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Journal articles on the topic 'Tristia (Ovidius)'

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Published: 4 June 2021

Last updated: 3 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Ulčinaitė, Eugenija. "Ovidijaus Tristia: poeto tremties istorija." Literatūra 56, no. 3 (January 1, 2014): 66. http://dx.doi.org/10.15388/litera.2014.3.7684.

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12

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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13

Hinds, Stephen. "Booking the return trip: Ovid and Tristia 1." Proceedings of the Cambridge Philological Society 31 (1985): 13–32. http://dx.doi.org/10.1017/s0068673500004739.

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Two journeys are implied by the existence of Tristia 1: one, by a poet, a from Rome to the gates of the Black Sea; the other, by a book, from the gates of the Black Sea back to Rome. Each of these journeys is explicitly, and prominently, discussed in Tristia 1; and each makes its presence felt in various ways throughout Tristia 1. Leaving for another day the outward voyage, described especially in the second, fourth, tenth and eleventh poems, I am going to deal in this essay with the return trip of Ovid's book to Rome, as anticipated at some length in the very opening poem of the collection. And (because that is still a somewhat unwieldy topic) I am going to focus on the final destination of Tristia 1 within Rome, as specified in the last twenty lines or so of this first poem: viz: the bookcase in Ovid's Roman home. In these programmatically charged lines, the personified first book of exile poetry finds itself face to face with the poetry books written by Ovid before his exile. I want in the ensuing pages to take a closer look than is usually taken at some details of this and other encounters with Ovid's past writings in the first poems from exile; and my hope is that this analysis will tell us a few things along the way about how the poet is trying here to relate his literary present to his literary past.

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14

INGLEHEART, JENNIFER. "OVID, TRISTIA 1.2: HIGH DRAMA ON THE HIGH SEAS." Greece and Rome 53, no. 1 (April 2006): 73–91. http://dx.doi.org/10.1017/s0017383506000052.

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In the first poem of Tristia 1, Ovid claims me mare, me uenti, me fera iactat hiems (‘the sea, the winds, the savage winter storm harass me repeatedly’, 1.1.42). This is no mere rhetorical flourish: the immediacy of the present tense becomes apparent in the second poem in the collection, which purports to be the poet's words as he faces a storm at sea. Critics tend to treat this poem as a literary exercise, focusing upon Ovid's exploitation of epic descriptions of the sea as a vast elemental force, subject to the machinations of the gods. In particular, interest has centred upon Ovid's debt to the storms which face Aeneas and Odysseus in Aeneid 1, 3, and 5 and Odyssey 5, as well as the relationship between this poem and Ovid's own version of an ‘epic’ storm in the story of Ceyx and Alcyone at Metamorphoses 11.410–748.However, this poem contains much more than the sum of its various epic models: 1.2 is programmatic for the rest of Tristia 1, not least because it can be seen as the first ‘proper’ poem of the collection, given that 1.1 is addressed to Ovid's new book of poetry as he sends it to Rome, and as such, self-consciously stands apart from the rest of the book.

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15

Oliensis, Ellen. "Return to Sender: The Rhetoric of Nomina in Ovid's Tristia." Ramus 26, no. 2 (1997): 172–93. http://dx.doi.org/10.1017/s0048671x00001995.

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As Betty Rose Nagle has remarked, Ovid's exile poetry deploys proper names within a kind of economy: ‘Ovid immortalises his own name by publicising it and exhorting his friends and readers to keep it alive, and he rewards his friends for actively remembering him by immortalising them, i.e. by putting their names in his poetry.’ What interests me here is the shortcircuiting of this system of exchange within the Tristia. For one of the most striking features of Ovid's first run of exilic elegies is precisely the omission of the names of Ovid's addressees. As Ovid will claim in the poem that opens the Epistulae ex Ponto, it is this omission (along with a change of title) that differentiates the Tristia poems from their successors: inuenies, quamuis non est miserabilis index,non minus hoc illo triste, quod ante dedi.rebus idem, titulo differt; et epistula cui sitnon occultato nomine missa docet.(Ex Pont. 1.1.15-18)

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16

Rosenmeyer, P. A. "Ovid's Heroides and Tristia: Voices from Exile." Ramus 26, no. 1 (1997): 29–56. http://dx.doi.org/10.1017/s0048671x00002058.

