A primeira parte deste trabalho compõe-se de um estudo do gênero épico tal como desenvolvido por Ovídio nas Metamorfoses, por meio da análise detalhada do proêmio e de outras passagens programáticas, concomitantemente à avaliação dos modelos que acabaram por formar sua variante particular de epos, a saber, Hesíodo, os poetas alexandrinos, além dos predecessores latinos, em particular Ênio, Lucrécio e Virgilio. A segunda parte consta do estudo e análise do mito de Ceix, no livro 11, no tocante à disposição narrativa e abordando-o em seu aspecto alusivo a obras precedentes, notadamente quanto ao conflito pietas / pax x impietas / ferocia que permeia o mito. Por fim, foi feita uma tradução em prosa de todo o mito, apresentada linha a linha, e uma em versos dodecassílabos da parte principal. / The first part of this piece of work consists of a study of the epic genre as developed by Ovid in Metamorphoses, by means of a detailed examination of the proem and other programmatic passages, simultaneously to an appreciation of the poetic models who contributed to form his particular variant of epos, namely Hesiod, the alexandrian poets, together with his Latin predecessors, particularly Aenius, Lucretius and Virgil. The second part consists of the study and analysis of the myth of Ceix in book 11, concerning narrative disposition and its marked alusiveness to preceding poems, notably in relation to the pietas / pax x impietas / ferocia conflict which underlies the story. Finally, there is a prose translation of the whole myth presented line by line, followed by a verse translation of the main part of the myth.

A primeira parte deste trabalho compõe-se de um estudo do gênero épico tal como desenvolvido por Ovídio nas Metamorfoses, por meio da análise detalhada do proêmio e de outras passagens programáticas, concomitantemente à avaliação dos modelos que acabaram por formar sua variante particular de epos, a saber, Hesíodo, os poetas alexandrinos, além dos predecessores latinos, em particular Ênio, Lucrécio e Virgilio. A segunda parte consta do estudo e análise do mito de Ceix, no livro 11, no tocante à disposição narrativa e abordando-o em seu aspecto alusivo a obras precedentes, notadamente quanto ao conflito pietas / pax x impietas / ferocia que permeia o mito. Por fim, foi feita uma tradução em prosa de todo o mito, apresentada linha a linha, e uma em versos dodecassílabos da parte principal. / The first part of this piece of work consists of a study of the epic genre as developed by Ovid in Metamorphoses, by means of a detailed examination of the proem and other programmatic passages, simultaneously to an appreciation of the poetic models who contributed to form his particular variant of epos, namely Hesiod, the alexandrian poets, together with his Latin predecessors, particularly Aenius, Lucretius and Virgil. The second part consists of the study and analysis of the myth of Ceix in book 11, concerning narrative disposition and its marked alusiveness to preceding poems, notably in relation to the pietas / pax x impietas / ferocia conflict which underlies the story. Finally, there is a prose translation of the whole myth presented line by line, followed by a verse translation of the main part of the myth.

In this thesis, I explore the construction of female erotic desire in Ovid’s work as it is represented in the form of mythical heroines. Phaedra-like figures appear in Ovid’s poetry as dangerous spectres of wildly inappropriate and therefore destructive, bestial, or incestuous sexuality. I consider in particular the catalogue of Phaedra-like figures in Ars Amatoria 1.283-340, Phaedra in Heroides 4, Byblis in Metamorphoses 9.439-665, and Iphis in Metamorphoses 9.666-797. Their tales act as a threat of punishment for any inappropriate desire. They represent for the normative sexual subject a sexual desire which has been excluded, and what could happen, what the normative subject could become, were he or she to transgress taboos and laws governing sexual relations. I apply the idea of the abject, as it has been formulated by Julia Kristeva and Judith Butler, in order to elucidate Ovid’s process of constructing such a subject in his poetry. I also consider Butler’s theories of the performativity of sex, gender, and kinship roles in relation to the continued maintenance of the normative and abject subject positions his poetry creates. The intersection of “performance” and performativity is crucial to the representation of the heroines as paradigms of female desire. Ovid’s engagement with his literary predecessors in the genre of tragedy, in particular Euripides’ and Sophocles’ tragedies featuring Phaedra, highlights the idea of dramatically “performing” a role, e.g., the role of incestuous step-mother. Such a spotlight on “performance” in all of these literary representations reveals the performativity of culturally defined gender and kinship roles. Ovid’s ludic representations, or “citations,” of Phaedra, I argue, both reinvest cultural stereotypes of women’s sexuality with authority through their repetition and introduce new possibilities of feminine subjectivity and sexuality through the variations in each iteration.

