My study focusses on the laments expressed by Ariadne and Dido in the poems of Catullus, Vergil and Ovid. My study examines the evolution of the character type of the lamenting woman from its Greek origins and portrayal to its presentation in Catullus 64, Aeneid 4 and Heroides 7 and 10. The scholarship and theories of Elizabeth Harvey, Rebecca Armstrong, Bridgitte Libby, Laurel Fulkerson and Sharon James were essential for my understanding and interpretation of these poems. I also consider the implications of male poets writing ventriloquized female voices. Over the course of three chapters, I argue that each of these authors contributes to the development and establishment of a new Romanized theme of the seduced and abandoned lamenting woman and character type. It is evident in each depiction of Ariadne and Dido that the authors build on the standard characterizations in Greek epic and tragedy, and that from these models a new type of lamenting woman emerged. With this project I intend to make a contribution to our understanding of the issues involved in the poetic portrayal of male and female voices in the context of the classical literary tradition of lamenting. / Thesis / Master of Arts (MA) / The aim of this thesis is to examine the motif of the lament of abandoned women in Latin poetry. My study focusses on the laments expressed by the characters of Ariadne and Dido in the ancient poems of Catullus, Vergil and Ovid. My study examines the evolution of the character type of the lamenting woman from its Greek origins and portrayal to its presentation in Catullus 64, Aeneid 4 and Heroides 7 and 10. Over the course of three chapters, I argue that each of these authors contributes to the development and establishment of a new Romanized theme of the seduced and abandoned lamenting woman and character type. With this project I intend to make a contribution to our understanding of the issues involved in the poetic portrayal of male and female voices in the context of the classical literary tradition of lamenting.

Christopher Marlowe’s narrator-lover in Ovid’s Elegies increasingly embodies an epitome of conventional ideology. As I study Ovid’s Elegies and Marlowe’s poetics of subjectivity, I specifically address how the narrator’s inability to find the truth about himself, about love, and about the value of poetry reveals his gross misconceptions of his own contrived and illusory subjectivity, particularly the way in which his ill-conceived notions misrepresent love and poetry. That is, he cannot discover from his experience a personal identity and subjectivity. Without the ability to define himself, to embody feelings more substantive than his desire for sexual gratification and masculine conquest, the narrator cannot achieve self-knowledge, let alone self-mastery. In short, he lacks virtus. While Marlowe’s narrator repeatedly enters a liminal space wherein he recognizes a necessary advancement toward virtus within the symbolic order, he invariably collapses back upon his imaginary order, and he volitionally maintains a state of psychic stasis.

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<p> This thesis is about Ovid's descriptions of the change of the human form into another form, e.g., an animal, stone, body of water or a tree, in his poem, Metamorphoses. The title indicates the importance of this phenomenon, metamorphosis, in that work. </p> <p> There are about 250 examples of metamorphosis in the poem. Of these, Ovid describes approximately twenty per cent. To describe more might have been boring; to describe less might have left an open question for his audience: how does a metamorphosis work?</p> <p> Previous work on this subject has been confined to either an attempt at analysis of all examples, or of so few, that Ovid's method of description for these important examples has never been explored.</p> <p> It has been found that Ovid's purpose was to explain the phenomenon in credible terms, which is his basic method of description generally. His use of previous sources shows that he explained the animal metamorphoses more in terms of prior tradition than the other groups. He seems to have provided a real impetus for change in the portrayal of persons metamorphosing into trees which appear particularly in the post Ovidian sources in art. Ovid appears to have been the most inventive in those descriptions of persons changing into stone.</p> / Thesis / Doctor of Philosophy (PhD)

