This essay focuses on a postmodern reading of An Imaginary Life by David Malouf. It argues that language is a central theme in the novel and that Ovid’s transformation corresponds to his changing attitude towards different languages. According to Karin Hansson, Ovid’s transformation is divided into three stages. First, he longs for Latin, then he acquires Getic and in the end he seeks the languages of nature. The essay shows that stage two, Ovid’s acquisition of Getic, induces the deconstruction of the traditional high culture-low culture dichotomy in the novel. Language is understood as a representative of culture, and when Ovid considers Getic equal to Latin, the distinction between high culture and low culture collapses. Stage three, Ovid’s relationship with the wild child and his acquisition of the instinctive languages of nature, leads to the deconstruction of the animal-human dichotomy. The facts that the wild child transcends animality by gaining language and that Ovid wants to overcome human languages and immerse himself in nature promote a non-binary and multifaceted understanding of the human-animal relationship. To confirm its argument, the essay draws on Jacques Derrida’s ideas of language as well as his notions of the animal-human relationship.

Augustan propaganda surrounding Apollo provided the perfect literary device through which Augustan poets could express their sentiments about the new regime. Augustus transformed Apollo from a relatively insignificant god in the Roman pantheon to his own multi-faceted god whose various attributes were meant to legitimize his new position within the Roman Empire. In this thesis I discuss how Ovid uses Augustus’ political affiliation with Apollo to comment on Augustan marriage legislation in two of his texts. In Ovid’s manual on seduction, the Ars Amatoria, he denies poetic inspiration from Apollo at the beginning of his work, preferring instead to draw from his own experiences. However, Ovid seemingly contradicts himself by having Apollo appear later on to offer him advice. In his Metamorphoses, Ovid ridicules Apollo’s failed pursuit of Daphne. However, Apollo is seemingly victorious after all, since he uses Daphne’s laurel as his perpetual victory symbol. In both these instances, Ovid veils his political commentary by initially ridiculing Apollo in matters of love, only to seemingly glorify him shortly after. By excluding Apollo from matters of love, Ovid indirectly is disapproving of Augustus’ involvement in social affairs in Rome. Ovid proves to be a master of language yet again as he plays with the literary tradition and political implication of Apollo in these two texts to convey his discontent regarding Augustan marriage legislation.

Thesis (Ph. D.)--University of Chicago, 1936. / Lithoprinted. "Private edition, distributed by the University of Chicago libraries, Chicago, Illinois."

Thesis (Ph. D.)--University of California, Santa Cruz, 1985. / Typescript. Includes bibliographical references (leavdes [155]-164).

Orientador: João Batista Toledo Prado / Banca: Paulo Martins / Banca: José Dejalma Dezotti / Resumo: Assumindo o papel de praeceptor amoris (preceptor do amor), Ovídio compõe a Ars amatoria, proclamando que tal obra é capaz de tornar instruídos (docti) os que não sabem amar. O título dado à preceptística é já esclarecedor, pois evidencia a concepção de amor como ars, ou seja, o relaciona à perícia, técnica, habilidade, bem como a método, teoria, sistema de procedimentos. Além da matéria que se propõe a ensinar, o manual ovidiano possui outra característica intrigante: é um poema híbrido, ou seja, um poema didático composto em metro elegíaco e não em hexâmetro, permeado de topoi próprios das elegias. Esse hibridismo ou o entrelaçar dos corpos elegíaco e didático é que denuncia o caráter inter e metatextual da Ars amatoria. Nas elegias, o leitor é levado a crer que aqueles topoi são de fato sentimentos naturais e espontâneos. Quando esse leitor se defronta com a Ars, nota que, na verdade, eles são imitações de sentimentos. Em outras palavras, é declarado a ele que a maneira de agir de um apaixonado não passa de uma série de convenções. Assim, Ovídio remete seu leitor para outras obras elegíacas, inclusive as suas próprias (Amores, Heróides, Os remédios para o amor). Esse procedimento capacita o leitor a estabelecer relações entre textos diferentes, ou seja, mostra a ele como ler, como se engajar no discurso erótico, tornando a Ars amatoria, mais que um manual de amor, um manual de poesia. / Abstract: Assuming the role of praeceptor amoris (preceptor of love), Ovid composes the Ars amatoria, proclaiming that such work is able to make experts (docti) out of those who don’t know how to love. The title given to the poem is significant in itself, since it makes evident the concept of love as ars, that is, related to technique, acquired skill, as well as to method, theory, and system of procedures. Aside from the subject it teaches, the ovidian manual has another intriguing feature: it is a hybrid poem, that is, a didactic poem composed in elegiac meter, not in hexameters, permeated of elegiac topoi. Intemingling the elegiac with didactic bodies reveals the Ars amatoria’s inter and metatextual feature. In elegies, the reader begins to believe that those topoi are spontaneous feelings. However, when he faces the Ars, the reader notices that those feelings are, in fact, imitations of feelings. In other words, it is declared that being as a passionate person is nothing but following a series of conventions. In order to produce such an effect, Ovid sends the readers to other elegiac works, including his ones (Amores, Heroids, Remedia amoris). By doing that, Ovid enables the reader to establish conexions between different texts, that is, he demonstrates to the reader how he can engage himself in the erotic discourse. Such a procedure makes the Ars, more than a manual of love, a manual of poetry. / Mestre

