DOCSLIB.ORG

Lethaeus Amor: Love and Memory in Latin Elegy by Ellen M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lethaeus Amor: Love and Memory in Latin Elegy by Ellen M Lethaeus Amor: Love and Memory in Latin Elegy by Ellen M. Lee A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2016 Doctoral Committee: Associate Professor Basil J. Dufallo, Chair Associate Professor Ruth R. Caston Professor Peggy S. McCracken Professor David S. Potter Professor Ruth S. Scodel © Ellen M. Lee 2016 DEDICATION in matris meae memoriam ii ACKNOWLEDGEMENTS I would like to express my sincerest gratitude to the following people for helping me achieve this great goal, as well as so many smaller ones along the way: My committee, for your guidance and support, for all the time spent on drafts, meetings, emails, and the varied tasks of advising. Among many other things: Ruth Caston, for your kind advice and encouragement; Basil Dufallo, for always challenging me to exceed my own expectations; Peggy McCracken, for your inexhaustible enthusiasm; David Potter, for encouraging me to see the bigger picture beyond the poetry; and Ruth Scodel, for your enduring patience, even when I am at my most clueless. My cohort, Clara Bosak-Schroeder, Harriet Fertik, and Matthew Newman, for being the constant buoys that have kept me afloat these many years. I would be sunk without you. The UM Classical Studies community, whose warm and encouraging members have always offered me a soft place to land. Special thanks to Michelle Biggs, Sara Forsdyke, and Arthur Verhoogt, for listening to problems large and small with sympathy (and, often, a solution). The Classical Studies Dissertators’ Workshop and Support Groups, especially Kate Allen, Nick Geller, Tim Hart, Tiggy McLaughlin, Jacqui Pincus, and Amy Pistone, for letting me borrow your eyes over many drafts and bend your ears over many, many cups of coffee. My family, for keeping the home fires burning, while I’m off pursuing my dream. Evan, my partner in everything, for sustaining me through it all. Words aren’t enough. Thank you. iii TABLE OF CONTENTS DEDICATION …………………………………………………………………............................... ii ACKNOWLEDGEMENTS ……………………………………………………………………......... iii ABSTRACT …………………………………………………………………….............................. v INTRODUCTION ………………………………………………………………………………….. 1 CHAPTER ONE: Memento Mori: Love, Death, and Memory in Love Elegy …………………………………. 28 CHAPTER TWO: Out of Sight, Out of Mind? Forgetting Roma and Amor in the City and Abroad ………... 71 CHAPTER THREE: Ugliness in the Eye of the Beholder: False Memories and the Female Body …………….. 108 CHAPTER FOUR: Remedia (Re)members Heroides: Embodiment and Epistolarity ………………………… 141 CHAPTER FIVE: Receiving, Rescripting: Poetic Memory and Forgetting in Remedia Amoris ……………. 182 CONCLUSIONS ………………………………………………………………………………… 227 BIBLIOGRAPHY ……………………………………………………………………………….. 230 iv ABSTRACT This dissertation considers the connection between love and memory (or, as often, forgetting) in Roman elegiac poetry, through the lens of Ovid’s Remedia Amoris (Cures for Love). I argue that, by writing Remedia, the last poem in the corpus of Latin love elegy, as an ‘art of forgetting’ which purports to aid the unlucky lover by teaching him to forget love, Ovid underscores the significance of memory in the elegiac genre. By telling readers how to forget, Ovid reveals how previous poets, including himself, taught readers how to remember. I investigate the connection between love and memory in elegy by pinpointing elegiac modes of amorous memory production. My method of analysis extracts certain pieces of advice (praecepta) given by the didactic narrator of Remedia, who guides the reader to rid himself of love. Even as his purportedly curative precepts inevitably fail, they point to elegiac strategies for memory production. My chapters treat these methods of creating memory thematically, each outlining a different piece of advice for forgetting, paired with a corresponding strategy for memory production in the elegiac genre: strategies for memorialization after death (Chapter 1); strategies for rescripting the localized memory of love (Chapter 2); strategies for creating false memories of the beloved (Chapter 3); women’s strategies for epistolary memory production (Chapter 4); and strategies for scripting poetic memory through allusion and tropes (Chapter 5). I propose that Remedia offers a guide for the reader of elegy, underscoring the importance of these strategies of memory production for the program of the elegiac genre. In addition to considering how the advice Ovid gives recalls his own previous works (the Amores, Ars Amatoria, and Heroides), I explore how Ovid’s Remedia receives the works of his v poetic predecessors, including Catullus, Propertius, Tibullus, and even Homer. To investigate the broader cultural milieu of Roman memorialization and mnemotechnics, I utilize frameworks from social, poetic, and cognitive memory studies. vi INTRODUCTION Lethean Love: Forgetting Elegiac Love in Remedia In Remedia, the Ovidian praeceptor purports to teach his student, a desperate lover, to fall out of love. In a passage about two-thirds