THE EMOTIONS OF MEDEA THE LETTER-WRITER (OVID, HEROIDES 12)

Andreas N. Michalopoulos

doi:10.1017/s0017383520000248

THE EMOTIONS OF MEDEA THE LETTER-WRITER (OVID, HEROIDES 12)

Greece and Rome ◽

10.1017/s0017383520000248 ◽

2021 ◽

Vol 68 (1) ◽

pp. 61-75

Author(s):

Andreas N. Michalopoulos

Keyword(s):

Men And Women ◽

Letter Writer ◽

Ars Amatoria

Medea fascinated Ovid more than any other female mythical figure. She features in the Ars Amatoria (1.336; 2.381–2), the Heroides (6.75, 127–8, 151; 12 passim; 17.229, 233), the Metamorphoses (7.1–424), and the Tristia (3.9). Ovid also composed a tragedy called Medea (Am. 2.18.13–16; Tr. 2.553–4), which unfortunately has not survived.1 In the Remedia amoris Medea is mentioned in a list of mythical men and women who would have been cured of their torturing love passion, if Ovid had been their praeceptor. Medea is not named, but the identification is obvious (Rem. am. 59–60): nec dolor armasset contra sua viscera matrem, / quae socii damno sanguinis ulta virum est (‘Nor would a mother's vengeance on her husband / have steeled her heart to slay their progeny’).

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2. Love poetry

Ovid: A Very Short Introduction ◽

10.1093/actrade/9780198837688.003.0002 ◽

2020 ◽

pp. 18-38

Author(s):

Llewelyn Morgan

Keyword(s):

Literary Form ◽

Love Poetry ◽

Men And Women ◽

Love Elegy ◽

Didactic Poetry ◽

Two Generations ◽

The Subject ◽

Ars Amatoria

'Love poetry' examines Ovid’s ventures into the sub-genre of love-elegy and describes the development of this exclusively Roman literary form over the previous two generations, and the conventions that Ovid had inherited. Ovid wrote three books on the subject of love, these are Amores (Loves), Ars Amatoria (Art of Love) and Remedia Amoris (Cures for Love), a meeting of love-elegy and the popular ancient tradition of didactic poetry. The Amores was the collection that launched Ovid’s poetic career, and it set the terms for the rest of it, marking him out as the leading proponent of elegiac verse in Rome. In his approach to love-elegy we also see a style that will characterize much of his later work, playful and intensely self-aware. The Amores is less poetry about love than poetry about love poetry, its primary appeal lying in witty manipulation of poetic convention. Meanwhile, the Ars Amatoria teaches men and women how to find and keep a lover, and then the Remedia Amoris explains how to ‘unlearn’ the lessons of the Ars.

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The Re-Imagination of a Letter-Writer and the De-Construction of an Ovidian Rape Narrative at Ars Amatoria 1.527-64

Classica et Mediaevalia ◽

10.7146/classicaetmediaevalia.v67i0.111771 ◽

2019 ◽

Vol 67 ◽

pp. 153-187

Author(s):

Despina Keramida

Keyword(s):

Roman Literature ◽

Letter Writer ◽

Ars Amatoria

Ovid’s writing is infused with the retelling of known myths and the portrayal of heroes and heroines, whose figurae held a central role in Greek and Roman literature. This article argues in favour of reading Ariadne’s story at Ars am. 1.527-64 as a rape narrative. The exploration of the passage in question and its comparative reading with other poems (such as Prop. 1.3 and the Ovidian version of the rape of the Sabine women), illustrates and explains why Ovid reimagines Ariadne as a victim of erotic violence.