Submitted by EWERTON DE OLIVEIRA MERA null (ewermera@hotmail.com) on 2016-07-21T17:34:22Z No. of bitstreams: 1 Dissertação_versão final_biblioteca.pdf: 1298551 bytes, checksum: a3d014db78a4f572d2ae9342c9e518ec (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-21T20:11:33Z (GMT) No. of bitstreams: 1 mera_eo_me_arafcl.pdf: 1298551 bytes, checksum: a3d014db78a4f572d2ae9342c9e518ec (MD5) / Made available in DSpace on 2016-07-21T20:11:33Z (GMT). No. of bitstreams: 1 mera_eo_me_arafcl.pdf: 1298551 bytes, checksum: a3d014db78a4f572d2ae9342c9e518ec (MD5) Previous issue date: 2016-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa apresenta a proposta de investigar a figuratividade poética no texto latino, valendo-se do instrumental teórico que nos fornecem a Poética e a Semiótica Literária, tendo como corpus o episódio de “Cíniras e Mirra”, que integra a obra Metamorfoses (livro X, 298-502) de autoria de Ovídio (43 a.C. - 17 d.C.), considerado um dos maiores poetas da Roma Antiga. As Metamorfoses são um longo poema em versos hexâmetros, composto de quinze livros, que trata do surgimento dos elementos que compõem o mundo e da transformação ocorrida com diversos seres mitológicos em uma narrativa contínua. No trecho selecionado para a análise, conta-se a transformação de uma bela jovem na árvore da mirra, após cometer incesto com o próprio pai, Cíniras, rei de Chipre. Em um trabalho desenvolvido como pesquisa de IC intitulado “Poética e Figuratividade: uma análise de ‘Io’ (Ovídio, Metamorfoses, I, 583-747)”, procurou-se concentrar na primeira etapa dos processos de figuratividade, isto é, na figuração do discurso, quando um tema é revestido por figuras semióticas. Tomando os efeitos de sentido captados pela percepção e apreendidos por meio da leitura como dados de base, pretende-se investigar no corpus o arranjo particular da linguagem. Como resultado dessa investigação produziu-se um discurso metalinguístico a fim de reconhecer os recursos da figuratividade poética determinantes da expressão. Ainda, como base para o desenvolvimento do trabalho, será produzida uma tradução de estudo (literal) acompanhada de notas de referência, com comentários concernentes a dados gerais de cultura (mitologia, história, geografia, filosofia, etc.). / This research is a proposal to investigate the figurative poetics in the Latin text, drawing on the theoretical tools provided by Poetics and Literary Semiotics, with the corpus of the episode "Cinyras and Myrrha", integrating part of the Metamorphoses (Book X, 298-502), by Ovid (43 BC - 17 AD), regarded as one of the greatest poets of Ancient Rome. The Metamorphoses is a long poem in hexameter verses, separated into fifteen books. It depicts the creation of elements of the world and the transmutations of several mythological beings, with a narration that takes place in a continuous form. The selected passage for analysis recounts the transformation of a beautiful young woman into the myrrh tree, after committing incest with her own father, Cinyras, the king of Cyprus. In an already developed undergraduation research entitled “Poetics and Figurativity: an analysis of ‘Io’ (Ovid, Metamorphoses, I, 583-747), we have focused on the first step of the figuration process, that being the figuration of speech, when a subject is covered with semiotic figures. Considering the effects of meaning captured by perception and seized by careful reading as database, we intend to investigate in the corpus particular arrangements of language. The result of this research has produced a metalinguistic discourse to recognize the features of poetical figurativity that are determinants to the expression. Furthermore, as a basis for the development of this work, we will produce a literal study translation, accompanied by background notes, and comments concerning general data culture, such as mythology, history, geography, philosophy, etc.

