The Lexicon of Profit and Commerce in Ovid's Ars Amatoria and Other Works

2021 ◽  
Vol 142 (2) ◽  
pp. 287-318
Author(s):  
T. H. M. Gellar-Goad
Keyword(s):  
Ars Amatoria

Homer in Love

2017 ◽  
Author(s):  
Barbara Weiden Boyd
Keyword(s):  
Central Theme ◽  
Ars Amatoria ◽  
Homeric Reception ◽  
The Erotic

Chapter 7 considers a second central theme in Ovid’s Homeric reception, desire, and its evocation through repetition. The erotic tradition of Homeric reception that Ovid inherited can be seen in the longest extant fragment of the elegiac poem Leontion, in which the Hellenistic poet Hermesianax offers a catalogue of ancient poets and the women they loved. In Tristia 1.6, Ovid expands upon the central trope of this catalogue, in which poetry is personified as the beloved object of a poet’s desire. The love-poet, suggests Ovid, strives continually to renew his love by recreating the great loves of past poetry, aspiring always to surpass them. Discussions of Ovid’s treatment of Penelope in Heroides 1, Calypso in Ars amatoria Book 2, and Circe in the Remedia amoris explore Ovid’s continuing interest in figuring himself as a second Homer by imagining Homer as an elegiac poet.

scholarly journals Introduction

Ramus ◽  
1987 ◽  
Vol 16 (1-2) ◽  
pp. 1-3
Author(s):  
A.J. Boyle
Keyword(s):  
Late Antiquity ◽  
Emotional States ◽  
Latin Literature ◽  
Political Repression ◽  
Adequate Description ◽  
Literary Value ◽  
Roman Literature ◽  
Imperial Period ◽  
The Subject ◽  
Ars Amatoria

oratio certam regulam non habet; consuetudo illam ciuitatis, quae numquam in eodem diu stetit, uersat.Style has no fixed rules; the usage of society changes it, which never stays still for long.Seneca Epistle 114.13This is the first of two volumes of critical essays on Latin literature of the imperial period from Ovid to late antiquity. The focus is upon the main postclassical period (A.D. 1-150), especially the authors of the Neronian and Flavian principates (A.D. 54-96), several of whom, though recently the subject of substantial investigation and reassessment, remain largely unread, at best improperly understood. The change which took place in Roman literature between the late republic/early Augustan period and the post-Augustan empire, between the ‘classicism’ of Cicero, Virgil, Horace, Livy and the ‘postclassicism’ of Seneca, Lucan, Persius, Tacitus is conventionally misdescribed (albeit sometimes with qualifications) as the movement from Golden to Silver Latin. The description misleads on many counts, not least because it misconstrues a change in literary and poetic sensibility, in the mental sets of reader and audience, and in the political environment of writing itself, as a change in literary value. What in fact happened awaits adequate description, but it seems clear that the change began with Ovid (43 B.C. to A.D. 17), whose rejection of Augustan classicism (especially its concept of decorum or ‘appropriateness’), cultivation of generic disorder and experimentation (witness, e.g., Ars Amatoria and Metamorphoses), love of paradox, absurdity, incongruity, hyperbole, wit, and focus on extreme emotional states, influenced everything that followed. Ovid also witnessed and suffered from the increasing political repression of the principate; he was banished for — among other things — his words, carmen. And political repression seems to have been a signal factor, if difficult to evaluate, in the formation of the postclassical style.

Georgic Imagery in the Ars amatoria

1964 ◽  
Vol 95 ◽  
pp. 142
Author(s):  
Eleanor Winsor Leach
Keyword(s):  
Ars Amatoria

scholarly journals Ovid’s Hesiodic Voices

2018 ◽  
Author(s):  
Ioannis Ziogas
Keyword(s):  
Ars Amatoria

Ovid’s poetry opens a dialogue with the three major Hesiodic works: the Theogony, the Works and Days, and the Catalogue of Women. The ways in which these works complement or differ from each other are reflected in Ovid’s Ars Amatoria, Metamorphoses, and Fasti. Hesiod’s works are both diverse and integrated, a combination that appealed to Ovid’s versatile genius. Stylistic and thematic aspects of Hesiodic poetry, such as puns and transformations, further resonate with Ovidian poetics. Ovid engages with Hesiod’s text directly and indirectly through the tradition of Hesiodic reception, which includes philosophers such as Xenophanes and Philodemus, as well as Hellenistic poets such as Callimachus and Aratus.

scholarly journals MORFOLOGÍA Y SIGNIFICADO DE LA CAMA EN MARCEL PRÉVOST. DEL LECHO CONYUGAL AL CAMASTRO DEL ADULTERIO

2022 ◽  
pp. 515-536
Author(s):  
Jordi LUENGO LÓPEZ
Keyword(s):  
Passionate Love ◽  
Social Circle ◽  
The Social ◽  
Mise En Scene ◽  
Physical Representation ◽  
Las Mujeres ◽  
Ars Amatoria

El erotismo ha sido siempre una constante en la producción literaria de Marcel Prévost. Una sutil exaltación física del deseo que el escritor parisino proyectaba en la narrativa de aquellas escenas y situaciones que recreaba en sus textos. En muchas de ellas, la cama será el centro neurálgico de esa amatoria, generada o contenida, alrededor de la cual las mujeres burguesas tamizaban su existencia en el círculo social al que pertenecían. A lo largo del presente estudio profundizaremos en los significados de la cama, yendo desde la sacralidad del lecho conyugal a los camastros improvisados en lugares ocultos para consumar la infidelidad, concibiéndose este mueble de sueño y ensueño como dual representación física de libertad y sujeción entre los individuos. Abstract: Despite not being recognised by the literary critics as an erotic writer, Marcel Prévost frequently invokes the heightening of passionate love and the scenes which depict it. In many of them, the bed was the nexus of that ars amatoria, created or contained, around which Bourgeois ladies sifted their existence within the social circle they inhabited. This paper examines in depth the meanings of the bed, from a sacrosanct marital space to a clandestine mise-en-scene to consummate adulterous liaisons, approaching this piece of furniture, created for sleep and dreams, as a dual physical representation of freedom and subjection between individuals.

Excess and Restraint: Propertius, Horace, and Ovid's Ars Amatoria. By Roy K. Gibson.

2009 ◽  
Vol 105 (1) ◽  
pp. 76-78
Author(s):  
Denise Eileen McCoskey
Keyword(s):  
Ars Amatoria

Quam Romanus honos et Graia licentia miscent

2018 ◽  
pp. 131-148
Author(s):  
Federica Bessone
Keyword(s):  
Intertextual Allusion ◽  
Circus Maximus ◽  
Ars Amatoria ◽  
Cultural Fusion

This chapter discusses Statius’ celebration of the beauty and serenity of Campania felix in contrast with Rome in Silv. 3.5. It demonstrates how the poet slyly enhances his assurances to his wife that their cultivated but modest daughter will find a more suitable husband in Naples by a series of witty intertextual allusions to Ovid’s Ars Amatoria to contrast Neapolitan refinement with the lascivious pleasures of the Roman theatre and Circus Maximus. The cultural fusion of Naples merges harmoniously with the refined complexity of Flavian poetry. A network of ingenious intertextual allusion draws together Virgil’s narrative of Hercules entering Evander’s humble cottage and Statius’ Hercules who accepts modest hospitality, but appreciates the opulent temple built by Pollius (Silv. 3.1).

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