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Ovid's depiction of rape in the Metamorphoses has been interpreted as empathetic and proto-feminist at one extreme and pornographic at the other. In assessing this question, the current paper turns to trauma theory, a psychoanalytic methodology of growing popularity in the field of Classics, to demonstrate how Ovid depicts sexual violence and its aftermath with psychological acuity by emphasizing the mental, emotional, and physical experiences of rape survivors. I focus on the myth of Io, with parallels drawn to Daphne, Syrinx, Callisto, Proserpina, and Philomela. While cautiously supporting "optimistic" interpretations of the poem, this reading proves useful, regardless of authorial intent, in developing empathy-driven research and instruction in Classics courses and beyond. [ABSTRACT FROM AUTHOR]

This essay critically examines Peter Sloterdijk’s Zorn und Zeit. Politisch-psychologischer Versuch (Rage and Time. A Psychopolitical Investigation) and his attempt to rehabilitate a culture of thymos, i.e. a culture of self-confidence and self-assertion, whose emotional agent Sloterdijk sees in rage. As an alternative to Achilles’ rage in Homer’s Iliad, Sloterdijk’s ancient reference, I will propose Ovid’s Metamorphoses as another literary origin of thymos. Against this background, I aim to defend the legitimacy of thymos, but to give it a different profile than Sloterdijk does, namely that of a creative and culturally productive energy that dismantles the tradition of warlike heroism and is pacifist at its core. [ABSTRACT FROM AUTHOR]

Community revitalization is a complex, multifaceted process, studied conceptually and empirically in the vast multidisciplinary literature. Among the cited elements of community revitalization are housing; school, civic, and retail spaces; street networks; parks; and green spaces. However, the elements are commonly studied in isolation, not considering their interrelated qualities as all-of-a-piece of the community revitalization process. In this paper, we draw on the concept of the neighborhood unit that facilities a holistic approach to community revitalization. We show how the neighborhood unit is metamorphosed and thereby endured from the classic to the contemporary. We argue that the neighborhood unit informs, as well as being challenged by, community revitalization. Furthermore, inadequate attention is given to how urban revitalization challenges the efficacy of the neighborhood unit itself. The inner-city blight provides an impetus to look beyond the neighborhood to the metropolitan region as a whole. The neighborhood unit's fundamental limitation is posed by its cellular autonomy, in favor of alternatives that connect the neighborhood to the metropolitan region's jobs–housing–services–mobility opportunity holistically. Our literature review of the impactful elements of community revitalization is aided by AI (ChatGPT) as an expeditious search engine. It is found that the AI-aided search of the universal poses anew the significance of the particular—the site- and context-specific. We conclude with universal "performance dimensions" of Good City Form that are calibrated locally, reflecting the goodness of the city form, of which the neighborhood is a building block. [ABSTRACT FROM AUTHOR]

This paper publishes for the first time 132 conjectures by Nicolaus Heinsius on Ovid's Metamorphoses 1‒4. The value and possible motivations of each proposal are briefly assessed. [ABSTRACT FROM AUTHOR]

In the Rájec nad Svitavou chateau there is a Flemish cabinet from the period from about 1650–1680 decorated with scenes from Ovid's metamorphoses. The cabinet comes from the former collections of the house of Salm. The provenance is attributed to one of the suppliers of the Forchondt family art dealership. This cabinet was the subject of a conservation treatment in 2020. During this intervention, various surveys were completed. One of them was a dendrochronological survey of the larch construction panel found at the bottom of the cabinet. The presence of coniferous wood in the structure, together with the found inscription from 1845, called into question the authenticity of the cabinet. Dendrochronology proved that the larch panel was entirely contemporary and came from the French Maritime Alps. The last datable annual ring from an annual ring series of over 200 years was dated back to 1651. The cabinet case is certainly not the product of nineteenth century repairs in Prague. The result of dendrochronology is clear evidence of the use of imported softwoods in the manufacture of cabinets in Antwerp. The material was probably imported for the manufacturing of ships for the Dutch fleet, and the leftovers were sold on the local market. It can be assumed that more examples like this will appear in the future and should not be surprising. [ABSTRACT FROM AUTHOR]

