Le rapport des Métamorphoses d'Ovide à l'espace est analysé sous les trois angles du concept (espace géométrique), de l'expérience (espace pratique) et des représentations (espace métaphorique). Le mythe cosmogonique, premier récit de l’œuvre, pose la question des frontières entre les éléments, la naissance de l'homme pose celle de leur transgression. Le texte se construit dans une tension dont l'espace est le moteur. Les Métamorphoses proposent un trajet de lecture vers Rome, jalonné d'indices d'une romanisation progressive. L'espace de prédilection du texte est alors l'espace terrestre et sa géographie. Or, cette linéarité n'est qu'illusoire. La crainte d'un retour au chaos initial est forte et l’œuvre se construit autour de l'expression programmatique de la « discors concordia » (1,433). Les êtres qui peuplent le mundus participent de cette tension. Le mythe cosmogonique a posé une ontologie spatiale. Les espaces sont des seuils où se joue l'identité des êtres, dans une ontologie en mouvement qui lie changement d'espace et changement de nature. / The relationship between Ovid's Metamorphoses and the notion of space is analyzed in the three different directions of the concept (geometrical space), of the experience (practical space) and of representations (metaphorical space). The cosmogony, the first tale in the Metamorphoses, poses the question of the boundaries between the elements, while the birth of human beings poses that of their transgression. The text is constructed upon a tension within which space is the driving force. The Metamorphoses offer the reader a journey to Rome punctuated by indications of a progressive romanization. The chosen space of the text thus becomes the terrestrial space and its geography. But this is only an illusory kind of linearity. There is a strong sense of fear of a return to the initial chaos and the book is constructed around the programmatic expression of the «discors concordia» (1,433). The beings who inhabit the mundus take part in this tension. The cosmogony has laid the foundations for a spatial ontology. Spaces are thresholds where the identity of all beings is played out and questioned, in an ontology in movement that unites the transformations of space and nature.

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<p>This study examines the reputation and influence of Ovid's Metamorphoses in Augustan England in order to show the persistence of the allegorical reading of the poem. Although the ultimate purpose of the study is to shed light on the interpretation of Restoration and eighteenth--century poetry, such a direct application of the metamorphic tradition to the reading of the verse cannot be undertaken before the critical position of the Metamorphoses in the intellectual and artistic milieu of the period has been determined. Because it is my contention that Ovid's poem continued to be read in the Augustan age in much the same way that it had been in the Renaissance, the study begins with an analysis of the relationship between classicism and Renaissance humanism and the way in which this relationship affected Restoration and early eighteenth century thought and writing. From there, the study briefly reviews the sixteenth and seventeenth century thought on the Metamorphoses and, then branches into Augustan criticism, prefaces, translations, editions and handbooks which discuss Ovid's poem and which are written by British authors and continental writers who influenced British thought. It has sometimes been assumed that the Metamorphoses died an early death in the Augustan age because of the travesties of the poem and because of Addison's seeming disavowal of allegorization; therefore, I have tried to correct this assessment by a comprehensive analysis of the materials of the period.</p> <p>The study shows that while the critics have been correct in their belief that science and antiquarianism, along with a certain hatred of heathenism and narrowly defined sexual mores, caused the popularity of the Metamorphoses to wane in the eighteenth century, the poem still held a considerable prestige among writers and artists until 1750. Garth's 1717 Preface to the Metamorphoses, from which authors borrow freely until Boyse's New Pantheon (1753), is the seminal essay on Ovid's poem for the early eighteenth century, and his allegorical reading of the poem and appreciation of Ovid's wit are representative attitudes toward the poem. By 1750, however, Ovid's classic began to be questioned by men like Spence because it deviated from the true picture of the heathen mythology, and, consequently, the Metamorphoses in the later eighteenth century become the sole realm of schoolboys. While historians like Banier and Boyse believe the Metamorphoses to be significant in the early century, by 1750 the historians, too, sought more authentic materials, but writers clung to Ovid as a poetical model and moral teacher at least until that time. Allegory justified the continued usage of Ovid artistically and morally, and ubiquitous use of the Metamorphoses in Augustan poetry testifies to its popularity and significance.</p> <p>A careful examination of the comments on the Metamorphoses indicates that the truths that critics may gather about the scientific progress of an age are not always applicable to the artistic situation of the times. Furthermore, to confirm a thesis, one must go beyond the mere perusal of a few works of the period. In the case of Ovid, Addison's disparaging comment on the allegorization in Ross's Mystagogus Poeticus has been taken as the damaging evidence against the allegorical iv reading of the Metamorphoses, whereas Addison intends his criticism mainly for "mystical" allegory. By a careful study of a number of eignteenth-century works a clearer and more valid picture emerges. The importance of such a study for literary purposes lies in its applicability to the poetry of the period, As I have tried to argue in the last chapter of this thesis, Ovidian matter is not a mere window-dressing for frivolous poems, but an integral part of the structure and meaning. By applying the moralized reading of the Metamorphoses to allusions in poems such as Astraea Redux or The Dunciad and to the metamorphic patterns in such poems as Claremont, The Fan and "Eloisa to Abelard", I have discovered in Augustan verse a moral texture which the well-read poets submerged in subtle allusions, not immediately apparent from a casual reading of the poems. Although travesties and burlesques of Ovid's Metamorphoses were published in the eighteenth century, his master work continued to be regarded a major poetic document, and even those poets who used his work for the purpose of travesty often did so to make a serious point.</p> / Doctor of Philosophy (PhD)