In this thesis, I explore the construction of female erotic desire in Ovid’s work as it is represented in the form of mythical heroines. Phaedra-like figures appear in Ovid’s poetry as dangerous spectres of wildly inappropriate and therefore destructive, bestial, or incestuous sexuality. I consider in particular the catalogue of Phaedra-like figures in Ars Amatoria 1.283-340, Phaedra in Heroides 4, Byblis in Metamorphoses 9.439-665, and Iphis in Metamorphoses 9.666-797. Their tales act as a threat of punishment for any inappropriate desire. They represent for the normative sexual subject a sexual desire which has been excluded, and what could happen, what the normative subject could become, were he or she to transgress taboos and laws governing sexual relations. I apply the idea of the abject, as it has been formulated by Julia Kristeva and Judith Butler, in order to elucidate Ovid’s process of constructing such a subject in his poetry. I also consider Butler’s theories of the performativity of sex, gender, and kinship roles in relation to the continued maintenance of the normative and abject subject positions his poetry creates. The intersection of “performance” and performativity is crucial to the representation of the heroines as paradigms of female desire. Ovid’s engagement with his literary predecessors in the genre of tragedy, in particular Euripides’ and Sophocles’ tragedies featuring Phaedra, highlights the idea of dramatically “performing” a role, e.g., the role of incestuous step-mother. Such a spotlight on “performance” in all of these literary representations reveals the performativity of culturally defined gender and kinship roles. Ovid’s ludic representations, or “citations,” of Phaedra, I argue, both reinvest cultural stereotypes of women’s sexuality with authority through their repetition and introduce new possibilities of feminine subjectivity and sexuality through the variations in each iteration.

In the Metamorphoses, Ovid brings together Golden Age imagery with contrasting scenes of destruction, making this paradoxical amalgam a motif within his epic. This study connects Ovid’s use of Golden Age language to his portrayal of artistry in the poem, discovering that both within the stories of the epic and in Ovid’s poetic style, artistic creation is emphasised in the context of this motif. Both natural fecundity and artistic creation emerge after the flood through the principle of discors concordia (Met. 1.433), which involves the unity of divine harmony and chaos; this principle is central to Ovid’s use of Golden Age language. The discussion takes up the influence of Virgil and Lucretius on this motif, discovering that Ovid’s synthesis of harmony and chaos draws on both forerunners. By uniting the Golden Age and its antithesis, Ovid reveals the conditions necessary for art, and thus for poetry itself.

Zugl.: Univ., Tübingen, Diss., 2003.

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.

(in English): Only one of many Ancient Roman novels that were written during antiquity has survived to this day. Apuleius' Metamorphoses could have easily been lost too as it was overlooked by the Carolingian renaissance and at one point existed only in a single copy. Luckily it was found and rediscovered for the Italian Renaissance by one of the so called bookhunters in the 14th century. After that it did not cease to inspire many works of art from literature to paintings. The story of Cupid and Psyche that comes from this book was used to decorate many representational rooms from the early Renaissance on, until at least the 19th century. It seems to have been especially popular at the court of Rudolf II and it represents one of the typical mythological themes with a strong erotic potential. We can trace its roots to Italy where the novel was brought back to the literary scene. The most important visual sources, that played at least an equally important role in the dissemination of the motive through Europe as literature, also come from Italy. Especially Rome and Raphael's frescos in villa the Farnesina influenced generations of Italian as well as foreign artists. Bartholomeus Spranger, Joseph Heintz and other future court artists of Rudolf II were no exception. The antique city and antique novel...