This article examines the evolution of medieval interpretations of the myth of Narcissus (Ovid, The Metamorphoses, Book III) in French literature of the first half of the 16th century. Jeanne Flore in the “Comptes amoureux” develops the courtesan interpretation of the myth, in which Narcissus, who rejects Cupid’s omnipotence, is combined with the figure of Belle dame sans mercy. In the tradition of moral and allegorical commentary, the young man in love with himself served as a symbol of hubris excessively immersed in worldly goods; in the mid-century, this tradition changed under the influence of humanism: with François Habert and Barthélémy Aneau the story of Narcissus illustrates the maxim “know thyself.” Reception of the Metamorphoses in the Middle Ages implied a fragmentation of the text of the poem: the courtly interpretation referred to its separate subjects, while the allegorical interpretation transformed it into a list of symbolic characters with a stable independent meaning and into a set of didactic maxims of a universal character. During the Renaissance, literati seek to restore the coherence of Ovid’s text. This tendency is embodied not only in new translations (by Clément Marot, F. Habert, B. Aneau) but also, paradoxically, within the genre of the emblem. The “Metamorphose d’Ovide figurée” inherits the medieval florilegiums and transforms the tradition of illuminated manuscripts: on the one hand, it replaces the text of the poem with a series of engravings, while, on the other, its emblems arrangement recreates the unity of the poem. Ovid’s emblematic treatment embodies Horace’s principle of ut pictura poesis.

This article highlights two possible unnoticed acrostics in Ovid's Metamorphoses concerning the predictions of Calchas and Helenus. [ABSTRACT FROM AUTHOR]

Every major style goes through a series of metamorphoses after its inception. Styles echo each other, learn from each other, argue and penetrate each other. The selection of materials in this section contains the results of historical observations and research, showing these processes on specific examples. How was the great style of classicism reflected in the works of its fiery overthrowers? How was the Enlightenment style transformed on the Far Eastern land? How did Russian architects influence the new architecture of China? How is the cultural heritage of Soviet and German cities reinterpreted? All these materials are united by the theme of the dialogue of styles and the metamorphoses that arise in this process.

Community revitalization is a complex, multifaceted process, studied conceptually and empirically in the vast multidisciplinary literature. Among the cited elements of community revitalization are housing; school, civic, and retail spaces; street networks; parks; and green spaces. However, the elements are commonly studied in isolation, not considering their interrelated qualities as all-of-a-piece of the community revitalization process. In this paper, we draw on the concept of the neighborhood unit that facilities a holistic approach to community revitalization. We show how the neighborhood unit is metamorphosed and thereby endured from the classic to the contemporary. We argue that the neighborhood unit informs, as well as being challenged by, community revitalization. Furthermore, inadequate attention is given to how urban revitalization challenges the efficacy of the neighborhood unit itself. The inner-city blight provides an impetus to look beyond the neighborhood to the metropolitan region as a whole. The neighborhood unit’s fundamental limitation is posed by its cellular autonomy, in favor of alternatives that connect the neighborhood to the metropolitan region’s jobs–housing–services–mobility opportunity holistically. Our literature review of the impactful elements of community revitalization is aided by AI (ChatGPT) as an expeditious search engine. It is found that the AI-aided search of the universal poses anew the significance of the particular—the site- and context-specific. We conclude with universal “performance dimensions” of Good City Form that are calibrated locally, reflecting the goodness of the city form, of which the neighborhood is a building block.