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exulis haec uox est: praebet mihi littera linguam,et si non liceat scribere, rautus ero.Epist. ex Pont. 2.6.3f.This is the exile's voice; the written word gives me a tongue,and if writing is forbidden, I shall be dumb.Ovid's exilic persona reveals itself over the course of his correspondence as a literary pastiche of other texts and identities. We hear the narrator's voice in the Tristia and Epistulae ex Ponto echoing that of Horace and Propertius, Homer's Odysseus and Vergil's Aeneas. These allusions to canonical works are widely recognised and catalogued. But equally crucial to Ovid's self-presentation are allusions to his own previous masterpieces. I interpret his choice of the letter form for the exile poems as not only an allusion to, but also an authorial statement of identification—on some level—with his earlier epistolary work, the Heroides. The Heroides may be read as letters from exile, epistulae ex exilio in which Ovid pursues his fascination with the genre of letters and the subject of abandonment through literary characters; the Tristia take that fascination one step further as the author himself, in letters to loved ones, writes from the position of an abandoned hero of sorts.

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17

Oliensis, Ellen. "The Power of Image-Makers: Representation and Revenge in Ovid Metamorphoses 6 and Tristia 4." Classical Antiquity 23, no. 2 (October 1, 2004): 285–321. http://dx.doi.org/10.1525/ca.2004.23.2.285.

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Abstract This essay focuses on the competing representational projects of poet and emperor as represented (or polemically misrepresented) in Ovid's poetry. I begin by developing two readings of the famous weaving contest of Metamorphoses 6, the first emphasizing Arachne's will to truth (her exposéé of Olympian injustice), the second her will to power (her appropriation of Olympian potency). With these models in mind, I explore the vicissitudes of Ovid's rivalrous identification with Augustus in the Tristia, ending with some unhappier implications of this identification, and with some reflections on the question of the reality of Ovid's exile.

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18

Davis, P. J. "Praeceptor Amoris: Ovid's Ars Amatoria and the Augustan D3EA of Rome." Ramus 24, no. 2 (1995): 181–95. http://dx.doi.org/10.1017/s0048671x00002265.

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In Tristia 2 Ovid claims that he has always been devoted to the emperor. It is mere that he defends both himself and the Ars Amatoria:per mare, per terrain, per tertia numina iuro,per te praesentem conspicuumque deum,hunc animum fauisse tibi, uir maxime, meque,qua sola potui, mente fuisse tuum.optaui, peteres caelestia sidera tarde,parsque fui turbae parua precantis idem,et pia tura dedi pro te, cumque omnibus unusipse quoque adiuui publica uota meis.quid referam libros, illos quoque, crimina nostra,mille locis plenos nominis esse tui?(Tristia 2.53-60)

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19

Newlands, Carole. "The Role of the Book in Tristia 3.1." Ramus 26, no. 1 (1997): 57–79. http://dx.doi.org/10.1017/s0048671x0000206x.

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The third book of the Tristia is the first to have been written in Tomis, Ovid's place of exile. The long journey from Rome, the subject of the first book of the Tristia, is over. The distractions of the journey can no longer sustain him, and his only pleasure is to weep, in other words to write the elegy of lament: dum tamen et uentis dubius iactabar et undis,fallebat curas aegraque corda labor:ut uia finita est, et opus requieuit eundi,et poenae tellus est mini tacta meae,nil nisi flere libet…(Tr. 3.2.15-19)But while in turmoil I was being tossed around by winds and waves, my worries and sad heart were distracted by the battle for survival. Now that the journey is over, the effort involved in travel is spent, and the land of my punishment has been reached, weeping is my only pleasure.

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20

Barchiesi, Alessandro. "Insegnare ad Augusto: Orazio, Epistole 2, 1 e Ovidio, Tristia II." Materiali e discussioni per l’analisi dei testi classici, no. 31 (1993): 149. http://dx.doi.org/10.2307/40231043.

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21

Schwind, Johannes. "Noten zum Text von Ovids Tristien>/i>." Emerita 68, no. 2 (December 30, 2000): 279–89. http://dx.doi.org/10.3989/emerita.2000.v68.i2.149.

