https://www.peren-revues.fr/eugesta/121 Entrées d’index fr 0 https://www.peren-revues.fr/eugesta/1624 In both the Metamorphoses and Fasti Ovid narrates the deification of Ino and her son Melicertes. In the Metamorphoses they become the Greek deities Leucothoe and Palaemon, while in the Fasti they also are identified with the Roman gods Mater Matuta and Portunus. Reading the two Ino passages together brings out the different focus of the Fasti on Roman religious aetiology, but also brings out the poems’ shared interest in deification, and specifically female deification. The two episodes are linked narratologically with the projected divinization of the empress Livia. mar., 14 oct. 2025 10:54:46 +0200 jeu., 27 nov. 2025 15:40:05 +0100 https://www.peren-revues.fr/eugesta/1624 https://www.peren-revues.fr/eugesta/1536 In this article, I provide a close examination of Ovid’s Amores 2.8 that focuses on how the poet-lover’s use of persuasory rhetoric enables him to bully and silence the subaltern Cypassis. My discussion challenges Patricia Watson’s claim (in “Ovid Amores 2.7 and 8: The Disingenuous Defence”) that this poem has comparably less forensic qualities and rhetorical elements than its counterpart (2.7). I argue that forensic and rhetorical elements permeate the text and become increasingly blatant as the poem proceeds. By employing declamatory and oratorical techniques, the poet-lover weaponises his rhetorical education, a privilege afforded to him by his status as an elite Roman male, in order to intimidate, manipulate, and ultimately blackmail Cypassis, the uneducated, defenceless, and mute subaltern. I suggest that it is a mischaracterisation to refer to this approach as a ‘seduction’; it is a calculated exertion of power that enacts gendered violence. lun., 27 mai 2024 11:58:46 +0200 jeu., 19 déc. 2024 18:14:00 +0100 https://www.peren-revues.fr/eugesta/1536 https://www.peren-revues.fr/eugesta/1485 The Nux depicts the complaints of a walnut tree, pelted with stones and beaten with rods when she bears fruit. Discussion of the Nux, however, has largely centred on its authorship. Recognising its deep engagement with Ovid’s work, this article sets aside the question of authorship and takes a critical ecofeminist approach to explore the poem’s concerns with fertility, nature, the female, and violence. It argues that the walnut tree is feminised and humanised so that her complaints that fertility brings pain and her criticism of trees who sabotage their fertility to be beautiful have meaning for Roman women, and in particular for those women living under the Principate. It aims to demonstrate that the Nux figures the domination of nature and the oppression of women as outcomes of the same harmful ideology. jeu., 04 janv. 2024 11:20:41 +0100 mer., 17 janv. 2024 09:13:42 +0100 https://www.peren-revues.fr/eugesta/1485 https://www.peren-revues.fr/eugesta/1058 While in Virgil’s Aeneid mothers are evoked sporadically only to be marginalized by the epic’s forward narrative thrust, in his Metamorphoses Ovid pushes mothers centre stage, as subjects and protagonists of their own extended narratives, privileging rather than repressing their voices. This article surveys some of the interpretive and thematic possibilities of placing the maternal at the heart of a reading of Ovid’s epic. It argues that Ovid exploits the metamorphic potential of maternity, its conflation of the boundaries of the body, inside and outside, self and other, and its association with paradoxical roles and extreme passions, to explore and redefine aesthetics and personal relations in the Augustan era. The intense psychic struggles and emotional monologues of Ovid’s mothers, which are linked to motherhood as physical and bodily process, become key elements in this poem’s unprecedented exploration of the contradictory and multiple nature of subjectivity itself. jeu., 16 juin 2022 09:23:07 +0200 ven., 08 déc. 2023 12:43:00 +0100 https://www.peren-revues.fr/eugesta/1058 https://www.peren-revues.fr/eugesta/881 This paper offers a reassessment of the character of Livia in Ovid’s poetry, in particular with regard to her repeated appearances over the course of the exile epistles. Whereas a majority of previous scholars have identified Ovid’s Livia as being excessively prominent and treated with an unwarranted level of panegyric, this paper uses other primary sources of information from the period to demonstrate that Ovid’s Livia is grounded in the discourse of the period and Ovid’s Livia is an appropriate reflection of her evolving status in the late Augustan and early Tiberian periods. mar., 14 juin 2022 11:49:57 +0200 ven., 08 déc. 2023 11:51:09 +0100 https://www.peren-revues.fr/eugesta/881 