This study explores the relationship between poetry and politics in Books 1 and 15 of Ovid’s Metamorphoses. Vergil had refashioned the concept of the golden age to better resonate with Roman values, and Ovid in turn responds to Vergil by making his own golden age free from law, seafaring, and warfare (Met. 1.89-112). Ovid’s golden age clearly foils his ‘praise’ of Augustus in Book 15 (819-70), and thus challenges Vergil’s innovations. Ovid closely connects his demiurge (opifex, 1.79), who created the conditions necessary for the existence of the golden age, to himself (15.871-9); they together display the potency of poetic power. Poesis is different than the power of empire, which is inherently destructive: Jupiter terminates the golden age (1.113), and Augustus’ accomplishments are only ostensibly ‘peaceful’ (15.823, 833). Ovid suggests that the power of poesis remains beyond the destructive reach of Augustus, since Rome’s power is limited to the post-golden, chaotic world, and that poesis enjoys the status of eternality which Rome and Augustus claimed to possess themselves.

This study considers the role of tragedy in Ovid’s Metamorphoses as demonstrated in four different episodes, those of Cadmus, Hercules, Hippolytus, and Medea. I have identified two main themes that the episodes share, namely, generic tension, particularly between epic and tragedy as emphasized by intertextual allusion to Virgil’s Aeneid, and the use of apotheosis as a means of not only transforming the character in question, but also signalling a generic shift, more appropriate for Augustan Rome. However, Ovid’s treatment of tragedy varies dramatically from one narrative to the next. Cadmus’ civic foundation is plagued with tragic themes and his apotheosis occurs only by later substitution. Hercules and Hippolytus achieve relatively standard deifications by pushing past the boundaries of their tragedies, but their refashioned selves are called into question. And the apparent apotheosis of Medea is even less straightforward, as she appears forever preserved in tragedy through meta-literary self-consciousness.

This study considers the role of tragedy in Ovid’s Metamorphoses as demonstrated in four different episodes, those of Cadmus, Hercules, Hippolytus, and Medea. I have identified two main themes that the episodes share, namely, generic tension, particularly between epic and tragedy as emphasized by intertextual allusion to Virgil’s Aeneid, and the use of apotheosis as a means of not only transforming the character in question, but also signalling a generic shift, more appropriate for Augustan Rome. However, Ovid’s treatment of tragedy varies dramatically from one narrative to the next. Cadmus’ civic foundation is plagued with tragic themes and his apotheosis occurs only by later substitution. Hercules and Hippolytus achieve relatively standard deifications by pushing past the boundaries of their tragedies, but their refashioned selves are called into question. And the apparent apotheosis of Medea is even less straightforward, as she appears forever preserved in tragedy through meta-literary self-consciousness.