Adorno discerned a modern quality in the classical tradition, and by incorporating this tradition into his writings he implied that there is still contemporary relevance in the classical works of the past. Classical philosophy and literature not only provided source material for his theories, but it will be shown that there is more to learn about the multiple functions of Adorno's writings and his process of writing them. This study seeks to examine and interpret some of Adorno's major writings that incorporated classical ideas and figures in order to locate how this ancient tradition contributed to his formulation of critical social and political theory. There are interesting and relevant implications for politics and political philosophy to be drawn from the entwinement of Adorno's work with classical thought, and it is the goal of this study to illuminate some of these implications. By looking at how classical thought influenced Adorno's deliberative writing process, the purpose of his writings becomes clearer. Ultimately, this study finds that his frequent use of classical literature and philosophy forms a political gesture against the standardization and domination of thought in modernity. / Master of Arts

Originally presented as the author's Thesis (Ph. D.)--University of California, Berkeley, 1987. / Includes bibliographical references (p. 238-244).

At Tristia 1.117-120, Ovid refers directly to his Metamorphoses, equating his exilic situation with that of characters from his magnum opus, stating that his parvus liber should report to those in Rome that the vultus of his fortune may now be listed among the mutata corpora. This statement, placed in the opening poem of Ovid’s exilic project, is invested with programmatic value and begs the following questions: How has Ovid been changed? Why does he compare himself to characters from the Metamorphoses? What exactly is the payoff – for Ovid and the audience – of such an intertextual move? This dissertation explores these questions, arguing that this line is central to Ovid’s conception of his entire ‘exilic project’. By equating himself with his earlier characters, Ovid makes himself a character who undergoes the same transformations as they did; thus, his exilic transformation should be interpreted as occurring in the same fashion as transformations in the Metamorphoses. Those transformations, it is argued, were conceived of in terms of speech, community, and memory: whenever a character is transformed, that character suffers speech loss, is exiled from community, and is forgotten. In his exilic project, Ovid portrays himself as passing through these same steps. Furthermore, Ovid depicts his transformation in this way with an eye towards memory: reformulating how his exile would be perceived by his audience and how he, as a poet, would be remembered by posterity. In Chapter One, I begin by 1) setting the study within current scholarly trends and 2) examining what it meant to be ‘speechless’ in Ovid’s Rome. In Chapter Two, I set out the model for speech loss and community for the characters of the Metamorphoses. In Chapter Three, I turn to how Ovid applies this model to himself in his exilic project. In Chapter Four, I connect this model to memory, arguing that Ovid focuses on this model of speech and community because he, as an exile, is attempting to place himself back within the social frameworks of his community not only to be remembered, but to be remembered as he wants to be remembered. / text

The following with analyze Ovid’s Metamorphoses, a collection of myths, as it relates to mythology in ancient Rome. Through the centuries, the religious beliefs of the Romans have been distorted. By using the Metamorphoses, the intersection between religion and myth was explored to determine how mythology related to religion. To answer this question, I will look at Rome’s religious practices and traditions, how they differed from other religions and the role religion played in Roman culture, as well as the role society played in influencing Ovid’s narrative. During this exploration, it was revealed that there was no single truth in Roman religion, as citizens were able to believe and practice a number of traditions, even those that contradicted one another. Furthermore, the Metamorphoses illustrated three integral aspects of Roman religious beliefs: that the gods existed, required devotion, and actively intervened in mortal affairs.

This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.

This paper aims to explore the connections and parallels between Longus' Daphnis and Chloe and Ovid's Metamorphoses. The conclusions reached should provide fertile ground for further studies in the intertextual play between novels and Latin poetry. To reach these conclusions, there will be a multi-pronged approach at analyzing the questions and implications raised by the potential connections. First Longus' novel will be situated within a context of Greek literature under the Roman Empire that consciously utilized Vergilian poetry. Having done that, I will turn to the similar methods that each author uses to play with genre and the visual worlds in his work, a process that shows that Longus was using Ovid as a definite model/kindred spirit for his novel's approach to these topics. Following that, there will be an extended examination of specific episodes in Daphnis and Chloe through which Longus reveals his knowledge of Ovid's Metamorphoses. Finally, this paper will attempt to situate the arguments and conclusions that are made in the context of the current debates over the readership of the novel to present a strong case for bilingualism in the ancient world. / text