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22

INGLEHEART, JENNIFER. "OVID'S SCRIPTA PUELLA: PERILLA AS POETIC AND POLITICAL FICTION IN TRISTIA 3.71." Classical Quarterly 62, no. 1 (April 24, 2012): 227–41. http://dx.doi.org/10.1017/s0009838811000504.

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23

Chaudhuri, Aparna. "Poetry and Power in Ovid's Tristia and Chaucer's Legend of Good Women." ELH 87, no. 4 (2020): 881–909. http://dx.doi.org/10.1353/elh.2020.0031.

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24

Boyle, A. J. "Postscripts from the Edge: Exilic Fasti and Imperialised Rome." Ramus 26, no. 1 (1997): 7–28. http://dx.doi.org/10.1017/s0048671x00002046.

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Fasti is Ovid's prime exilic work. Begun at the same time as Metamorphoses it is yet the last of Ovid's poems, rewritten in exile to juxtapose past and present, centre and periphery, tradition, religion, time and their ideological appropriation and abuse. Ovid's carmen ultimum, it joins Epistulae ex Ponto in straddling the principates of Augustus and Tiberius and bearing witness with Epistulae to the factuality of dynastic succession and the consolidation of imperial power. There is no evidence that any of Fasti was recited, or otherwise made public, before Ovid's departure for Tomis; indeed the only reference to Fasti outside itself is the second Tristia's description of the rupturing of the work (opus ruptum, Tr. 2.552) by Ovid's exilic ‘fate’ (sors). Pre-exilic and exilic strata exist in the poem, as many critics have too frequently noted, but, since they were never read in separate contexts but always within the frame of Ovid's exile, their dynamic interplay serves only to enrich and to deepen the exilic nature of Fasti's discourse.

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25

Mastandrea, Paolo. "Poesia combinatoria e critica del testo. Lucrezio in Ovidio, Tristia 3, 3, 59." Rivista di Filologia e di Istruzione Classica 139, no. 2 (July 2011): 339–50. http://dx.doi.org/10.1484/j.rfic.5.123070.

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26

Lewis, A. M. "Astronomical Evidence in Tristia I, 3 for the Date of Ovid’s Departure into Exile." L'antiquité classique 82, no. 1 (2013): 45–68. http://dx.doi.org/10.3406/antiq.2013.3826.

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27

Gibson, Bruce. "Ovid on Reading: Reading Ovid. Reception in OvidTristiaII." Journal of Roman Studies 89 (November 1999): 19–37. http://dx.doi.org/10.2307/300732.

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In this paper I propose to consider Ovid's poem as a document of literary criticism, which offers us a striking treatment of the role of the audience in reception. Ovid's concerns are twofold: on the one hand he is concerned with the ostensible manner in which his own works have been read, but he also discusses a wide range of other texts, and in doing so, offers readings of them, which, I will argue, illustrate the open-ended nature of reception and meaning.Now, undoubtedly we are sometimes too willing to label works as ‘anti-Augustan’ or ‘Augustan’, as if that was all that could be said about them; the glib use of such terms often seems to obscure more complex and more interesting questions (theAeneidand theGeorgicsare familiar examples). But with Ovid, however, such issues are at least raised by the poet himself, since the exile poems do deal with Ovid's attitude to Augustus, and the twin possibilities of writing poetry which can offend the emperor, or which can please him. Now while Ovid's famous explanation of the causes of his exile as ‘carmen et error’ (Trist.2.207) may perhaps be a smokescreen — Ovid adducing theArs Amatoriaas his fault in order not to have to go into the details of what theerrorwas that had offended Augustus —Tristia2 must still be considered on its own terms; Ovid writes as if it is possible for Augustus to be offended by his poetry, and therefore the issue is an important one.

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28

Huskey, Samuel J. "In Memory of Tibullus: Ovid's Remembrance of Tibullus 1.3 in Amores 3.9 and Tristia 3.3." Arethusa 38, no. 3 (2005): 367–86. http://dx.doi.org/10.1353/are.2005.0016.

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29

D’Alfonso, Dalila. "Due voci sul mar Nero: Luca Desiato alla (ri)scoperta dell’esilio ovidiano." Cuadernos de Filología Clásica. Estudios Latinos 40, no. 1 (September 15, 2020): 103–27. http://dx.doi.org/10.5209/cfcl.71534.

