https://www.peren-revues.fr/eugesta/663 Entrées d’index fr 0 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/1104 This essay looks at rape in Greek tragedy through the lens of several moments of feminist theorizing and activism about rape. Starting with a study of second and third wave feminist approaches, it analyzes those plays that seem closest to modern ideas of rape (non‑consensual sexual contact) – Aeschylus ‘Suppliants, Euripides’ Ion and Hippolytos, as well as the Trojan War plays, Trojan Women and Andromache. It shows that in each case there is ambiguity between rape and marriage. In the end, it asks the question of how should we read and teach these texts? The ambiguous discourse supports the notion that the plays, like epic, are part of the normalization of rape (that is, establishing a rape culture), but if read with care, we can avoid reproducing that effect for ourselves and our students. jeu., 16 juin 2022 11:20:16 +0200 jeu., 12 oct. 2023 15:05:05 +0200 https://www.peren-revues.fr/eugesta/1104 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/659 This paper argues for a dense and systematic intertextual relationship between Ovid’s Ars amatoria Book 1 and Terence’s Eunuchus. The attitude of the praeceptor Amoris toward meretrices, the target women of the Ars, is found in all the male characters of the play, from neuter pronouns (quod) used for them to resentment at the expenses required for their company to the belief that rape of meretrices is justified. The praeceptor’s lessons on deception (Ars 1.631-658) and rape (659-706) draws heavily on the rape plot of Eunuchus. From fallite fallentes (645) to the exemplum of the rape of Deidamia by Achilles (681-704), this passage takes plot and language from Chaerea, the young adulescens who rapes Pamphila, the foster sister of the meretrix Thais. The painting of Jupiter and Danae in Pamphila’s bedroom offers a model for the Deidamia-Achilles tale, and Achilles’ role as a model for the male pupil of the Ars further justify rape of women who have no physical, social, or legal recourse. Through his persistent intertextual engagement with Terence’s play, Ovid exposes male privilege and resentment toward meretrices. mar., 14 juin 2022 09:09:02 +0200 lun., 20 mars 2023 09:19:59 +0100 https://www.peren-revues.fr/eugesta/659