympian pantheon, Ovid defines his poetry and his very self as a work of artistically fruitful, politically hopeless opposition to the new “Jupiter.”
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"4. Publius Ovidius Naso: Tristium Libri V (8–12) [“Sorrows”]." In Handbook of Autobiography / Autofiction, 1328–41. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110279818-115.

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7

Ingleheart, Jennifer. "Vates Lesbia." In Roman Receptions of Sappho, 205–26. 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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Vuković, Krešimir. "The lovers and the rebel." In Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana, 242–61. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864417.003.0016.

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A series of six poems exchanged between lovers (known as the double Heroides) is normally placed at the end of the collection of Ovid’s single Heroides. Their attribution has been questioned in recent decades. Much of the argument has devolved on stylistic features, especially polysyllabic pentameter endings. This chapter briefly revisits the issue by analysing some exilic passages in the Fasti and the Metamorphoses. Rather than making grand claims based on supposed stylistic features, the focus is on reading Ovid as a rebellious poet, a trait that consistently appears across his work from the Amores to the Tristia. By comparing passages from the exilic works with the text of the double Heroides, it is argued that reading Ovid as the author of both fits with our perspective on the great poet of nequitia. The conclusion is subjective, but opens up possibilities in reading the double letters as an exilic text.
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Holzberg, Niklas. "Ovids Monumentum Tomitanum. Tristia 4,10 als Gegenstück zu den Res gestae des Augustus." In Ad usum scholarum, 271–84. Rombach Wissenschaft – ein Verlag in der Nomos Verlagsgesellschaft, 2021. http://dx.doi.org/10.5771/9783968218120-271.

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Feddern, Stefan. "Zum Autofiktionsbegriff aus klassisch-philologischer Perspektive anhand von Ovids poetischer Autobiographie (trist. 4,10) – oder Autofiktion?" In Auf der Suche nach Autofiktion in der antiken Literatur, 97–130. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110734928-007.

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