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A Note on Verg. Georg. 1.393-397 关于Verg的笔记。-397年1.393 Georg。
Pub Date : 2021-12-01 DOI: 10.4000/dictynna.2627
Mélissande Tomcik
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引用次数: 0
Silio Italico lettore di Ovidio: due esempi* 奥维迪厄斯:两个例子
Pub Date : 2021-12-01 DOI: 10.4000/dictynna.2625
M. Fucecchi
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引用次数: 0
L’illusione del lettore. Aretusa e i suoi racconti in Ovidio, Metamorfosi 5 读者的错觉。阿雷图萨和他的奥维德小说,变形5
Pub Date : 2020-12-17 DOI: 10.4000/dictynna.2461
F. Bessone
La storia di Aretusa da lei narrata in met. 5 rappresenta ‘La versione di Aretusa’: una versione del mito in apparenza inedita, o piuttosto incompleta, accelerata nel finale e avallata per interesse da due narratrici interne e dal narratore esterno. Solo qui, in apparenza, Alfeo non raggiunge Aretusa in Sicilia e non mescola le sue acque con lei. L'illusione del lettore e un principio della poetica ovidiana: qui, nonostante l'impressione creata in chi legge, i dati sono compatibili con la versione tradizionale, vari segni nel testo alludono alla conclusione nota del mito, e tutto suggerisce la tendenziosita del racconto della ninfa. I livelli narrativi sovrapposti sono tutti solidali nel celebrare l'eroica resistenza di una ninfa alla violenza erotica, che e lo scopo di ogni racconto: di Aretusa a Cerere, di Calliope alle ninfe giudici, della Musa a Minerva, del narratore ai lettori delle Metamorfosi. La ninfa-Musa, fonte di ispirazione nella poesia bucolica, e una narratrice consapevole, degna di prendere la parola nelle parole delle Muse; ed e una narratrice interessata, che manipola il racconto delle proprie origini, dell'inseguimento di Alfeo, della traversata sottomarina, e rivendica solo a se tutta la gloria delle “acque di Elide” a Ortigia. Ovidio costruisce la storia di Aretusa dialogando con Virgilio: la decima Egloga, il quarto libro delle Georgiche, l'esordio di Eneide 2 e il finale di Eneide 3. Il racconto di Enea e richiamato con segnali esibiti; Aretusa lo corregge sul punto che la riguarda e – come Enea secondo Ovidio – non puo evitare di apparire una narratrice inaffidabile.
她在《大都会博物馆》中讲述了阿瑞图萨的故事。5代表“aretusa的版本”:神话的一个版本,表面上是未出版的,或相当不完整的,在结尾加速,并被两个内部和外部讲故事的人出于兴趣认可。只有在这里,阿尔菲奥才不会去西西里的阿瑞图萨,也不会和她混在一起。读者的错觉和奥维德诗歌的原则:在这里,尽管读者给人留下了这样的印象,但数据与传统版本是一致的,文本中的各种符号暗示了神话的已知结论,一切都表明了仙女故事的倾向性。重叠的叙事层次都是为了庆祝仙女们对性爱暴力的英勇抵抗,这是每个故事的目的:神仙的Aretusa,法官的Calliope,密涅瓦的缪斯女神,变形者的叙述者和读者。女神缪斯,田园诗的灵感来源,一个有意识的叙述者,值得用缪斯的话来说;她是一个感兴趣的叙述者,她讲述了自己的起源,讲述了对阿尔菲奥的追逐,讲述了海底的航行,讲述了自己在奥尔蒂亚的“伊莱德之水”的所有荣耀。奥维迪厄斯通过与维吉尔的对话,建立了阿雷图萨的故事:第十本《埃格罗加》、第四本《乔治家族》、《埃涅伊德2》的开头和《埃涅伊德3》的结尾。埃涅阿斯的故事用手势回响;阿雷图萨纠正了她的观点,就像奥维德说的那样,她无法避免成为一个不可靠的叙述者。
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引用次数: 0
Trapped between Scylla and Ciris: Some Thoughts on Poetic Structure1 身陷锡拉与西里斯之间:关于诗歌结构的思考
Pub Date : 2020-12-17 DOI: 10.4000/dictynna.2167
Laurel Fulkerson
This chapter treats the relationship between the pseudo-Vergilian Ciris and Ovid’s Scylla-episode in Book 8 of the Metamorphoses. It does not, however, make any claims about who wrote the Ciris, or even about which text influenced which: studies of Prioritatsbestimmung are legion, dating back for a century, and in large part unconvincing, not least because they disagree about the criteria to be used in determining priority. Instead, I offer a readerly treatment of Ovidian intertextuality vis a vis pseudepigraphic poetry. In particular, I will be exploring the mutually reinforcing gaps in the two narratives. These gaps have usually been seen as clues to which author is derivative; I suggest that they instead offer insights into the different poetic goals of the two authors.
