“Pablo Martínez Astorino, La apoteosis en las Metamorfosis de Ovidio. Diseño estructural, mitologización y «lectura» en la representación de apoteosis y sus contextos. Bahía Blanca: Editorial de la Universidad Nacional del Sur (Ediuns) 2017 (original) (raw)
Related papers
European Journal of Literature, Language and Linguistics Studies , 2019
Abstract: By analysing cut-outs from Metamorphosis, by Ovid and The Metamorphose by Franz Kafka, this research aimed at bringing a discussion over the role of the metamorphoses in the literature. The phenomenon was observed since its basic biological background to a linguistic context. Through textual research, metamorphoses were identified both as a syntactical and semantical tool in the narrative composition from ancient to modern and non-western literatures. These features point out a standard of use of the metamorphoses as part of aesthetics of the “search” - for the new. Within this logic, it was studied, above all, how its presence signalizes a mean to investigate and assess social organization and forms of power. --------------------------------------------------------------------------------------------------------------------- Resumo: Analisando os recortes de As metamorfoses, de Ovídio, e A metamorfose, de Franz Kafka, este artigo tem como objetivo trazer uma discussão sobre o papel das metamorfoses na literatura. O fenômeno foi observado desde a sua base biológica básica até um contexto linguístico. Por meio da pesquisa textual, as metamorfoses foram identificadas como ferramenta sintática e semântica na composição narrativa, desde a literatura antiga até a moderna e não ocidental. Estas características apontam para um padrão de uso das metamorfoses como parte da estética da “busca” - para o novo. Dentro dessa lógica, estudou-se, sobretudo, como a sua presença sinaliza um meio para investigar e avaliar a organização social e as formas de poder.
This paper deals with the poem Metamorphoses, published by C. H. Sisson in 1968 in the same-titled collection and directly inspired by Ovid’s major poem. C. H. Sisson’s poem shares many features with most of the rewritings of Ovid’s poem which were to appear during the «New Age of Ovid», which began in 1994 with the collection After Ovid. New Metamorphoses edited by Michael Hofmann and James Lasdun, and which is still ongoing – like the fragmentary and heterogeneous nature, the “defamiliarizing” approach (for which see S. Hinds, Defamiliarizing Latin Literature, from Petrarch to Pulp Fiction, «Transactions of the American Philological Association» 135, 2005, 49-81), and the fusion of the classical paradigm with one or more other paradigms –, so that it could be seen as an anticipation of those works.
Ovid's Metamorphoses: the text before and after
In this paper I suggest that at the beginning of the Metamorphoses through narrative techniques and the structure of the verses, in particular lines 1.10-14, the poet claims to be a fabricator mundi and that his text exists before the creation of the world, becoming the model for its formation. In the epilogue, the poet also declares his certainty that his work will be eternal; it will live, that is, sine fine as he states at Tristia 2.63-4. This reading of sine fine actually alludes to the prophecy of Jupiter in the first book of the Aeneid where the phrase meant the eternity of the Roman dominion. The perpetuum carmen, as the poet characterised the Metamorphoses at 1.4, refers not only to the time-span of the work through to the poet's own time but more importantly to the eternal character of his poetry. It is the poetic genius which cannot be trapped in a specific time frame. There is a consensus among Ovidian scholars that in writing the Metamorphoses Ovid had Virgil and his work firmly in mind. In striving for originality, he also had to emulate almost the entire Greek and Roman literary tradition. In his perpetuum carmen, therefore, he was confronted with the task of composing an all-inclusive work with regard to time, subject-matter and literary genre. The purpose of this paper is to show how Ovid exploited certain methods and techniques in order to imply, through the narrative, the omnipotence of the poetic genius through the creation of his text.
METAMORPHOSES: AESTETHICS, LITERATURE AND SOCIETY IN OVID AND KAFKA
METAMORPHOSES: AESTETHICS, LITERATURE AND SOCIETY IN OVID AND KAFKA , 2019
By analysing cutouts from Metamorphosis, by Ovid and The Metamorphose by Franz Kafka, this research aimed at bringing a discussion over the role of the metamorphoses in the literature. The phenomenon was observed since its basic biological background to a linguistic context. Through textual research, metamorphoses were identified both as a syntactical and semantical tool in the narrative composition from ancient to modern and non-western literatures. These features point out a standard of use of the metamorphoses as part of aesthetics of the "search"-for the new. Within this logic, it was studied, above all, how its presence signalizes a mean to investigate and assess social organization and forms of power. Resumo: Analisando os recortes de As metamorfoses, de Ovídio, e A metamorfose, de Franz Kafka, este artigo tem como objetivo trazer uma discussão sobre o papel das metamorfoses na literatura. O fenômeno foi observado desde a sua base biológica básica até um contexto linguístico. Por meio da pesquisa textual, as metamorfoses foram identificadas como ferramenta sintática e semântica na composição narrativa, desde a literatura antiga até a moderna e não ocidental. Estas características apontam para um padrão de uso das metamorfoses como parte da estética da "busca"-para o novo. Dentro dessa lógica, estudou-se, sobretudo, como a sua presença sinaliza um meio para investigar e avaliar a organização social e as formas de poder. Palavras-chave: metamorfoses; Ovídio; Kafka; sociedade; estudos de literatura i METAMORFOSES: ESTÉTICA, LITERATURA E SOCIEDADE EM OVÍDIO E KAFKA
This paper deals with Ovid's Tristia 1.7 where the central theme is the fate of his Metamorphoses. By playing with the two sphragis-like pieces at the beginning of the poem, the poet shows the end of his own role and highlights that of the work's reception and of the reader's response. The poem closes with a third sphragis-like piece where the reader is authorised to re-organise the beginning of the Metamorphoses with three elegiac couplets, thus interfering with the epic form of the work. In these couplets the poem is declared parentless and it is the reader who undertakes to disseminate it among the people (in urbe). Tristia 1.7 then comes to complement the closural piece of the Metamorphoses: the work will survive because it is rude, that is, without lima, a non-finito work, which every reader, according to his interpretative possibilities, will always strive to give its final form. Eventually the poem proves to be a study on the topic of the reader's response.
Rhetorical values and aesthetic values in Ovid’s Metamorphoses
2018
Among Ovid’s writings the catalogue of metamorphoses is a literary convention which is more frequent and more significant than it may be thought. The apparently arid formula of the concepts list acquired rhetorical, philosophical, and none the less aesthetic values under Ovid’s pen. The process of acquiring rich and delicately expressed significations enhanced over the time from the lyrical distiches of his youth, such as Amores or Heroides, over to the poems written during his exile, such as Tristia, the climax being the didactic poem in dactylic hexameter Metamorphoses (1-8 AD), unfinished or in any case unperfected. The use of a literary text as support across time and space for his polemics with personalities of the Roman cultural or political world is in accordance with the nonconformist spirit of Publius Ovidius Naso.
Clues in Ovid’s work anticipate a certain kind of reading, even imply warnings against credulousness and metaphysical earnestness, and are perhaps well applied to our reading of him. Such clues in the parables of failure to recognise and misreadings of signs and the handling of philosophical material in the Metamorphoses are notably available in the Theban episodes and Pythagoras’ speech. Ovid’s irony is the effect of the poet’s conception of the ambiguous status of appearances. Ovid tests and plays with the relationship between logos and imago and that of discourse and imagination to philosophical truth in the Metamorphoses, where knowing is set against innocence, rather than truth against untruth. Ovid’s ‘empty discourses’ parody philosophy in using its topics while seeking no transformation in the audience, which was the aim of the properly philosophical discourse in Antiquity.