Thesis--Johns Hopkins University, 1905. / "Originally published 1911." Bibliography: p. 143-144.

Based on the author's Thesis (Ph. D.--University of Keele), 1993. / Spine title: Seduction and repetition in Ovid's Ars amatoria II. Includes bibliographical references (p. [297]-310) and indexes.

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

Zugl.: Diss.

The purpose of this thesis is to uncover the meaning of the difference between original versions and translations of two texts from Publius Ovidius Naso's Heroides, "Phyllis to Demophoon" and "Phaedra to Hippolytus." The first chapter describes John Dryden's system of translational practices and some theoretical issues surrounding literary translation and its critical interpretation. Even though translations have connections to the source text to some degree, each product of translation is a literary artifact on its own. The second chapter uses three translations of "Phyllis to Demophoon" by respectively Wye Saltonstall, Edward Pooley, and Edward Floyd as case studies demonstrating the variety of literary works that can originate from a single source text. The third chapter interprets Thomas Otway's translation of "Phaedra to Hippolytus" against Ovid's original in order to reveal the extensive presence of a certain characteristic irony in Otway's text. Otway also effectively translates Ovid's witty subtext.

Den romerska författaren och poeten Publius Ovidius Naso (43 f.Kr. - 17 el. 18 e.Kr.) hade år 8 e.Kr. skrivit färdigt sitt magnum opus Metamorfoser. Verket skildrar ungefär 250 olika myter eller sagor som alla kretsar kring temat förvandlingar, eller så kallade metamorfoser. Men Ovidius verk har under det senaste århundradet uppmärksammats för dess otaliga skildringar av våldtäkt. Från Jupiter till Pluto, från gudarnas gud till underjordens härskare, skapar Ovidius ett poetiskt universum där våldtäkt är enda sättet för dessa gudar att uttrycka sina karikatyr-artade sexualiteter. I och med att Ovidius porträtterar ett såpass stort spann av sexuella kfgj så formas därmed det mönster som ska komma att brytas med i myten om nymfen Sálmakis våldtäkt på den unga pojken Hermafróditos.  Med hjälp av forskare som lagt fram att Ovidius skildrar våldtäktens psykologiska följder på dess offer kan vi i Sálmakis-myten se att det rör sig om något så ovanligt som en kvinnlig våldtäktsförövare. I forskning när det gäller subjektivitet inom mytologiska narrativ, där mannen har blivit det universella subjektet, utifrån vilket allt annat definieras, blir det tydligt att Ovidius också i subjekt/objekt ställer rollerna på sin kant.  Alltså skapar Ovidius något unikt i skildringen av Sálmakis där det rör sig om en kvinnas roll som subjekt och våldtäktsförövare. Hon blir placerad jämte mannen. Men det krävs något så brutalt som våldtäkt för att först blottlägga maskulinitetens uttryck för att sedan kunna klargöra Sálmakis roll i myten.

Landscape in Roman literature is manifest with symbolic potential: in particular, Vergil and Ovid respond to ideologically loaded representations of abundance in nature that signal the dawn of the Augustan golden age. Vergil's Eclogues foreground a locus amoenus landscape which articulates both the hopes of the new age as well as the political upheaval that accompanied the new political regime; Ovid uses the same topography in order to suggest the arbitrary and capricious use of power within a deceptively idyllic landscape. Moreover, for Latin poets, depictions of landscape are themselves sites for poetic reflection as evidenced by the discussion of landscape ecphrases in Horace's Ars Poetica. My thesis focuses upon the depiction and refiguration of the locus amoenus landscape in the post-Augustan epics of the first century AD: Lucan's Bellum Civile, Valerius Flaccus' Argonautica, Statius' Thebaid and Silius Italicus' Punica. Landscape in these poems retains the moral, political and metapoetic force evident in the Augustan archetypes. However, I suggest that Lucan's Neronian Bellum Civile fundamentally refigures the landscapes of Latin epic poetry, inscribing the locus amoenus with the nefas of civil war in such a manner that it redefines the perception of landscape in the succeeding Flavian poets. Lucan perverts the landscape, making the locus horridus, a landscape of horror, fear and disgust, the predominant landscape of Latin epic; consequently, the poems of Valerius, Statius and Silius engage with Lucan's refiguration of landscape as a means of expressing the horror of civil war. In the first part of my thesis I examine archetypal landscapes, including those of the Augustan poets and Lucan's Bellum Civile. Taking an approach which engages with literary reception theory and the concept of the â horizon of expectationâ as a framework within which literary topographies can be understood as articulating a response to the thematics of civil war, in the second part of my thesis I demonstrate the manner in which landscapes represent a coherent and paradigmatic response to Lucan's imposition of his civil war narrative within the literary landscape of Roman literature.

The Classical Tradition, now more commonly known as Classical Reception, is a growing sub-discipline in Classics which seeks to trace the influence of Greco-Roman culture in post-classical works. While scholars have already done much to analyze specific texts, and many of these analyses are theoretically complex, there has yet to be a review of the theories these scholars employ. The purpose of this study is to provide researchers with a theoretical tool kit which allows them greater scope and nuance when analyzing usages of classical mythology. It examines five different approaches scholars have used: adaptation, allusion, intertextuality, reception, and typology. Each theory is followed by an example from Spanish literature or film: Apollo and Daphne in Calderón's El laurel de Apolo, Orpheus in Unamuno's Niebla, Dionysus in Unamuno's San Manuel Bueno, mártir, Persephone in del Torro's El laberinto del fauno, and the werewolf in Naschy's Waldemar Daninsky films. This thesis argues that a critical pluralist approach best captures the nuance and variety of usages of classical mythology. This allows for both objective and subjective readings of texts as well as explicit and implicit connections to classical mythology.