https://www.peren-revues.fr/eugesta/666 The paper is a contribution to the growing interest in the influence of Philodemus’ poetry upon Latin poetry, in particular elegy. It explores the socio-cultural and literary-historical implications of Philodemus’ epigram AP 5.132 (Sider 12), which concerns the speaker’s infatuation with an Oscan girl called Flora. This poem, short though it is, reveals a poet interacting with the linguistic and cultural diversity of Campania of the late Republic. It is well known that, in its description of the girl’s physical body, this epigram influenced Am. 1.5, the poem in which Ovid first introduces his girlfriend Corinna. What I shall also argue is that Philodemus’ play in his epigram with the dynamic multiculturalism of Campania transfers in Ovid’s Amores and Fasti to a fuller exploration of the crosscultural resonances in the name of the elegiac woman, including the goddess Flora, who was worshipped in Oscan territory as well as at Rome. mar., 14 juin 2022 09:09:16 +0200 jeu., 07 déc. 2023 16:58:21 +0100 https://www.peren-revues.fr/eugesta/666 https://www.peren-revues.fr/eugesta/120 Ovid’s treatment of the Magna Mater festival in Fasti Book 4 resonates significantly both with his earlier work and with his exile poetry. The episode offers more than one potential figure, it is argued, for the poet and his traumatic experience of punishment at the hands of the emperor. Some significant parallels might prompt readers to perceive an analogy between Ovid, whose experience of exile is repeatedly figured as a painful wound, and Attis, the castrated acolyte of the Magna Mater. More compelling ultimately is the parallel between Ovid and Claudia Quinta, whose reputation, wrongly impugned, is vindicated by the goddess. mar., 14 juin 2022 08:25:57 +0200 ven., 01 déc. 2023 11:09:24 +0100 https://www.peren-revues.fr/eugesta/120 https://www.peren-revues.fr/eugesta/1269 This article lays out several feminist strategies for translating Ovid’s Metamorphoses, arguing that these enable translators to clear away the patriarchal bias that has influenced previous translations of this epic. Using the Callisto episode as a case study, I show how major English translations obscure sexual assault, mitigate the criminality of those who perpetrate rape, and assign modern gender expectations and stereotypes to the past. Through careful close reading, feminist translators can question longstanding assumptions about the text that have been inherited from one translator and scholar to the next. Feminist translation, moreover, illuminates how our own contemporary assumptions were not necessarily shared by Ovid and his culture. jeu., 08 déc. 2022 15:43:31 +0100 ven., 01 déc. 2023 10:58:11 +0100 https://www.peren-revues.fr/eugesta/1269 https://www.peren-revues.fr/eugesta/1287 This article explores Fiona Benson’s reception of Ovid in Vertigo & Ghost, examining the way in which she probes the horror and violence of narratives that have entertained and enchanted readers of the Metamorphoses for centuries. I contextualise Benson’s treatment of Ovid by situating it within recent trends of Ovidian reception, that are alert to the dark and disturbing undercurrents of his accounts of pursuit and sexual aggression. jeu., 08 déc. 2022 16:59:01 +0100 lun., 03 avril 2023 11:01:07 +0200 https://www.peren-revues.fr/eugesta/1287 https://www.peren-revues.fr/eugesta/162 How productive can a comparison be between an ancient Latin text and a modern film? What are the methodological implications and how might this comparison fundamentally change the perception and interpretation of both text and film? In this article Spike Jonze’s film her (2013) and the episode of Echo and Narcissus in Ovid’s Metamorphoses (book 3) are discussed together, not because it is possible to establish a direct influence of the Latin poem on the work of the American director, but because of a shared central theme, that of voice, in particular a female voice. While reception studies more traditionally seek to reconstruct and demonstrate influences of one work on another, I argue that Donna Haraway’s “diffractive reading” and Hartmut Böhme’s “allelopoiesis” can generate complex and nuanced reading since they productively illuminate the interdependency of the two comparanda. In other words, not only can we better appreciate the role of the female voice in her after having read Ovid’s Echo, but by considering its protagonist Samantha we can appreciate aspects of Echo never considered before. The comparison is rewarding from another perspective as well: it illuminates textuality in the movie and filmic aspects of the text. mar., 14 juin 2022 08:28:58 +0200 mer., 29 mars 2023 11:50:51 +0200 https://www.peren-revues.fr/eugesta/162