Thesis (Ph. D.)--University of Pennsylvania, 1917. / "Selected bibliography": p. 7-8.

Thesis (Ph. D.)--University of Chicago, Dept. of Classical Languages and Literatures, March 2000. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Chicago, Committee on the Ancient Mediterranean World, August 2002. / Includes bibliographical references. Also available on the Internet.

Thesis (M. Div.)--Emmanuel School of Religion, 2005. / Vita. Includes bibliographical references (leaves 78-84).

L’œuvre d’Ovide est composée au sortir d’une époque de profonds bouleversements sociaux, culturels et spatiaux. Sous Auguste qui réorganise l’Empire émerge une représentation de l’espace conçu comme un ensemble unifié. Les Métamorphoses proposent au lecteur un voyage dans le temps selon un axe chronologique immense, en même temps qu’un voyage dans l’espace, de la Grèce des débuts du monde à Rome et au monde entier. Elles peuvent s’interpréter comme une épopée sur l’espace, progressivement maîtrisé. Le poète sélectionne les lieux et les traits de géographie physique (fleuves, monts) et urbaine qui vont constituer l’armature ou l’arrière-plan d’un mythe. Ces lieux sont le plus souvent ceux des traditions mythiques grecques, les toponymes sont homériques ou alexandrins, mais Ovide se les approprie et réinterprète les représentations spatiales de ses prédécesseurs pour construire sa vision de l’espace ; en outre, il introduit dès la cosmogonie initiale des toponymes récents, ouvrant ainsi l’espace du poème à la géographie et à l’histoire universelles. Cette réécriture romaine des mythes s’inscrit dans un questionnement sur la culture et la citoyenneté romaines et met en lumière les rapports complexes qu’elle entretient avec la culture grecque. Ces rapports se jouent à l’échelle de chaque mythe, dès lors qu’un toponyme est mentionné, mais aussi à l’échelle du poème entier : les lieux sont mis en en réseau les uns avec les autres et ont une histoire qui se construit au fil des livres. Le poète fait ainsi coïncider géographie physique et géographie culturelle, nature et culture, en racontant la construction de l’espace par une collectivité qui est à la fois l’humanité entière et plus spécifiquement, le peuple romain, nourri de culture grecque. / Ovid’s Metamorphoses are written in an age of profound change. Not only does power evoluate in the hands of the Princeps, but also space: the new management of the provinciae and the reorganization of the City make it possible to conceive the geographical space of Empire as united. The poem echoes these transformations by introducing heroes who travel all over the world. The wide range of places and countries seems to match with the enormous temporal scope announced in the poem. The poem can be seen as an epos on space : space is progressively dominated, from the beginning of humanity to the reign of Rome. In each myth, Ovid selects the places, the rivers, mountains or cities he needs, abiding by mythical traditions and cultural representations : toponyms are borrowed from Homer or the Alexandrian poets ; but simultaneously he revitalizes them : he constructs his vision of geographical space and spatial organization. As early as the first cosmogony, he introduces toponyms which had been known only very recently in latin, thus opening his poem to universal geography and history. By transposing Greek myth in Roman space, the poet deals with cultural identity, in a time when Roman culture was undergoing a metamorphosis. He insists on the Greek roots of Roman culture and simultaneously projects it on a wider, universal scale. Places have a history, progressively revealed in each book. By setting myths in a web where each place has its own significance but also is better understood when related to the other, he constructs a space which is both natural and cultural, and a history of humanity and of Greco-Roman identity.

This thesis explores the generic interaction between Virgilian pastoral and Ovidian epic. My primary goal is to bring pastoral, substantially enriched by important critical work thereupon in recent decades, more energetically into the scholarly discussion of the Metamorphoses, whose multifaceted generic interplay is often limited to the study of its interaction with elegy. Secondarily, I hope to show how the Metamorphoses plays a pivotal role in the re-reading of the Eclogues. The fact that both epic and pastoral are written in hexameters facilitates the interaction between the two and enables the Metamorphoses’ repeated short-term transformations into pastoral poetry, which often end abruptly. I will try to show that although the engagement with pastoral occasionally appears to threaten the epic code of the poem, pastoral is ultimately integrated in the Metamorphoses’ generic self-definition as epic and partakes in Ovid’s dynamic recreation of the genre. My primary method is that of intertextuality, resting on the premise that all readings of textual relationships, as the one suggested here, are acts of interpretation. I also explore pastoral in the Metamorphoses intratextually by joining together various pastoral episodes of the Metamorphoses and arguing how similar thematics are replayed and rewritten throughout the poem. The main perspectives from which I examine pastoral in the Ovidian epic are those of fiction and the development of the thematics of the Golden Age. In the first part, I explore instances of song performances in the Metamorphoses, i) musical contests, ii) solo performances and iii) laments, in which I argue that pastoral is extensively at work. I suggest that the Metamorphoses employs pastoral’s overriding generic self-obsession and its tendency to create its own fiction internally, significantly through the means of singing performance and repetition. I argue that the mythopoetic means of pastoral are applied and reworked in the Metamorphoses for the creation of its epic world and heroes. In the second part, I explore the repeated occurrences of the Golden Age theme in the Metamorphoses and suggest that the remarkable engagement with pastoral is employed both to invite a political reading of the Golden Age, as set by Eclogue 4 and its post-Eclogues occurrences, and to recap the introversion of the pastoral enclosure and its seclusion from politics.