Dans le chant V des Métamorphoses, la Muse Calliope remporte le concours de chant qui l’oppose à l’une des Piérides en racontant la quête de Cérès après le rapt de Proserpine. L’originalité de son récit repose notamment sur le choix des personnages qui aident la déesse à retrouver sa fille, les nymphes siciliennes Cyané et Aréthuse. En effet, Aréthuse n’est associée à l’histoire de Proserpine dans aucune source antérieure aux Métamorphoses et l’existence littéraire même de la nymphe Cyané est plus qu’incertaine avant Ovide. Cet article mettra en valeur deux procédés employés par Ovide pour signaler cette innovation. D’une part, le poète souligne sa prise de distance avec une tradition remontant à l’Hymne homérique à Déméter par l’emploi le verbe de mouvement demouere, qui, dans un sens métapoétique, peut signifier « détourner », « rejeter » (une tradition) – tout comme παραμείβειν chez Apollonios de Rhodes et praeteruehi chez Virgile indiquent un écart par rapport à leurs modèles. D’autre part, Cyané est présentée comme celeberrima (« très célèbre ») alors qu’elle ne l’est pas pour son lecteur. Le poète, par cette affirmation, insère faussement son personnage dans la tradition et confère à son histoire une autorité. Ces deux procédés ne sont pas propres à Ovide, mais il en systématise l’emploi, ce qui en fait des marqueurs de variation repérables pour un lecteur averti.

This paper argues that Ovid was familiar with the philosophy of the Hellenistic dialectician Diodorus Cronus, in particular, his views on fate, which he probably knew from Cicero’s De Fato, and the so-called “horned” and “veiled” arguments associated with him. Ovid draws on these aspects of Diodorus’ philosophy to tell the story of Cipus in Metamorphoses 15 ; he uses them to portray Cipus’ attempt to avoid kingship as a highly ambiguous and unnecessarily risky, if not self-defeating, exercise in forestalling fate and thus leaves open the question of whether Cipus, in the end, succeeds in his attempt. This reading complements others that have argued that the inescapability of kingship, not Cipus’ moral choice, is the central point of the story. It also adds to our appreciation of Ovid’s use of philosophical material in his epic, an area of growing interest in Ovidian studies, which has thus far paid no attention to Diodorus Cronus and only a little to the influence of Cicero’s philosophical works.

In the tale-within-tale 'Cupid and Psyche' narrated in Apuleius' Metamorphoses , the female heroine Psyche goes through a series of wanderings and tasks as punishments for seeing her husband Cupid's real form out of curiosity. Psyche's curiosity connects this internal tale with the external narratives in Metamorphoses , the protagonist of which, Lucius, shares a similar curiosity that leads to his downfall. While scholars attribute favourable qualities to Lucius' curiosity despite its negative consequences, they deny the same value to Psyche's curiosity. In this paper, I argue against the condemnation of Psyche's curiosity due to the stereotype of transgressive females. Instead, I propose to view her curiosity as the drive for her awakening, empowerment, and growth, which transforms her into a fully powered agent and leads to her final reunion with Cupid in immortality. [ABSTRACT FROM AUTHOR]

This paper, which serves as the introduction to the volume, suggests that stories of ancient Roman women shattering the curtain of silence that surrounds them can be repurposed to support contemporary women's struggle to make their voice heard. In particular, the tales of Io and Philomela in Ovid's Metamorphoses can be used to amplify the powerful message of the recently developed Me Too movement, as they show that women victim of sexual assault can reaffirm their identity and reclaim their role in the community by speaking up and denouncing the violence they have suffered. [ABSTRACT FROM AUTHOR]

This book explores liminal and extra-ordinary spaces and how they function and complement one another in contemporary psychoanalytic practice and ancient Greek thought. I begin with my autobiography and describe how I came to recognize and live in liminal spaces as a child and continue with the early death of my mother and how my grieving led to the study of psychoanalytic theory and the transitional spaces and transitions in ancient Greek literature from epic to tragedy, showing a psychic transformation of culture from Homer to Aeschylus. This shift led to the interiorization of the "unthought known" from a matricentric to a patriarchal paradigm. I explore how to regain and integrate the feminine into a western patriarchal paradigm. I conclude with clinical revelations that liquidity in multiplicity can lead to a coherent self while maintaining its sense of the liminal. At all points this book represents the crucial importance of art and symbolism as a necessary component of the psychoanalytic imagination and emphasizes poetic metamorphoses as crucial a way to heal. [ABSTRACT FROM AUTHOR]

This article compares three passages of two Catalan recreations of Ovid’s Metamorphoses dating to the fifteenth century: the translation Transformacions by Francesc Alegre and the Lamentacions by Joan Roís de Corella. Our comparison allows us to propose the hypothetical reconstruction of a third text, now lost, from which some of these common passages could have derived. Our comparison of these passages also helps us reflect on the importance of the Transformacions for the study of the textual transmission of Corella’s Lamentacions. Last, we suggest that remnants of that third text may also be found in Joanot Martorell’s Tirant lo Blanc.