Submitted by Paulo Eduardo de Barros Veiga Veiga (pebveiga@gmail.com) on 2017-10-20T23:07:13Z No. of bitstreams: 1 Paulo E B Veiga A Cosmogonia nas Metamorfoses de Ovídio Tese 2017 Submissão.pdf: 1927056 bytes, checksum: ac4f8a44fa8d8269b157ff7810abc309 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-10-23T19:58:00Z (GMT) No. of bitstreams: 1 veiga_peb_dr_arafcl.pdf: 1927056 bytes, checksum: ac4f8a44fa8d8269b157ff7810abc309 (MD5) / Made available in DSpace on 2017-10-23T19:58:00Z (GMT). No. of bitstreams: 1 veiga_peb_dr_arafcl.pdf: 1927056 bytes, checksum: ac4f8a44fa8d8269b157ff7810abc309 (MD5) Previous issue date: 2017-06-30 / Ovídio (43 a. C. - 17 d. C.), poeta do período Clássico da Roma Antiga, mais precisamente da época de Augusto, escreveu por volta de 8 d. C. a obra intitulada Metamorfoses (Metamorphoseon libri), um longo poema dividido em quinze livros. De modo geral, narram- se diversos mitos, com enfoque nas transformações de seres e de coisas. Esta pesquisa tem como córpus parte do Livro I, mais especificamente os hexâmetros de número 1 a 451, em que Ovídio conta histórias mitológicas a respeito da origem do mundo. Ou seja, o tema central dos versos escolhidos é a Cosmogonia, um conjunto de mitos etiológicos que narra o princípio do universo e as transformações que o mundo sofreu para chegar à forma atual. Este trabalho, inspirado na Semiótica greimasiana, procurou compreender o processo de construção de sentido no texto, com um olhar voltado para as figuras que compõem a Cosmogonia, no nível discursivo. Para essa compreensão, investigaram-se, com maior ênfase, os recursos figurativos e icônicos percebidos nos versos de Ovídio. Assim, observaram-se, no poema, as figuras que revestem determinado tema e o encadeamento delas, na busca pelo sentido. Desse modo, analisaram-se o signo, a sua expressão e os efeitos de sentido que contribuem para a formação do poético no texto ovidiano. Além disso, tendo em vista a leitura da obra de um antigo romano no original latino, propôs-se, inclusive como subsídio à análise literária, uma “tradução de serviço”, acompanhada de notas de referência mítico-cultural. Essa tradução, basicamente, procurou descrever o sistema gramatical latino, a fim de compreendê-lo em um nível linguístico. Já as notas de referência voltaram-se à relação do texto com a Cultura, empenhando- se em explicá-la. Tratando-se de um estudo voltado à poesia, escandiram-se alguns hexâmetros em busca de dados de métrica que favoreçam a construção do sentido poético. Em suma, na pesquisa, destacou-se o modo como o texto literário foi construído por Ovídio, autor das Metamorfoses, que, com alto burilamento estético, cantou a Cosmogonia. / Ovid (43 BC – AD 17), poet of the Classic period of Ancient Rome, more precisely from the time of Augustus, wrote around 8 AD a work entitled Metamorphoses (Metamorphoseon libri), a long poem divided in fifteen Books. In general, several myths are narrated, focusing on the transformations of beings and things. This research has as corpus part of Book I, more specifically the hexameters of number 1 to 451, in which Ovid tells mythological histories regarding the origin of the world. That is, the central theme of the chosen verses is the Cosmogony, a set of etiological myths that tells the principle of the universe and the transformations that the world underwent to arrive at the present form. This work, inspired by greimasian Semiotics, sought to understand the process of construction of meaning in the text, with a look at the figures that make up the Cosmogony’s theme, in the discursive level. For this understanding, the figurative and iconic features, perceived in the verses of Ovid, were investigated more emphatically. Thus, in the poem, the figures that cover a certain theme and the chain of them, in the search for meaning, were observed. In this way, the sign, its expression and the effects of sense that contribute to the formation of the poetic in the Ovidian text were analyzed. Moreover, in view of the reading of the work of an ancient Roman in original Latin, a "translation of service", accompanied by notes of mythical-cultural reference, was also proposed as a subsidy to literary analysis. This translation basically sought to describe the Latin grammatical system to understand it on a linguistic level. The reference notes, however, turned to the relation between the text and Culture, seeking to explain it. As a study of poetry, some hexameters were analyzed in search of metric data that favor the construction of the poetic sense. In short, the research highlighted the way in which the literary text was constructed by Ovid, the author of Metamorphoses, who, with high aesthetic level, sang the Cosmogony.

Scholars have not adequately explained the disparity between Arthur Golding's career as a fervent Protestant translator of continental reformers like John Calvin and Theodore Beza with his most famous translation, Ovid's Metamorphoses. His motivations for completing the translation included a nationalistic desire to enrich the English language and the rewards of the courtly system of patronage. Considering the Protestant opposition to pagan and wanton literature, it is apparent that Golding was forced to carefully contain the dangerous material of his translation. Golding avoids Protestant criticism of traditional allegorical readings of pagan poetry by adjusting his translation to show that Ovid was inspired by the Bible and meant his poem to be morally and theologically instructive in the Christian tradition. Examples of Golding's technic include his translation of the creation and the great deluge from Book One, and the story of Myrrha from Book Ten.

This work explores how the 20th century English poet Ted Hughes translates one episode from Ovid's Metamorphoses (the "Pyramus and Thisbe" myth included in Hughes's Tales from Ovid) to make it an emblem for his notions about translation. In translating "Pyramus and Thisbe," Hughes removed many of the formal Ovidian elements and amplified the themes of violence and mingling latent in the myth. In doing so, he highlights the concept that communication sometimes necessitates breaking, symbolized primarily by the chink in the wall through which Pyramus and Thisbe whisper to one another. This metaphor for translation corroborates Hughes's discursive assertions that he favors literalness when translating, and yet contradicts the markedly Hughesian poems his translation work produces.

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