本章讨论伪维吉尔西斯和奥维德在《变形记》第8卷中的锡拉情节之间的关系。然而,它并没有对谁写了《古卷》做出任何声明,甚至没有说明哪个文本影响了哪个文本:关于《古卷》评估的研究有很多,可以追溯到一个世纪以前,而且在很大程度上不令人信服,尤其是因为它们在确定优先级的标准上存在分歧。相反,我提供了一个读者的处理奥维德互文性相对于伪诗。特别是,我将探索两种叙述中相互加强的差距。这些空白通常被视为哪个作者是衍生者的线索;我认为,它们反而提供了对两位作者不同诗歌目标的洞察。
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引用次数: 0
Noua … corpora: New Bodies and Gendered Patterns in the Metamorphoses 新语料库:《变形记》中的新身体和性别模式
Pub Date : 2020-12-17 DOI: 10.4000/dictynna.2277
A. Sharrock
This article explores metamorphic outcomes in Ovid’s Metamorphoses. While the poem may be steeped in constant mutability, for the most part gender emerges as a surprisingly static feature, and one that carries remarkable weight also when read beside the aftermaths of Ovidian transformations. Though there may be no fixed schema that categorically establishes disparities in the final destinations of male and female transformations, I show that there are significant gendered patterns with some perhaps unexpected consequences for class and social status also. In considering the poem’s main destinations, we can see distinct patterns of outcomes: heavily gender-based for trees, gender-significant (albeit not simply determined) for watercourses, gods, and stones, and gender-equal in the case of birds and other animals. The article tackles some of the unconscious gender preconceptions at play, and explores the enduring significance of gender for the Metamorphoses within the various outcomes of those who become victims, or occasionally beneficiaries, of Ovidian metamorphosis.
本文探讨了奥维德《变形记》中的变形结果。虽然这首诗可能沉浸在不断的变化中,但在很大程度上,性别以一种令人惊讶的静态特征出现,当与奥维德转变的后果一起阅读时,它也具有显著的分量。虽然在男性和女性转变的最终目的地可能没有固定的模式来明确地建立差异,但我表明,存在着重要的性别模式,对阶级和社会地位也有一些可能意想不到的后果。在考虑这首诗的主要目的地时,我们可以看到不同的结果模式:树木的性别基础很强,水道、神和石头的性别意义重大(尽管不是简单确定的),鸟类和其他动物的性别平等。这篇文章处理了一些无意识的性别先入之见,并探讨了性别对变形的持久意义,在那些成为奥维德变形的受害者或偶尔受益者的各种结果中。
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引用次数: 3
Writ in Water: Seeing Time in Ovid’s Narcissus Episode* 水中文字:奥维德那喀索斯情节中的时间透视*
Pub Date : 2020-12-17 DOI: 10.4000/dictynna.2221
Andrew Feldherr
This article explores the representation and thematic importance of time within Ovid’s account of Narcissus. It argues that perceiving Narcissus for the characters within Ovid’s narrative provokes a recognition of the experience of time that becomes central to both the tragic and erotic aspects of his story. In presenting Narcissus as both the subject of a diachronic narrative and a static image, Ovid at once uses the medium of his representation to illustrate his theme and makes his poem a mirror in which his own audience can apprehend the mutability of time.