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Le elegie dei Tristia e delle Epistulae ex Ponto rappresentano, ancora oggi, un riferimento imprescindibile per quanti vogliano indagare l’esperienza esilica in tutte le sue sfaccettature e in tutta la sua complessità. Non a caso, numerosi autori della contemporaneità hanno guardato alla poesia tomitana dell’ultimo Ovidio come a un vero e proprio paradigma per le scritture da e sull’esilio di ogni tempo. Nei quarantaquattro capitoli in cui articola il romanzo Sulle rive del Mar Nero (1992), Luca Desiato “scompone” l’animo umano toccato dalla sorte dell’esilio, un esilio che si presenta come condanna soprattutto interiore. Il protagonista, uno scrittore che vive l’ultimo corso della sua esistenza nella Roma borghese degli anni Novanta, alterna la propria voce a quella del poeta romano, condannato da Augusto nell’8 d.C. alla relegatio perpetua. Saverio rappresenta, in primis, un esule dell’esistenza, un prigioniero del tempo ultimo che sta vivendo, un tempo estremo, come le terre del Ponto Eusino.

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30

Riesco Álvarez, Hipólito-Benjamín. "Publio Ovidio Nasón. Tristes (ed. Manuel Antonio Marcos Casquero). Ediciones Clásicas, 1991." Estudios Humanísticos. Filología, no. 15 (November 15, 2016): 233. http://dx.doi.org/10.18002/ehf.v0i15.4522.

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31

Hallett, Judith P. "Centering from the Periphery in the Augustan Roman World: Ovid's Autobiography in Tristia 4.10 and Cornelius Nepo's Biography of Atticus." Arethusa 36, no. 3 (2003): 345–59. http://dx.doi.org/10.1353/are.2003.0024.

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32

Michalopoulos, Andreas N. "famaque cum domino fugit ab urbe suo: aspectos da fama na poesia de exílio de Ovídio." CODEX – Revista de Estudos Clássicos 4, no. 1 (June 19, 2016): 79. http://dx.doi.org/10.25187/codex.v4i1.3336.

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<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p>Através de sua poesia pré-exílio, Ovídio revela grande interesse em <em>Fama/fama</em> em todos os seus significados e funções: reputação pessoal, fama literária, tradição literária e mitológica, rumor, boato. Ovídio é obcecado por sua própria reputação como poeta, enquanto também emprega <em>Fama/fama</em> como fonte de inspiração e como fonte de informação numa ampla variedade de temas e tópicos. Seu grande interesse em <em>Fama/fama</em> culmina em sua famosa descrição de seu domicílio no livro XII das <em>Metamorfoses</em>. O objetivo deste artigo é discutir o uso e o papel de <em>Fama/fama</em> na poesia do exílio de Ovídio, escrita num momento em que as circunstâncias da vida do poeta mudaram dramaticamente. O poeta se encontra em arredores bárbaros e incivilizados, longe da linda e confortável vida da capital. A discussão dos poemas selecionados dos <em>Tristia</em> e das <em>Epistulae ex Ponto</em> ilustrarão de forma promissória a relação de Ovídio com a Fama/fama.</p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>Abstract</strong></p><p><span>Throughout his pre-exilic poetry Ovid shows a keen interest in Fama/fama in all its meanings and functions: personal reputation, literary fame, literary and mythological tradition, rumour, hearsay. Ovid is obsessed with his own reputation as a poet, while he also employs Fama/fama as a source of inspiration and as a source of information on a wide variety of themes and topics. His great interest in Fama/fama culminates in his famous description of her abode in the 12th book of the Metamorphoses. The object of this paper is to discuss the use and the role of Fama/fama in Ovid’s exilic poetry, written at a time when the circumstances of the poet’s life changed dramatically. The poet finds himself in barbaric and uncivilized surroundings, away from the beautiful and comfortable life of the capital. The discussion of selected poems from the Tristia and the Epistulae ex Ponto will hopefully illustrate Ovid’s relationship with Fama/fama. </span></p><p><strong>Keywords</strong><span><strong>:</strong> Ovid; </span><span>Fama</span><span>; exile poetry </span></p></div></div></div></div></div></div>

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ZHANG, JING, JINHUI SHEN, QIAN CONG, and NICK V. GRISHIN. "Genomic analysis of the tribe Emesidini (Lepidoptera: Riodinidae)." Zootaxa 4668, no. 4 (September 12, 2019): 475–88. http://dx.doi.org/10.11646/zootaxa.4668.4.2.