Copyright of Muiraquitã: Revista de Letras e Humanidades is the property of Muiraquita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article I analyse and interpret three passages from Dante’s Paradise containing more or less explicit allusions to the myth of the Argonauts, which Dante knew from Ovid’s Metamorphoses. All three are intertextual and occur at key points in the Canticle of Light, performing a meta-poetic function. They pertain to the essence and objectives of Dante’s poetry and its pioneering character, both in terms of subject-matter and means of expression, particularly for the depiction of the visions of Paradise. Dante makes use of the metaphor of sailing the seas, which had been a topos of literary creativity since ancient times, and compares his own poetic exploit (The Divine Comedy) with the quest for the Golden Fleece conducted by Jason. Yet at the same time Dante distances his own work from the feat accomplished by the captain of the Argonauts. [ABSTRACT FROM AUTHOR]

The article examines Lucy Hutchinson's treatment of Cain and Abel in Canto Six of her biblical epic Order and Disorder. Hutchinson mobilises the classical tradition to elucidate the psychodrama of the fratricide Cain. Her imitation of four similes from Virgil's Aeneid and Georgics, and the allegorical figure of Envy from Ovid's Metamorphoses, helps to convey the dramatic shifts in Cain's psychological and spiritual state. Moreover, Hutchinson's evocation of the reprobate Cain's restlessness through intertextual engagement with Virgil supports the Calvinist doctrine of double predestination. In Order and Disorder , Virgil and Ovid's Roman poems are aids to embellishing and enhancing the narrative and theology of Hutchinson's biblical epic. [ABSTRACT FROM AUTHOR]

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This article investigates the origins and significance of images of griffins and sphinxes—hybrid creatures of Greco-Roman tradition—in the marginal decorations of the so-called "Neapolitan Ovid" (BNN ms. IV F 3), the first illuminated manuscript of the Metamorphoses, probably from the late 11th century. Their form and style suggest specific iconographic origins and links with the decorative motifs from Antiquity that circulated in artistic objects around Bari, the manuscript's place of origin. Among the many figures that provide a pictorial response to the poem's content, the presence of these griffins and sphinxes offers compelling evidence of the survival of ancient imagery; they also invite us to explore the relationship between image and text in the illuminated book. From this analysis, we can better understand the complex role of these hybrid figures in the manuscript. Their existence is testimony to the continuity of marginal decorative systems derived from Antiquity that are present in objects and were articulated through the Islamic and Byzantine formal vocabularies accessible in Puglia at the time. [ABSTRACT FROM AUTHOR]

This article argues that the incomplete acrostic INCIP - at Ov. Met. 15.871–5 can be completed. If viewed as a 'gamma-acrostic', we can supply - iam from line 871, so that it receives its termination in retrospect. Ovid's manipulation of gamma-acrostic conventions caps his persistent confusion of beginnings and endings, and emphasizes the role of the reader as co-creator of his metamorphic œuvre. [ABSTRACT FROM AUTHOR]

Nowadays image morphing has become one of the important techniques in applications that require a graphical representation of objects. Morphing tools have become very well known among users who work on multimedia applications such as art effects, virtual games, photo morphing, and social media, in addition to scientific and academic fields. There are many algorithms to apply morphing operations, including the basic and improved techniques, which share some essential stages, but vary in the algorithm details and the produced image qualities. Morphing techniques, in general, are based on image features and changing them through a warping process to produce another image or mixing two images to produce a new combined image. This paper provides an overview of different morphing techniques explaining how they work and discuss their features in some terms such as the morph visual quality, technical efficiency, and complexity, which can assist the researcher in the image morphing field to compare and identify morphing techniques that suit their working area. [ABSTRACT FROM AUTHOR]