Sá (2012, p. 23) considera que na cultura amazônica o mundo não foi criado de uma só vez, mas sim a partir de gêneses múltiplas, sonhos e contínuas metamorfoses. Este trabalho propõe um estudo das metamorfoses presentes em Poranduba amazonense (1890), de Barbosa Rodrigues, em que o autor coleta, transcreve e traduz relatos da literatura oral da Amazônia do século XIX. Discute-se incialmente algumas acepções do conceito de literatura para a defesa do estudo sobre literatura oral, da qual as porandubas fazem parte. São explorados também o uso de termos como mito, lenda e conto articulando as definições nem sempre consonantes de Câmara Cascudo (2006), Jolles (1972) e outros. A apresentação da Morfologia dos contos indígenas norte-americanos de Alan Dundes (1996), desenvolvida a partir dos trabalhos de Vladmir Propp e Keneth Pike, faz-se útil na medida em que será utilizada também como nosso aparato metodológico no estudo dos processos metamórficos em dezenove narrativas. O modelo de Dundes aplicado às narrativas estudadas mostra-se eficaz ao evidenciar que elas não são desprovidas de estrutura e organização. Contudo, argumenta-se que, para analisar as metamorfoses do nosso corpus, é proveitoso fazer uso da função F proppiana. Questionamos se, ao adaptar a morfologia de Propp, Dundes não a teria reduzido em demasia por supor os textos indígenas menos complexos. / Sá (2012, p. 23) considers that in the Amazon culture the world was not created all at once, but rather \"from multiple genesis, dreams and continuous metamorphosis\". This masters thesis proposes a study of metamorphoses present in Poranduba amazonense (1890), by Barbosa Rodrigues, in which the author collects, transcribes and translates reports of oral literature from the nineteenth-century Amazon. Initially, it discusses a few meanings of literature concept in defense of the study into oral literature, which porandubas belong to. Also is explored the use of terms such as myth, legend and folktale linking the definitions - not always consonants - of Cascudo (2006), Jolles (1972) and others. The presentation of \"The Morphology of North American Indian Folktales\", by Alan Dundes (1996), developed from the work of Vladimir Propp and Kenneth Pike, it is useful insofar as it will also be applied as methodological apparatus in the study of metamorphic processes in nineteen narratives. The Dundes model employed to the studied narratives proves itself effective by showing that they are not devoid of structure and organization. However, it is argued that, to analyze the metamorphoses of our corpus, is beneficial to make use of the Propps function F. Wonder whether, by adapting the morphology of Propp, Dundes would not have diminished it excessively for assuming the less complex indigenous texts.