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We obtained and phylogenetically analyzed whole genome shotgun sequences of nearly all species from the tribe Emesidini Seraphim, Freitas & Kaminski, 2018 (Riodinidae) and representatives from other Riodinidae tribes. We see that the recently proposed genera Neoapodemia Trujano, 2018 and Plesioarida Trujano & García, 2018 are closely allied with Apodemia C. & R. Felder, [1865] and are better viewed as its subgenera, new status. Overall, Emesis Fabricius, 1807 and Apodemia (even after inclusion of the two subgenera) are so phylogenetically close that several species have been previously swapped between these two genera. New combinations are: Apodemia (Neoapodemia) zela (Butler, 1870), Apodemia (Neoapodemia) ares (Edwards, 1882), and Apodemia (Neoapodemia) arnacis (Stichel, 1928) (not Emesis); and Emesis phyciodoides (Barnes & Benjamin, 1924) (not Apodemia), assigned to each genus by their monophyly in genomic trees with the type species (TS) of the genus. Surprisingly, we find that Emesis emesia Hewitson, 1867 is not grouped with Emesis, but in addition to Apodemia forms a third lineage of similar rank, here named Curvie Grishin, gen. n. (TS: Symmachia emesia Hewitson, 1867). Furthermore, we partition Emesis into 6 subgenera (4 new): Emesis (TS: Hesperia ovidius Fabricius, 1793, a subjective junior synonym of Papilio cereus Linnaeus, 1767), Aphacitis Hübner, [1819] (TS: Papilio dyndima Cramer, [1780], a subjective junior synonym of Papilio lucinda Cramer, [1775]), Poeasia Grishin, subgen. n. (TS: Emesis poeas Godman, [1901]), Mandania Grishin, subgen. n. (TS: Papilio mandana Cramer, [1780]), Brimia Grishin, subgen. n. (TS: Emesis brimo Godman & Salvin, 1889), and Tenedia Grishin, subgen. n. (TS: Emesis tenedia C. & R. Felder, 1861). Next, genomic comparison of primary type specimens suggests new status for Emesis vimena Schaus, 1928 as a subspecies of Emesis brimo Godman & Salvin, 1889, Emesis adelpha Le Cerf, 1958 with E. a. vicaria Le Cerf, 1958 are subspecies of Emesis heteroclita Stichel, 1929, and Emesis tristis Stichel, 1929 is not a synonym of E. brimo vimena but of Emesis lupina Godman & Salvin, 1886. A new status of a species is given to the following taxa: Emesis furor A. Butler & H. Druce, 1872 (not a subspecies of E. mandana (Cramer, 1780)), Emesis melancholica Stichel, 1916 (not a subspecies of E. lupina Godman & Salvin, 1886), Emesis progne (Godman, 1903) (not a subspecies of E. brimo Godman & Salvin, 1889), and Emesis opaca Stichel, 1910 (not a synonym of E. lucinda (Cramer, 1775)). Emesis castigata diringeri Gallard 2008 is a subjective junior synonym of E. opaca, new status. Finally, Xanthosa Grishin, gen. n. (TS: Charmona xanthosa Stichel, 1910) is proposed for a sister lineage of Sertania Callaghan & Kaminski, 2017 and Befrostia Grishin, gen. n. (TS: Emesis elegia Stichel, 1929) is proposed for a clade without apparent phylogenetic affinities that we place in Befrostiini Grishin, trib. n. In conclusion, genomic data reveal a number of errors in the current classification of Emesidini and allow us to confidently reclassify the tribe partitioning it in three genera: Apodemia, Curvie gen. n. and Emesis.

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Michalopoulos, Charilaos N. "Ovid's Poetry of Exile - (M.M.) McGowan Ovid in Exile. Power and Poetic Redress in the Tristia and Epistulae ex Ponto. (Mnemosyne Supplementum 309.) Pp. x + 261. Leiden and Boston: Brill, 2009. Cased, €99, US$147. ISBN: 978-90-04-17076-6." Classical Review 60, no. 2 (September 28, 2010): 453–55. http://dx.doi.org/10.1017/s0009840x10000582.