of the way through the poem, he establishes his authority as a teacher by laying claim to a connection with the divine, as he imparts hope for a supernatural end to the student-lover’s suffering: est prope Collinam templum venerabile Portam; (inposuit templo nomina celsus Eryx); est illic Lethaeus Amor, qui pectora sanat inque suas gelidam lampadas addit aquam. illic et iuvenes votis oblivia poscunt, et si qua est duro capta puella viro. is mihi sic dixit (dubito, verusne Cupido an somnus fuerit: sed puto, somnus erat): “o qui sollicitos modo das, modo demis amores, adice praeceptis hoc quoque, Naso, tuis...” (Rem. 549-558) (Near the Colline Gate, there is a venerable temple (lofty Eryx has put a name to it); Lethean Love is there, who heals the heart and pours cool water upon his own flames. And there young men seek forgetfulness by their prayers, as well as any girl who has been taken in by a harsh lover. Thus he spoke to me (I am in doubt whether it was really Cupid or a dream, but I think it was a dream): “O you who who give and take away anxious love, add this, too, Naso, to your precepts...”) 1 Here, the praeceptor explicitly cites forgetfulness as the cure for love, tying his remedia to the effects of the river Lethe. As he invents a new cult of the god Amor and plays with the traditional topos of theophany, he recalls poetic conventions and religious traditions, bending these weighty themes to his own rhetorical purpose, the cure for love. Most significantly for the present study, this passage, by highlighting the role of forgetting, in fact demonstrates the importance of memory in elegy. In this dissertation, I read Remedia as an ‘art of forgetting,’1 a handbook on how to forget the love affair. If, according to the Ovidian praeceptor’s argument, love can only be tempered by the cool waters of Lethe that bring on forgetfulness, then remembering must be the main source of fuel for the fires of elegiac love. The link between love and memory in Remedia recalls a similar thread connecting love and memory throughout love poetry of the late republic and early principate. In this inquiry, I investigate the connection between love and memory in Latin elegy by pinpointing elegiac modes of amorous memory production. Within the fiction of the elegiac love affair, the memory of love is produced when a character (the poet-lover, for example) makes an effort to ensure that some aspect of the love affair (e.g., his undying devotion) will be remembered. The characters of elegy, as well as the elegist himself, produce memory through a variety of strategies, which I explore throughout this dissertation. I propose that Remedia offers a guide for the reader of elegy, underscoring the importance of these strategies of memory production for the program of elegy. By writing Remedia as an ‘art of forgetting’ in which his purportedly curative precepts inevitably fail, Ovid points at elegiac strategies for memory production. By instructing readers to forget, Ovid points out how previous poetry taught readers to remember. 1 Following others, especially Hardie (2006). 2 Each of my chapters outlines a different strategy for the production of memory in elegy. My method of analysis extracts certain pieces of advice (praecepta) given by the narrator of Remedia, who guides the reader to rid himself of love; I compare this advice to previous love poetry, including that of Ovid himself, to determine how remembering and forgetting function within the values of Latin love elegy. Ovid’s interaction with the mnemonic methods of individual characters, as well as those of the elegists themselves, complicate the role of memory in elegy and in Roman culture writ large. I consider how the advice Ovid gives recalls his own previous works (Ars Amatoria, Amores, and Heroides), the works of his poetic predecessors (including Catullus, Propertius, Tibullus, and even Homer), and the broader cultural milieu of Roman memorialization and mnemotechnics, utilizing frameworks from the studies of social, poetic, and cognitive memory. What is memory? Memory is a notoriously broad concept, both in the ancient world and today. In English, the word ‘memory’ can mark cognitive mental processes, individuals’ remembrances of the past, the memorialization of the dead, public ceremonies celebrating the past, or textual reminiscences.2 Appeals to memory can include calls to action (‘Remember the Alamo!’), threats or warnings (‘Remember what happened last time?’), and even greetings (‘Remember me to Herald Square!’), and they elicit a variety of responses, from internal, passive mindfulness to external, active efforts. ‘Memoria’ in Latin has an equally wide range of connotations. Walter (2004) outlines memoria’s “semantische Facetten,” noting that the term can indicate mental function, memory recall, historiography and history, written and non-written media that recalls the past, the traditions of the mos maiorium, burial and mourning practices, and the ‘art of 2 Cf. Fentress and Wickham (1992), x. 3 memory’ of the rhetorical schools.3 Following Walter’s (2004) analysis, the study of Roman memory has experienced a particular boom in the last decade.