This article focuses on the figure of the poet in Apollinaire's « Le Poète assassiné ». We try to show the connections that are established between loss and poetic glory. In the tale, the hero, Croniamantal, becomes successively Apollo and Orpheus. As in Ovid's Metamorphoses, he is going to lost his beloved (story of Apollo and Daphne) before being slaughtered (the death of Orpheus). To reach glory, the poet has to sacrifice everything including himself. [ABSTRACT FROM AUTHOR]

Emotions make a story more than a list of events. While reading, readers assign emotions to characters, and this constitutes an important, if not crucial, aspect of understanding narrative texts. Information in the text enables this process of assigning emotions, but readers’ pre-existing knowledge and their previous (emotional) experiences also play a role. In this article, I aim to provide more insight into the interaction between reader and text, and present different types of information that play a role in understanding emotions in narratives. These types are based on research on text comprehension and reading processes and concepts from cognitive and affective narratology. Examples include knowledge about typical plot structures, types of characters and emotional scripts. I provide illustrations taken from the set texts of the 2023 Latin Dutch exam (Ovid’s Metamorphoses). Some passages in this corpus provide detailed descriptions of a character’s emotions, while others appeal more to the reader’s background knowledge. The collected texts contain many stories with a romantic plot line. We find gods with sudden feelings of desire, unrequited love, budding and forbidden relationships, long and happy marriages. Deception, misunderstanding and bad news (Fama) are obstacles to these relationships, creating strong emotions. [ABSTRACT FROM AUTHOR]

This paper considers misunderstandings found within the story of Cephalus and Procris in Metamorphoses 7, misunderstandings that are regularly repeated in the scholarly interpretations and English translations of this episode. The interpretive challenges posed by Cephalus’ tale are indeed akin to those faced by the Ovidian translator, whose interpretive choices will influence how later readers construe his often ambiguous words. Whereas others see Cephalus as an unreliable narrator whose claim to have been raped by Aurora is open to doubt, I argue that his words are best read as he tells us to read them. Misunderstanding is due not to Cephalus’ unreliability but to the interpretive challenges posed by the changeable Ovidian world he inhabits, a world that is labyrinthine and ambiguous. Ovid himself helps us navigate the mazelike structure of Cephalus’ narrative by verbal clues and intra-/intertextual parallels that clearly align Cephalus with other rape victims in the epic. By understanding Cephalus first and foremost as a rape victim, his actions and words become more intelligible and shed light on the themes of rape, masculinity, and power within the epic as a whole. [ABSTRACT FROM AUTHOR]

This article considers Herbert's engagement with Ovid's Metamorphoses in order to explain the speaker's wish to turn into a tree in "Affliction (I)" and "Employment (II)". I argue that, though Ovid's presence in "The Church" is muted, it does irrupt especially at key moments of devotional crisis. Herbert "resorts" to Ovidian strategies as a subtle form of protest when the God of his poems seems most to resemble the gods in Metamorphoses. Further, viewing these moments through an Ovidian lens helps reveal an underlying aesthetic of transformation in the sequence and an emphasis on figuration as a devotional tool. From this point of view, the sequence as a whole becomes a kind of slow-motion metamorphosis in which the speaker--not unlike in Ovidian myth--undergoes a transformative fragmentation. For Herbert, paradoxically, this fragmentation, in which human subjectivity appears momentarily lost, enables the speaker to reach a deeper state of communion with God. [ABSTRACT FROM AUTHOR]

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The article analyzes the epithets and terms used by Ovid for the Muses in Book V of the Metamorphoses (5,254-6,2). In conclusion, I propose to read the poet's choices as a voice in the discussion on the early history of the Muses and the emergence of metapoetic geography. [ABSTRACT FROM AUTHOR]