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"Tempestuous Poetry: Storms in Ovid's Metamorphoses, Heroides and Tristia." Mnemosyne 57, no. 3 (2004): 295–310. http://dx.doi.org/10.1163/1568525041317994.

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AbstractThis article considers the most prominent storm-narratives within the Ovidian corpus. These storm-narratives include the description of the storm in the first book of the Metamorphoses, the story of Ceyx and Alcyone in the eleventh book of the Metamorphoses, the story of Hero and Leander in the Heroides (Her. 18-9), and the three storm-poems in the first book of the Tristia (1.2, 1.4, 1.11). A brief summary on the literary tradition of storms provides the necessary context for my discussion of these individual passages. Three principal arguments are put forward in my analysis of the specific storm-narratives. Firstly, I point out that there are extensive verbal and thematic inter-connections between the various passages, and that this encourages us to see the 'storm theme' as a poetic subject which Ovid consciously exploits. Secondly, I focus on Ovid's treatment of the generic conflict between the epic and elegiac aspects of storms. Here I show that Ovid is capable of producing 'epic storms', but more often deploys storms within elegiac, or erotic, narratives. Thirdly, I consider how Ovid utilises the symbolic capabilities of storms to reflect the psychological turmoil of lovers like Alcyone and Leander, and exiles like himself.

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Buckingham, Sophie Jane. "An Ovidian Poetics of Exile: Renaissance Crossovers with the Tristia." Brief Encounters 3, no. 1 (April 16, 2019). http://dx.doi.org/10.24134/be.v3i1.150.

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This article foregrounds some of the basic principles contained within Ovid’s Tristia, a series of epistles written whilst he was exiled from Augustan Rome in A.D. 8. It seeks to find nuances and reapplications of this long-overlooked work in Renaissance England, and looks at translation practice and poets of the sixteenth century who were indebted to Ovid’s ‘exile poetics’ in their own compositions.

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Tola, Eleonora. "Ille referre aliter saepe solebat idem (Ovidio, Ars II, 128): reflexiones sobre el uso de la repetición en las Tristia de Ovidio." Journal of Latin Linguistics 9, no. 2 (January 2005). http://dx.doi.org/10.1515/joll.2005.9.2.957.

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SummaryBecause of the interaction and oscillation between poetic imagery and subjective experience, Ovid’s exilic texts are a privileged locus for studying the relationship of rhetorical and poetic discourse. The use of repetition in its various features (at the level of the phoneme, of the word, of the meter, etc.) allows us to investigate the functioning of these two kinds of discourse in Tristia and Epistulae ex Ponto. In this paper we will examine the mise en scene of this rhetorical device in Tristia, considered as a structural part of a poetic design which includes it not as a mere formal technique but as a per- formative strategy. From this perspective, repetition assumes a functional role. For our analysis we will take some significative examples of a corpus which presents a semantic unity, the elegies of Naso’s journey to Tomi (7>. 1,2; 1,4; I, 10 and I, 11).

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Kristein, Robert. "Ficta et Facta." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 60, no. 2 (2015). http://dx.doi.org/10.28937/1000106268.

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Die Ontologie fiktiver Objekte in fiktionalen Texten gehört zu den am meisten diskutierten Problemstellungen einer allgemeinen Fiktionalitätstheorie. Der Beitrag geht von Überlegungen Rudolf Hallers zum Realgehalt fiktiver Gegenstände aus und verbindet diese mit dem Modell der Possible Worlds Theory (PWT). Eine besondere Stärke dieser Theorie liegt darin, dass sie nicht allein zur Analyse der borders of fiction, die zwischen Realund Textwelt liegen, beiträgt, sondern insbesondere eine exaktere Differenzierung innerhalb der Textwelt selbst erlaubt, indem sie fragt, was auf Ebene einer Textual actual world (TAW) möglich, unmöglich und notwendig ist. Auf diese Weise lassen sich die Wunschwelten einzelner Figuren und ihre Konfrontation mit dem, was innerhalb einer Textwelt ›tatsächlich‹ aktualisiert wird, näher beschreiben und, wie im Fall von Ovids Exilgedichten Tristia, das literarische Spiel mit den unterschiedlichen Ebenen von Fiktivität analysieren. <br><br>The ontology of fictional objects in fictional literary texts is one of the most debated issues of a general theory of fiction. This contribution starts out from considerations by Rudolf Haller, connecting them with the model of the Possible Worlds Theory (PWT). A particular strength of this theory is that it does not only analyse the borders of fiction, which lie between the real and the text world, but that it offers in particular a more accurate differentiation within the text world itself by drawing attention to the issue of what is possible, impossible and necessary within a Textual actual world (TAW). In this way, for example, the ‘Wunschwelt’ of individual characters and their confrontation with what will be possible or actual within a particular text world, can be described in detail and, as in the case of Ovid’s exile poems Tristia, the literary play with different levels of fictitiousness can be analysed.