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Ovid’s debut in Chinese: translating the Ars amatoria into the Republican discourse of love

Classical Receptions Journal ◽

10.1093/crj/clz028 ◽

2020 ◽

Vol 12 (2) ◽

pp. 231-247

Author(s):

Xinyao Xiao ◽

Yumiao Bao

Keyword(s):

Latin Text ◽

Chinese Translation ◽

Ordinary Experience ◽

Men And Women ◽

Chinese Men ◽

Political Debates ◽

Love Marriage ◽

And Gender ◽

Ars Amatoria

Abstract The first complete Chinese translation of Ovid’s poem was Dai Wangshu’s (1905–50) 1929 Ai jing (Ars amatoria). Dai, as translator-cum-publisher, produced a serious translation with thorough footnotes and a scholarly preface (later added). Yet in a newspaper advertisement, he also marketed the book in sensational language as a pragmatic love manual that could help Chinese ‘men and women of sentiment’ master the art of courting. Focusing on Dai’s seemingly conflicting marketing approaches, this article locates the production and reception of Dai’s translation of the Ars amatoria in its socio-cultural and ideological contexts. Dai adapted his Chinese Ars amatoria to an emerging Chinese discourse of love in the 1920s, when love remained at the centre of many literary, social, and political debates. It also further demonstrates how Ovid’s Ars amatoria, in Dai’s translation, animated sustained discussions of love, marriage, and gender in China in the early 1930s. Re-interpreted and re-appropriated, a classic Latin text extended Republican China’s quest for modernization and Westernization to the most intimate realms of ordinary experience.

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Ultrastructural comparison of prolactin adenomas of pituitary in men and women

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100103796 ◽

1988 ◽

Vol 46 ◽

pp. 346-347

Author(s):

R.C. Caughey ◽

U.P. Kalyan-Raman

Keyword(s):

Endoplasmic Reticulum ◽

Electron Microscope ◽

Phosphate Buffer ◽

Pituitary Adenomas ◽

Osmium Tetroxide ◽

Secretory Granules ◽

Uranyl Acetate ◽

En Bloc ◽

Men And Women ◽

Transmission Electron

Prolactin producing pituitary adenomas are ultrastructurally characterized by secretory granules varying in size (150-300nm), abundance of endoplasmic reticulum, and misplaced exocytosis. They are also subclassified as sparsely or densely granulated according to the amount of granules present. The hormone levels in men and women vary, being higher in men; so also the symptoms vary between both sexes. In order to understand this variation, we studied 21 prolactin producing pituitary adenomas by transmission electron microscope. This was out of a total of 80 pituitary adenomas. There were 6 men and 15 women in this group of 21 prolactinomas.All of the pituitary adenomas were fixed in 2.5% glutaraldehyde, rinsed in Millonig's phosphate buffer, and post fixed with 1% osmium tetroxide. They were then en bloc stained with 0.5% uranyl acetate, rinsed with Walpole's non-phosphate buffer, dehydrated with graded series of ethanols and embedded with Epon 812 epoxy resin.

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Race Difference in Auditory Sensitivity

Journal of Speech and Hearing Research ◽

10.1044/jshr.0704.389 ◽

1964 ◽

Vol 7 (4) ◽

pp. 389-393 ◽

Cited By ~ 3

Author(s):

David C. Shepherd ◽

Robert Goldstein ◽

Benjamin Rosenblüt

Keyword(s):

White Women ◽

White Men ◽

Sensitivity Study ◽

Auditory Sensitivity ◽

Race Difference ◽

Men And Women ◽

Auditory Thresholds ◽

Békésy Audiometry ◽

Method Of Adjustment ◽

Better Than

Two separate studies investigated race and sex differences in normal auditory sensitivity. Study I measured thresholds at 500, 1000, and 2000 cps of 23 white men, 26 white women, 21 negro men, and 24 negro women using the method of limits. In Study II thresholds of 10 white men, 10 white women, 10 negro men, and 10 negro women were measured at 1000 cps using four different stimulus conditions and the method of adjustment by means of Bekesy audiometry. Results indicated that the white men and women in Study I heard significantly better than their negro counterparts at 1000 and 2000 cps. There were no significant differences between the average thresholds measured at 1000 cps of the white and negro men in Study II. White women produced better auditory thresholds with three stimulus conditions and significantly more sensitive thresholds with the slow pulsed stimulus than did the negro women in Study II.

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