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The publication of volume 12 of the Catalogus translationum et commentariorum has opened up a vast field of new manuscript material dealing with the medieval commentary tradition on Ovid’s Metamorphoses. Among the important French commentaries briefly discussed therein is Brussels, KBR 2100. The commentary was produced in northern France in the mid-thirteenth century and to date has received little detailed scholarly attention. In this article, I discuss the varied approaches adopted by the commentator in explicating Ovid’s text. The commentary contains some material in common with Arnulf of Orléans and the Vulgate Commentary. But it also adopts several quite unique approaches to glossing the text, including a fondness for outlining Ovid’s rhetorical flourishes and interpreting the text from a very Christian perspective.

This essay examines the way that plague discourse allows two writers, Ovid and Mary Shelley, to contemplate the power of a revolution to transform a civic body. The author focuses initially on Ovid’s rendering of plague on Aegina in Metamorphoses 7, contextualizing it as a response to the changing significance of pietas as well as to the succession crisis faced by the Principate in the 20’s BCE; she interprets King Aeacus’ narrative of the tragedy he witnesses among his people and their replacement by Myrmidons (ant-people) as a cynical response to the Augustan revolution and its ability to implement lasting change in how Roman subjects interact after the prolonged civil wars of the late Roman Republic. The author then turns to Mary Shelley’s The Last Man, in which a plague eradicates all of known humanity except for a single survivor and eye-witness, Lionel Verney. The essay demonstrates that Shelley taps into Ovid’s cynicism regarding the potential for human recovery after widespread devastation as she and her protagonist consider various alternatives for effective governance in England. Shelley’s exploration of the affective bonds born from familial ties (Ovidian pietas) suggest that such ties pose insurmountable problems to implementing permanent transformation within any human social order.

Ovids Erzählung von Philemon und Baucis steht exemplarisch für die Strategie des Dichters, aus heterogenen Quellen ein neues narratives Ganzes zu formen. Das wird in diesem Beitrag mit Blick auf die zeitgenössische soziale Realität, auf die Frage nach Intertextualität (im Rahmen eines weitgespannten Literaturkanons) und Fiktionalität sowie auf die Religionsgeschichte untersucht. Am Ende steht eine ebenfalls paradigmatische Betrachtung der Wege der Rezeption, die Ovids Metamorphosen genommen haben und die die Ovids Polyphonie reduzieren und vereindeutigen.

This paper considers some implications of Ovid’s concept of a perpetuum carmen by examining how the ‘narrative line’ of the poem takes shape. I focus on how the Metamorphoses can be described in terms of horizontality, or verticality, or both, and use the Cadmus and Achelous episodes to demonstrate how ‘linear’ entities, particularly snakes and rivers, can determine the progress of the stories in which they appear.

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The study follows fortunes of the famous Ancient Roman novel and its impact on the visual arts in the early modern period. Special attention is paid to the Rudolphine art and to the distinctive transformation of the theme of Cupid and Psyche at the court of the emperor. It deals with various changes in meaning of the iconography as it traveled through time, space, and different media and suggests diverse possible readings of works inspired by Apuleius's Golden Ass.

This article investigates the origins and significance of images of griffins and sphinxes—hybrid creatures of Greco-Roman tradition—in the marginal decorations of the so-called “Neapolitan Ovid” (BNN ms. IV F 3), the first illuminated manuscript of the Metamorphoses, probably from the late 11th century. Their form and style suggest specific iconographic origins and links with the decorative motifs from Antiquity that circulated in artistic objects around Bari, the manuscript’s place of origin. Among the many figures that provide a pictorial response to the poem’s content, the presence of these griffins and sphinxes offers compelling evidence of the survival of ancient imagery; they also invite us to explore the relationship between image and text in the illuminated book. From this analysis, we can better understand the complex role of these hybrid figures in the manuscript. Their existence is testimony to the continuity of marginal decorative systems derived from Antiquity that are present in objects and were articulated through the Islamic and Byzantine formal vocabularies accessible in Puglia at the time.

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