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Books on the topic 'Tristia (Ovidius)'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Lütkemeyer, Sabine. Ovids Exildichtung im Spannungsfeld von Ekloge und Elegie: Eine poetologische Deutung der Tristia und Epistulae ex Ponto. Frankfurt am Main: P. Lang, 2005.

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12

Chwalek, Burkard. Die Verwandlung des Exils in die elegische Welt: Studien zu den Tristia und Epistulae ex Ponto Ovids. Frankfurt am Main: P. Lang, 1996.

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13

Eoban und Ovid: Helius Eobanus Hessus' Brief an die Nachwelt und Ovids Tristien ; Spurensuche in einer Dichterwerkstatt. Heidelberg: Winter, 2008.

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14

Ovids Jahre am Pontus: Eine diachronische Analyse der Tristien und Epistulae ex Ponto als ein frühes Beispiel europäischer Exilliteratur. Innsbruck: StudienVerlag, 2007.

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15

Taylor, Helena. Ovid in Fiction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198796770.003.0004.

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This chapter examines the use of the Ovidian exile persona in the exile writing of the poet Théophile de Viau (1590–1626) and memoirist Bussy-Rabutin (1618–93). It explores how Ovid’s exile work, and particularly Tristia 2 (addressed to Augustus), establishes a paradigm for communication with the perpetrator of one’s disgrace, in what emerges as a complex gesture of plea and aggressive flattery. Both French writers were exiled for—among other things—their writing, and also, like Ovid, used writing to try to restore their reputation or reverse the sentence. In different ways, the gestures of comparison (initiated in Bussy’s case by his friend, Dominique Bouhours) are consolatory and self-aggrandizing; they also pose literary and political questions about censorship, the complex relationship between homme and œuvre and the relative power—in both the present and the future—of a monarch’s actions and writer’s words.
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16

Boyd, Barbara Weiden. Paternity Tests. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680046.003.0006.

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Chapter 5 is devoted to the poetics of paternity in Ovid’s exile poems. Ovid repeatedly invokes paternity in describing his poems, referring to them as his “children” and suggesting analogies between his own plight and that of some of the doomed sons in ancient myth. In Epistulae ex Ponto 3.9, Ovid compares himself to Thersites’s father, who felt affection for his son despite the contempt in which he was held by others; Ovid claims a similar indulgence regarding the lack of polish evident in his “children,” the exile poetry. He even hints at, if only momentarily, divine parentage in Tristia 3.14, as he compares his poems to Minerva—and, by implication, himself to Jupiter, the goddess’s sole parent. The emotional connection Ovid establishes between himself and his poems reaches an emotional highpoint in Tristia 1.7, when he invokes a comparison with Althea, responsible for killing the son she loves.
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17

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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18

Taylor, Helena. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198796770.003.0001.

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This chapter traces the story of Ovid’s life from his own version to the vies written in the seventeenth century. It explores the tricksy narrative account Ovid provides in Tristia 4.10 and analyses his use of personae in his exile poetry and love poetry, suggesting that the elusive way Ovid represents his life, especially the reasons for his exile, accounts for the richness of its historiographical tradition. Next, it considers the versions of Ovid’s story told in Late Antiquity, the medieval accessus, and the humanist vita, tracking their influence in the seventeenth century, and shows that these accounts were as instrumental in determining the subsequent renditions of his life as his own poem was. Finally, it compares the two vernacular vies of the seventeenth century (by Marolles and Martignac) used to preface translations of Ovid’s work, considering how their revision of the humanist vitae relates to their translation methods.
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19

Cox, Fiona. Jo Shapcott. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198779889.003.0008.

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Jo Shapcott has engaged extensively with Ovid in her poetry (her volume My Book draws extensively upon both the Metamorphoses and the Tristia), but it was especially through her volume Of Mutability that she meditated upon the unexpected pleasures and perils of metamorphosis, since she invoked Ovid in her response to her diagnosis and treatment of breast cancer. As well as using Ovid to comment upon a contemporary experience of illness, she also employs Ovidian imagery to address issues such as the financial crisis, the Iraq war, and global warming. In doing so she responds to the tenets of third-wave feminism, whose practitioners seek to explore a wider audience and political sphere than the more rarified, intellectual reach of second-wave feminism. Shapcott’s work is also highly significant in marking the start of the new trend, namely the use of the classics to explore serious illness and the threat of dying.
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20

Boyd, Barbara Weiden. Poetic Daughters. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680046.003.0007.

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Chapter 6 considers the evidence for a tradition of personification that identifies the Iliad and Odyssey as Homer’s daughters. This personification, likely a product of the Hellenistic age, is known from the visual record, as exemplified by the Archelaus relief. It is also expressed in several Hellenistic epigrams that use the conceit that poetry can help to perpetuate its creator’s fame much as children sustain the reputation of their parents. But the basic elements of the idea predate the Hellenistic period: In Plato’s Symposium, Diotima clearly implies a correspondence between Homer’s poems and children: they constitute the offspring that guarantee Homer’s immortal fame. In Tristia 3.7, Ovid addresses a young woman, Perilla, in terms that suggest a father-daughter relationship and uses this poem to encourage the survival of his poetic immortality. Ovid’s Perilla can best be understood not as a historical figure but as a poetic construct—a scripta puella.
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