Made available in DSpace on 2014-06-11T19:26:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-04-10Bitstream added on 2014-06-13T19:34:39Z : No. of bitstreams: 1 boschiero_ic_me_arafcl.pdf: 712055 bytes, checksum: 2787ee77308de0e62cb2c3351a274b4a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / 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. / 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.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-20T13:55:36Z No. of bitstreams: 1 arquivo ttotal.pdf: 1164916 bytes, checksum: 194098792462fb837c6de78771474cab (MD5) / Made available in DSpace on 2016-06-20T13:55:36Z (GMT). No. of bitstreams: 1 arquivo ttotal.pdf: 1164916 bytes, checksum: 194098792462fb837c6de78771474cab (MD5) Previous issue date: 2016-03-11 / This research has as goal to study the eroticism present in Ovid’s Amores, one of the great names of Latin Elegy of century I B.C. The main focus is to analyze the several erotic passages throughout the work, especially in our corpus, constituted by three elegies (Am. I.5, Am. II.15 and Am. III.7), which will be thoroughly analyzed in a specific chapter. Our study is supported by theorists that discuss literary and cultural aspects - History, Religion and Sociology - of the Roman thought of the time, in order to elaborate a work without anachronisms. We present operating translates os the originals texts analyzes during the research, including our complete translations of the three elegies that compose the corpus, aiming a better understanding of the text and its posterior analysis. / Esta pesquisa tem como objetivo estudar o erotismo presente nos Amores de Ovídio, um dos principais nomes da Elegia Latina do séc. I a.C. O foco principal é analisar as diversas passagens eróticas ao longo da obra, especialmente em nosso corpus, constituído por três elegias (Am. I.5, Am. II.15 e Am. III.7), que serão detalhadamente analisadas em um capítulo específico. Este estudo está apoiado em teóricos que abordam aspectos literários e culturais - história, religião, sociologia - do pensamento romano da época, com o intuito de elaborar um trabalho sem anacronismos. Apresentamos traduções operacionais dos textos originais analisados ao longo da pesquisa, incluindo nossas traduções completas das três elegias que compõem o corpus, objetivando a melhor compreensão do texto e de sua posterior análise.