Made available in DSpace on 2016-06-02T20:39:19Z (GMT). No. of bitstreams: 1 5575.pdf: 2372691 bytes, checksum: 1edfece9248d9616b56dbbb612710a39 (MD5) Previous issue date: 2013-09-02 / Financiadora de Estudos e Projetos / The objective of this study was to understand the current relations of rent of land for sugarcane production in São Manuel and Barra Bonita - SP, with the guiding hypothesis that the current relationship between property and land rent keeps the agrarian question as pertinent issue in the understanding of what is termed as a new brazilian rural and that the current social relations of production and property present in rural areas are also expressions of the contemporary rural metamorphoses. From the research objectives, it was decided for a methodology of qualitative basis, with direct observation and unsystematic, and semi-structured interviews. The literature was reviewed, which pervaded themes as agrarian question in Brazil, new ruralities and land rent. In documentary research was conducted survey of municipal institutional records of the land uses, identifying genres produced and the quantity and size of farms. During the fieldwork were interviewed small farmers who rent or have rented - partially or completely - their lands for growing sugarcane, and representatives of the main rural local institutions. It was reported that due to the great regional demand of sugarcane and the difficulties in maintaining other crops, most growers began to devote himself to the production of sugarcane. This transition took place in the 60 and 70 - precisely the period of greatest State action on the sugarcane industry, with the policy of credits and other incentives. Later, with the need for mechanical harvesting and the use of more advanced technology, the maintenance of small sugarcane suppliers became more difficult. For this reason, and also due to the aging of the producers and the lack of interest of the heirs to maintain production, the rent of properties for mills or major producers of sugarcane appeared as a "solution". During the research it was discovered that in fact it not rent of land, but agricultural partnership. In the case studied smallholder cede their land for a large sugarcane agribusiness unit, for whom the partnership, and not the purchase of the land, it becomes more advantageous. It is stated that in this case the partnership do not appear as a remnant of past relationships, but as an expression of relations metamorphosed. With the presence of almost total rent properties is rare to have smallholder farmers, they are, in fact, small owners, who for years even live in the properties. The owners hold title of the land, but only in the legal form. The economic property of the soil, in other words, the appropriation of the economic excess of land, belongs to the mill partner. This theme is not only present in contemporary rural, but also a sign of its metamorphoses. As a final consideration it can be said that facing the transformations which the rural past has in recent decades, the issue of land rent appears as one more factor that should be considered. The debate that has guided the transformation of rural areas does not question the presence of land rent - even the agrarian question. In such a way that the changes concerning the relations between property and land rent are part of the rural areas and also point the metamorphosis of the contemporary rural. / O objetivo do presente trabalho foi compreender as atuais relações de arrendamento de terra para a produção canavieira no município de São Manuel e de Barra Bonita SP, tendo como hipótese norteadora que a atual relação entre propriedade e renda fundiária mantém a questão agrária como tema pertinente na compreensão do que se denominou como novo rural brasileiro e que as atuais relações sociais de produção e propriedade presentes no espaço rural também são expressões das metamorfoses do rural contemporâneo. A partir dos objetivos da pesquisa, optou-se por uma metodologia de base qualitativa, contando com observação direta e assistemática, e entrevistas de roteiro semiestruturado. Foi realizada revisão bibliográfica, que perpassou temas como questão agrária no Brasil, novas ruralidades e renda fundiária. Na pesquisa documental foi realizado levantamento dos registros institucionais municipais sobre os usos do solo, identificando os gêneros produzidos e a quantidade e tamanho dos estabelecimentos rurais. No trabalho de campo foram entrevistados pequenos proprietários rurais que arrendam ou já arrendaram - parcial ou integralmente - suas terras para o cultivo canavieiro, e representantes dos principais órgãos rurais municipais. Foi relatado que por conta da grande demanda regional de cana de açúcar e das dificuldades na manutenção de outros cultivos, a maioria dos produtores passou a se dedicar à produção de cana de açúcar. Essa transição se deu no decorrer dos anos 60 e 70 - justamente período de maior ação do Estado sobre o setor canavieiro, com a política de créditos e outros incentivos. Posteriormente, com a necessidade de mecanização da colheita e do uso de tecnologias mais avançadas, a manutenção de pequenos fornecedores de cana se tornou mais dificultosa. Por conta disso, e também devido ao envelhecimento dos produtores e da falta de interesse dos herdeiros em manter a produção, o arrendamento das propriedades para as usinas ou para grandes produtores de cana se mostrou como uma solução . No decorrer da pesquisa descobriu-se que na realidade não se trata de arrendamento e sim de parceria agrícola. No caso estudado pequenos proprietários cedem suas terras para uma grande unidade agroindustrial sucroalcooleira, para quem a parceria, e não a compra das terras, se torna mais vantajosa. Afirma-se que nesse caso a parceria agrícola não aparece como um resquício de relações passadas, mas como expressão de relações metamorfoseadas. Com a presença quase total de propriedades arrendadas, é rara a existência de pequenos produtores rurais; são, de fato, pequenos proprietários rurais, que há anos sequer moram nas propriedades. Os proprietários detêm o título da terra, mas o exercem apenas em sua face jurídica. A propriedade econômica do solo, isto é, a apropriação do excedente econômico da terra, é das usinas parceiras. Este tema não só está presente no rural contemporâneo, como também é sinal de suas metamorfoses. Como consideração final, pode-se dizer que frente às transformações pelas quais o espaço rural tem passado nas ultimas décadas, a questão da renda fundiária aparece como um fator a mais, que deve ser considerado. O debate que vem pautando as transformações dos espaços rurais não coloca em questão a presença da renda fundiária nem mesmo da questão agrária. De tal sorte que as alterações referentes às relações entre propriedade e renda fundiária são parte dos espaços rurais e apontam também as metamorfoses do rural contemporâneo.

The aim of this study is to compare selected episodes of Ovid's Metamorphoses with three works of modern literature containing the theme of metamorphosis, and to follow their intertextual relations, dependency and innovation of Ovidian themes. On the basis of a comparison of the ancient and the modern text it is examined which motives remain constant during centuries and which, on the contrary, are evolving and shifting their meanings. Through the perspective of the Metamorphoses an attempt is made to interpret the works from a less usual angle. The most significant Ovidian characters that are examined in this study are Teiresias, Daphne, Hyacinth, Orpheus, Ceres, Icarus, Callisto and Io.