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"RHETORICAL TOPOS IN THE OVID'S EPISTLES FROM EXILE : TRISTIA - BOOK II." Scientific Bulletin of Naval Academy, June 15, 2017. http://dx.doi.org/10.21279/1454-864x-17-i1-069.

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HUSKEY, SAMUEL J. "STRATEGIES OF OMISSION AND REVELATION IN OVID'S HEROIDES 6,12, AND TRISTIA 3.9." Philologus 148, no. 2 (January 1, 2004). http://dx.doi.org/10.1524/phil.2004.148.2.274.

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Agüero Solis, Amparo. "MITOLOGIA Y EXILIO: figuras mitológicas en el Ibis de Ovidio." Revista Estética e Semiótica 6, no. 2 (December 21, 2016). http://dx.doi.org/10.18830/issn2238-362x.v6.n2.2016.01.

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El Ibis de Ovidio, un enigmático poema escrito durante el exilio del poeta en Tomi, contiene una serie de violentas imprecaciones tomadas de la historia y de la mitología. Si bien este poema es en muchos aspectos diferente a los anteriores escritos por el poeta, mantiene, mediante su carga de referencias mitológicas, un rasgo común de su producción en general. Los estudios sobre el Ibis han tendido a ser relegados por los estudiosos de la poesía de exilio de Ovidio o bien se han ido concentrando en encontrar respuesta para un número limitado de preguntas, resumidas por Williams (1996: 3) como “¿Quién es Ibis? ¿Qué hizo para provocar la maldición de Ovidio? ¿Qué se puede inferir del poema ovidiano sobre el largo, el metro, y el propósito (extra)literario del Ἶβις de Calímaco? ¿Quién fue Ἶβις?”, y son pocos los estudiosos que se han detenido a considerar el poema según contextos ovidianos, de exilio y poéticos. Ante esa carencia, en el presente trabajo, me propongo examinar el uso de la mitología que hace Ovidio en Ibis, partiendo de la hipótesis de que, al enumerar un sinfín de malos deseos en contra el receptor, oculto bajo el pseudónimo de Ibis, el poeta retoma muchas de las figuras mitológicas que ha usado en Tristia para construir la mitologización de su propio sufrimiento en el exilio, y de este modo, el mito funciona como mediador entre el yo lírico y la figura de Ibis, confirmando así, el sitio de este poema en el programa apologético del resto de su obra de exilio.

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Fues, Wolfram Malte. "Martin Kiel, Nexus. Postmoderne Mythenbilder – Vexierbilder zwischen Spiel und Erkenntnis. Mit einem Kommentar zu Christoph Ransmayrs „Die letzte Welt“. 1996 – Angela Fitz, „Wir blicken in ein ersonnenes Sehen“. Wirklichkeits- und Selbstkonstruktion in zeitgenössischen Romanen. Sten Nadolny – Christoph Ransmayr – Ulrich Woelk. 1998 – Esther Felicitas Gehlhoff, Wirklichkeit hat ihren eigenen Ort. Lesarten und Aspekte zum Verständnis des Romans ‚Die letzte Welt‘ von Christoph Ransmayr. 1998 – Barbara Vollstedt, Ovids „Metamorphoses“, „Tristia“ und „Epistulae ex Ponto“ in Christoph Ransmayrs Roman „Die letzte Welt“. 1998." Arbitrium 20, no. 1 (January 10, 2002). http://dx.doi.org/10.1515/arbi.2002.114.

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