本文探讨了奥维德关于那喀索斯的描述中时间的表现和主题重要性。它认为,在奥维德的叙述中,人物对那喀索斯的感知激发了对时间体验的认识,这对他的故事的悲剧和色情方面都是至关重要的。奥维德将那喀索斯既作为历时叙事的主体,又作为静态形象来呈现,他立即用他的表现手法来说明他的主题,并使他的诗成为一面镜子,让他的听众可以从中理解时间的可变性。
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引用次数: 1
Still, She Persisted: Materiality and Memory in Ovid’s Metamorphoses1 她依然坚持:奥维德《变形记》中的物质性与记忆性
Pub Date : 2020-12-17 DOI: 10.4000/dictynna.2123
Barbara W. Boyd
This paper examines how a complex of ideas involving memory and materiality can offer a new way to view metamorphosis in Ovid’s Metamorphoses. Through the embodiment of power in transformed things, Ovid uses several of the episodes in the poem to push back against mutability and loss of speech, and to assert a different kind of permanence. Much of Ovid’s discourse about memory and materiality is linked through the trope of aetiology, i.e., the explanation of how something that exists now came into existence at a specific point in the past. Aetiology is by its nature a form of mnemonic device: it both highlights the enormous gulf separating past and present, and ensures temporal and cultural continuity. The aetiological narrative thus establishes its subject as a sign of permanence in an otherwise constantly changing landscape.
本文考察了奥维德《变形记》中涉及记忆和物质性的复杂观念如何为理解变形提供了一种新的途径。通过力量在被改变的事物中的体现,奥维德在诗中使用了几个情节来抵制可变性和语言的丧失,并主张一种不同的永恒。奥维德关于记忆和物质性的大部分论述都是通过病原学的比喻联系在一起的,也就是说,解释现在存在的东西是如何在过去的某个特定时刻出现的。病原学本质上是一种助记手段:它既突出了过去和现在之间的巨大鸿沟,又确保了时间和文化的连续性。因此,病因学叙事将其主体确立为在不断变化的景观中永恒的标志。
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引用次数: 0
Ovide lecteur de Sulpicia ?Déclaration amoureuse et stratégies d’énonciationdans le Corpus Tibullianum 3.11, 3.13 et l’Héroide 4 《提布利亚语料库3.11、3.13和英雄语料库4》中的爱情宣言和表达策略
Pub Date : 2020-12-17 DOI: 10.4000/dictynna.2176
J. Fabre-Serris
Les poemes 3.11, 3.13 du Corpus Tibullianum et l’Heroide 4 donnent la parole a une femme qui proclame son desir pour un homme dans des circonstances reprouvees par la morale : une relation hors mariage, qu’elle a amorcee ou voudrait amorcer. Ces poemes ont en commun un certain nombre de similarites verbales et thematiques, trop particulieres pour etre dues au hasard et qui, en poesie latine, sont a interpreter comme des renvois allusifs. En prenant pour hypothese de lecture d’une part que l’elegie 3.11 a ete ecrite, comme l’epigramme 13, par Sulpicia, d’autre part qu’Ovide s’est refere a ces deux textes, ou une femme reelle proclamait son amour, au moment de mettre le meme type de declaration dans la bouche d’une heroine fictive, cet article etudie les strategies d’enonciation : narratives et argumentatives, choisies par les deux poetes pour mettre en scene une voix feminine qui parle de son desir et celebre son succes en amour ou argumente en faveur de sa realisation. Sa visee est de conforter ces deux hypotheses par la pertinence des resultats obtenus quand on prend cette perspective de lecture et qu’on analyse les passages de l’Heroide 4 qui partagent des expressions avec Sulpicia comme des variations imaginees sur les memes motifs, revelatrices des choix thematiques et de la personnalite des deux poetes.