Le présent travail propose une étude diachronique des tragédies d’argument ovidien parues en France entre la moitié du XVIe et la fin du XVIIe siècle, ainsi qu’une étude ciblée des tragédies dont le sujet est tiré du recueil des Héroïdes.La littérature française de ces époques, on le sait, est liée intimement à l’œuvre d’Ovide : non seulement les écrits du poète connaissent une diffusion extraordinaire, mais leurs traductions, réécritures et imitations, leurs adaptations théâtrales et leurs transpositions figuratives sont légion. La diffusion et l’appropriation des œuvres d’Ovide ont contribué à la naissance de nouveaux genres littéraires et ont donné lieu à l’émergence de phénomènes d’émulation qui ont nourri notamment l’élaboration de l’esthétique galante et élégiaque dans la seconde moitié du XVIIe siècle, ainsi que Marie-Claire Chatelain l’a montré. Le caractère extrêmement capillaire et stratifié de la présence d’Ovide dans la culture française, par conséquent, impose la plus grande prudence.L’étude des tragédies d’argument ovidien montre, tout d’abord, que les auteurs ont la tendance à ne pas afficher leurs dettes envers Ovide dans leurs textes liminaires, en préférant mentionner des auteurs anciens considérés comme plus prestigieux. Pourtant, surtout dans la première moitié du XVIIe siècle, les cas d’imitation proche du modèle sont nombreux. Certes, l’étendue généralement modeste des morceaux poétiques qu’Ovide accorde aux mythes qu’il développe dans ses œuvres implique un travail d’amplificatio imposant, dans lequel l’intertexte ovidien peut finir par se délayer. Par ailleurs, les contraintes que le passage de genre impose aux dramaturges entraînent des changements non seulement aux niveaux de l’elocutio et de la dispositio mais aussi de l’inventio : tout n’est pas représentable sur la scène tragique française et, inversement, certains éléments qui peuvent manquer dans une épître ou un récit d’Ovide ne peuvent pas faire défaut dans une pièce théâtrale de certaines époques. La production de pièces de sujet ovidien est considérable dans les années 1620-1630 ; elle connaît une baisse remarquable dans les années 1640-1660, pour remonter à partir des années 1670 : l’essor de la tragédie lyrique, souvent de sujet métamorphique, entraîne la production de tragédies du même sujet par une dynamique d’émulation.Si l’influence des Héroïdes sur le théâtre tragique français est souvent tenue pour certaine, aucune étude systématique n’avait été menée pour le vérifier jusqu’à présent. Nous avons retenu, dans notre corpus, seulement les pièces traitant des héroïnes et des héros du recueil. Dans la première partie du XVIIe siècle on assiste généralement à des pratiques d’imitation proche du modèle ; au fil du siècle, en revanche, les auteurs prennent de plus en plus les distances du texte ovidien, en s’inspirant davantage des pièces de leurs prédécesseurs français. Environ la moitié des Héroïdes ne connaît pas de transposition théâtrale, et dans le cas de plusieurs personnages (Phèdre, Didon, Médée) les auteurs de théâtre négligent les relectures élégiaques proposées par Ovide en privilégiant les sources anciennes tragiques et épiques.Sans avoir la prétention de fournir des réponses exhaustives sur la question du rayonnement d’Ovide dans le théâtre tragique français des XVIe et XVIIe siècles, cette thèse ne constitue que la première étape d’un travail plus vaste. Cette première étape, néanmoins, aura permis de relever que les liens entre l’œuvre d’Ovide (notamment les Héroïdes) et le théâtre tragique français sont plus complexes que ce que l’on croit. / This thesis is a diachronic study of Ovidian tragedies published in France between the middle of the sixteenth century and the end of the seventeenth century, as well as a more focused study on those tragedies based on the Heroides.It is well known that French literature of this period is intimately linked to the Ovidian corpus: the poet’s writings were widely circulated and there was a proliferation of translations, rewritings and imitations, as well as theatrical adaptations and figurative transpositions. This diffusion and appropriation of Ovid’s works contributed to the birth of new literary genres and gave rise to the emergence of the phenomena of emulation which, as Marie-Claire Chatelain has shown, notably fostered the elaboration of the gallant and elegiac aesthetic in the second half of the seventeenth century. The extremely extensive and stratified nature of Ovid’s presence in French culture thus necessitates the utmost caution in this study.The study of these Ovidian tragedies firstly shows that the authors tended not to reveal their debt to Ovid in their liminary texts, preferring to cite classical authors that were considered more prestigious. Yet, especially in the first half of the seventeenth century, there are numerous cases of imitation that closely resemble the Ovidian model. Admittedly, the generally modest length of the poetic passages that Ovid grants to the myths he develops in his writings thus requires an impressive amount of amplificato, in which the Ovidian intertext is inevitably diluted. Moreover, the change in genre imposes certain constraints for the dramatist, inevitably leading to modifications not only at the level of elecutio and dispositio, but also inventio. While not everything can be represented on the French tragic stage, certain elements that may not feature in an Ovidian epistle or narrative inversely cannot be absent in a French tragedy of this period. The production of Ovidian tragedies was considerable in 1620 – 1630; it underwent a remarkable decline from 1640 – 1660 and then experienced a revival in the 1670s. The rise of lyrical tragedy, often on the subject of metamorphosis, led to the production of tragedies on this subject by a dynamic of emulation. If the influence of the Heroides on French tragic theatre is often held as certain, no systematic study had previously been carried out to verify this. The corpus of plays referenced here are those that deal with the heroines and the heroes of the collection. In the first half of the seventeenth century, one generally observes practices of imitation close to the model. Over the course of the century, however, authors increasingly distanced themselves from the Ovidian text, drawing more on the works of their French predecessors. Around half of the Heroides do not undergo a theatrical transposition and, in the case of several characters (Phèdre, Dido and Medea), the dramatists abandon the elegiac re-readings proposed by Ovid and instead draw from ancient tragic and epic sources.Without claiming to provide exhaustive answers to the question of Ovid’s influence on French tragedy of the sixteenth and seventeenth centuries, this thesis constitutes the first stage of a more extensive piece of work. This first step, however, reveals that the links between Ovid's work, with particular focus on the Heroides, and French tragedy are more complex than has been believed.