Submitted by JAQUELINE VANSAN null (jaque.vansan@yahoo.com.br) on 2016-06-24T15:58:49Z No. of bitstreams: 1 POÉTICA E RETÓRICA NAS HEROIDES DE OVÍDIO.pdf: 3119617 bytes, checksum: 5a64e6f59683127029a22458c65aeda2 (MD5) / Rejected by Ana Paula Grisoto (grisotoana@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: Inserir a data de defesa na folha de aprovação. Corrija estas informações e realize uma nova submissão contendo o arquivo correto. Agradecemos a compreensão. on 2016-06-27T17:05:30Z (GMT) / Submitted by JAQUELINE VANSAN null (jaque.vansan@yahoo.com.br) on 2016-06-27T18:07:34Z No. of bitstreams: 1 POÉTICA E RETÓRICA NAS HEROIDES DE OVÍDIO.pdf: 3119297 bytes, checksum: 4260bcf166d6673471999d4f369ec024 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-06-27T20:15:05Z (GMT) No. of bitstreams: 1 vansan_j_me_arafcl.pdf: 3119297 bytes, checksum: 4260bcf166d6673471999d4f369ec024 (MD5) / Made available in DSpace on 2016-06-27T20:15:05Z (GMT). No. of bitstreams: 1 vansan_j_me_arafcl.pdf: 3119297 bytes, checksum: 4260bcf166d6673471999d4f369ec024 (MD5) Previous issue date: 2016-05-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Públio Ovídio Nasão (43 a. C. - 17 d. C) foi um dos autores mais versáteis e prolíficos do período augustano da Literatura Latina, deixando-nos como legado uma obra que abarca desde elegias que cantam aventuras e decepções amorosas ou lamentam o exílio, a poemas didáticos ou de caráter etiológico. Em meio aos primeiros escritos do autor encontram-se as Heroides, coleção de 21 elegias epistolares, tradicionalmente dividida em duas séries: a primeira formada por correspondências nas quais heroínas lendárias remetem súplicas ou lamentos aos amados distantes; a segunda, por trocas de cartas entre célebres casais do mito. Escrito provavelmente entre 20 e 16 a.C., o conjunto de poemas destaca-se pela forma com que foi composta, na qual se juntam ao gênero epistolar, elementos e metro próprios da elegia amorosa romana e uma escrita que revela traços da retórica cultuada na época. E, se por um lado, não se pode afirmar categoricamente que Ovídio seja o pioneiro a valer-se de tal mescla de gêneros, uma vez que Propércio já havia utilizado o modo epistolar anteriormente no terceiro poema a integrar o livro IV de sua obra elegíaca, por outro lado, sabe-se que é pela arte ovidiana que o formato é largamente desenvolvido e ganha status de coleção, inovando, ainda, ao buscar na tradição literária a voz presente em cada uma das correspondências. Ao se levar em consideração a singularidade proporcionada por esse entrecruzamento de gêneros e estilo de escrita, tem-se um produtivo foco de estudo, uma vez que a forma possibilita a identificação de conceitos ligados tanto às poéticas e como aos estudos retóricos desenvolvidos na Antiguidade, e os respectivos efeitos que causam na tessitura poética das epístolas. Nesse sentido, o presente trabalho tem por objetivo, além de reunir informações sobre as Heroides e dos componentes de sua arquitetura literária, analisar os recursos retórico-poéticos que participam da construção da primeira epístola que integra a obra, “De Penélope a Ulisses”, a fim de entender, por meio do próprio poema, a peculiaridade da construção da coleção de cartas e destacar a expressividade poética do texto. / Publius Ovidius Naso, more commonly known as Ovid (43 BCE–17 CE), was one of the most versatile and prolific writers of the Augustan period of Latin literature. His legacy ranges from elegies that talk about love adventures and disisllusions or lament exile to didatic or etiological poems. Among the first works of this writer are the Heroides, a collection of twenty-one poems in epistle form, traditionally divided into two series. The first consists of letters in which legendary heroines send their entreaties and laments to their distant loved ones, and the second of letters exchanged between famous mythical couples. Possibly written between 20 and 16 BCE, this collection of poems stands out for its composition, which combines the epistle form, elements and metrics characteristic of Roman love elegies, and a writing style that shows traces of the rhetoric celebrated at the time. And, if on one hand, it cannot be categorically said that Ovid is a pioneer in using this mix of genres, since Propertius had already used the epistle form in the third poem in Book IV of his elegiac work, on the other hand, it is widely known that it was through the art of Ovidius that the genre developed and gained a collection status. Ovid also brought new innovation to the epistolary genre by seeking in the literary tradition the voice present in each letter. A productive study can be made of the uniqueness of this crossing of writing genres and styles, since the form allows for the identification of concepts associated both with the poetics and with the rhetorical studies developed in antiquity, and the respective effects that they have on the poetic process of the epistles. Therefore, in addition to gathering information on the Heroides and the components of their literary architecture, this study aims to analyze the rhetorical-poetic resources that aided in writing the first epistle, “Penelope to Ulysses,” in order to understand, through the poem itself, the peculiarity of the construction of this collection of letters, and to highlight the poetic expressiveness of the text.

O trabalho analisa as possíveis relações intratextuais entre as primeiras quatorze epístolas que formam o corpus das Heroides de Ovídio. Estas relações permitem ao leitor entendêlas não apenas como um mero conjunto de monólogos travestidos em um formato epistolar (Auhagen, 1999, p. 90), mas como peças que ganham significado à luz de outras. As relações surgem em função do caráter exemplar das heroínas, paradigmático de um determinado tipo de comportamento. No diálogo intratextual, a exemplaridade permite a configuração mútua destas mulheres e suas epístolas. Considerando que o próprio Ovídio, no livro 3 da Ars amatoria, recomenda a suas discípulas ler sua coleção de epístolas e que ele se refere a essas mulheres em diferentes ocasiões como exempla do fracasso na ars amandi, o corpus pode ser entendido como uma série de exempla para o leitor, complementares ao propósito didático da Ars amatoria. Em razão da falta de uma ars amandi, a maioria das heroínas fracassam ao tentar convencer seus amantes a voltar. Portanto, o leitor recebe as epístolas como um grande exemplum daquilo que não deve ser feito e como justificativa da necessidade de um praeceptor. A confluência dos gêneros elegíaco e epistolar possibilita que as epístolas sejam um meio apropriado para transmitir um exemplum, por causa do caráter didático de ambos os gêneros. / This research analyses the possible intratextual relation between the first fourteen epistles of Ovids Heroides. These relations allow the reader to understand them not only as unconnected monologues brought together under the form of epistles (Auhagen, 1999, p. 90), but also as collection of poems that have meaning when read in the light of the others. The relations emerge because of the heroines exemplary character, paradigmatic of a certain behavior. In the intratextual dialogue, the exemplarity enables the mutual configuration of the women and their epistles. Considering that Ovid himself, in the third book of his Ars, recommends to read his collection of epistles and that he also refers to these women as exempla of failure in the art of love, the whole collection can be understood as a series of exempla that complement the didactic purpose of the Ars amatoria. Because of their lack of ars amandi, most of the heroines fail in trying to convince their lovers to come back to them. Therefore, the reader receives the epistles as an exemplum of what should not be done and as a justification for the need of a praeceptor. The overlapping of the elegiac and the epistolary genres enables the letter to be an appropriate mean to convey an exemplum, due to the didactic features of both genres.