《提布利亚文集》第3.11、3.13首诗和《英雄》第4首诗让一个女人在道德上不受欢迎的情况下宣布她对一个男人的渴望:一段她已经开始或想要开始的婚外关系。这些诗在语言和主题上有许多相似之处,这些相似之处太特别了,不可能是偶然的,在拉丁诗歌中,这些相似之处被解释为典故。以假设的阅读,一方面l’elegie 3.11了13首歌,像l’epigramme Sulpicia票,另一方面qu’Ovide表示,t a两个文本,或女人逼真宣布恋情时,同一个类声明放进嘴里heroine的虚构,该条d’enonciation策略:在学习”叙事性和议论性,由两位诗人选择,以呈现一个女性的声音,谈论她的欲望,庆祝她在爱情上的成功,或为实现它而争论。其成药,即巩固这两个假设的关联性,结果当你这个视角的解读和分析得l’Heroide 4个段落,与志同道合的表达式Sulpicia imaginees变动等专题作选择的同样理由,ldeis指出信息和西南的两个工作站。
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引用次数: 0
Gallo in Virgilio e Saffo in Ovidio: due meta-poeti nella riflessione della Lydia pseudo-virgiliana 维吉尔的加洛和奥维德的萨福:两个思考伪维吉里安的元诗人
Pub Date : 2020-12-17 DOI: 10.4000/dictynna.2218
G. Rosati
Nella Lydia pseudo-virgiliana, che e il lamento di un poeta-amante infelice, riecheggiano tessere espressive della decima ecloga virgiliana insieme ad altre provenienti dall’Epistula Sapphus di Ovidio, cosi come spiccano chiare analogie tematiche sul rapporto tra mondo bucolico e mondo elegiaco, e sulla difficolta di conciliarli. Mescolando le voci elegiache del Gallo virgiliano e della Saffo di Ovidio, il testo pseudo-virgiliano (che evidentemente ritiene autentica l’Epistula Sapphus) anticipa la critica odierna nel mostrare l’analoga funzione metapoetica svolta dalle figure dei due poeti. Ma oltre a questo, esibendo vistosi tratti di stile ‘galliano’, la Lydia sembra anche gettare luce sui modelli letterari dell’elegia latina, e ricondurre Gallo alle sue probabili ascendenze saffiche.
在维吉里安的《伪维吉里安》中,一个不幸的诗人情人的哀歌回响着维吉里安第十交响曲的乐谱,以及奥维迪厄斯的《萨弗斯交响曲》中的其他乐谱,在田园世界和伊莱吉世界之间的关系以及调和它们的困难方面,在主题上有明显的相似之处。通过将维吉里安公鸡和奥维迪厄斯萨福的哀歌混合在一起,伪维吉里安文本(显然认为这是真的附体Sapphus)预期了今天的批评,展示了两位诗人所扮演的类似的元诗意角色。但更重要的是,莉迪亚表现出明显的“加利安”风格,似乎也照亮了拉丁挽歌的文学模式,并将加洛带回了他可能的萨福血统。
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引用次数: 0
Le imprese degli eroi: strutture catalogiche nell’Eneide e nelle Metamorfosi 英雄的壮举:在埃涅伊德和变形中催化结构
Pub Date : 2020-12-17 DOI: 10.4000/dictynna.2317
M. Labate
L’articolo studia le modalita secondo cui in Virgilio e soprattutto in Ovidio sono trattate le storie relative agli ‘eroi piu grandi’ (Ercole e Teseo). L’epica augustea sceglie la strada della narrazione ampia di singoli episodi in cui si dispiegano le qualita eroiche del personaggio (Ercole contro Caco in Virgilio, Ercole contro Acheloo, Ercole contro Nesso in Ovidio), ma al tempo stesso non rinuncia alla possibilita, anzi quasi alla necessita, di un riferimento trasversale ad altre storie della serie e anzi alla serie nel suo complesso. La struttura formale attraverso cui questo riferimento si attua e quella di catalogo delle imprese, che rielabora moduli innici e aretalogici desunti dalla tradizione della lirica e della tragedia, sia nella forma del canto di celebrazione della vittoria (epinicio), sia in quella della celebrazione delle virtu e delle imprese dell’eroe morto (threnos).
这篇文章探讨了维吉尔,尤其是奥维德,如何处理“最伟大的英雄”(大力神和忒修斯)的故事。史诗般的叙事augustea选择的道路很大的个别事件,人物的英雄(大力神在维吉尔对物质质量,大力神反对改道,大力神在奥维德的联系),但与此同时不放弃的机会,或者更确切地说,是几乎需要一个交叉参考其他系列的故事甚至整个系列。这一提法的正式结构,企业目录和得到执行,诗句中推导出的innici模块和aretalogici歌剧的传统形式和悲剧,一方面庆祝胜利(epinicio),无论是在庆祝第和企业的英雄(threnos)去世。
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引用次数: 0
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