Load more

Recommended publications
  • Banished to the Black Sea: Ovid's Poetic
    BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies By Christy N. Wise, M.A. Georgetown University Washington, D.C. October 16, 2014 BANISHED TO THE BLACK SEA: OVID’S POETIC TRANSFORMATIONS IN TRISTIA 1.1 Christy N. Wise, M.A. Mentor: Charles A. McNelis, Ph.D. ABSTRACT After achieving an extraordinarily successful career as an elegiac poet in the midst of the power, glory and creativity of ancient Rome during the start of the Augustan era, Ovid was abruptly separated from the stimulating community in which he thrived, and banished to the outer edge of the Roman Empire. While living the last nine or ten years of his life in Tomis, on the eastern shore of the Black Sea, Ovid steadily continued to compose poetry, producing two books of poems and epistles, Tristia and Epistulae ex Ponto, and a 644-line curse poem, Ibis, all written in elegiac couplets. By necessity, Ovid’s writing from relegatio (relegation) served multiple roles beyond that of artistic creation and presentation. Although he continued to write elegiac poems as he had during his life in Rome, Ovid expanded the structure of those poems to portray his life as a relegatus and his estrangement from his beloved homeland, thereby redefining the elegiac genre. Additionally, and still within the elegiac structure, Ovid changed the content of his poetry in order to defend himself to Augustus and request assistance from friends in securing a reduced penalty or relocation closer to Rome.
    [Show full text]
  • The Laodamia Myth
    APPENDIX: THE LAODAMIA MYTH Most of the testimony we have on the Laodamia myth is from relative­ ly late sources. While we know of treatments that predate poem 68, it is not possible to establish in any detail which versions of the myth these represented. Homer (//. 2. 698-701) gives no details beyond Protesilaus' death and does not even name the widow, describing her only as ~1L~t8pucp7Ji;. According to Pausanias ( 4.2. 7), Protesilaus' wife was called Polydora in the Cypria. Pausanias says that in this poem the widow took her own life but does not make it clear whether this act followed Pro­ tesilaus' death or his return to the Underworld after the reunion. The word Pausanias uses of her suicide, lmxot'tota~!i(uv, "to slay over or in succession to a corpse,'' makes it unlikely that the Cypn·a dealt with the version in which she dies following the image of her husband into the fire. The few surviving fragments from Euripides' tragedy Protesilaus, of uncertain date, do little to shed light on the episodes and incidents of the play. According to the brief synopsis of the play that has been preserved (Schol. Aristid. p. 671 ), Protesilaus left Laodamia on their wedding day. After his death he obtained permission to return to his wife for a single day. The synopsis makes no mention of Laodamia's suicide or of the image. One fragment is especially tantalizing (fr. 655, Nauck2): oux &v 1tpo80£11v xot£1tEp <i~uxov ~O..ov. If <i~uxov means ''inanimate'' here, it could be a reference to the image that Laodamia made.
    [Show full text]
  • (Amsel, 1954) (Lepidoptera: Pyralidae, Phycitinae) – a New Species for the Croatian Pyraloid Moth Fauna, with an Updated Checklist
    NAT. CROAT. VOL. 30 No 1 37–52 ZAGREB July 31, 2021 original scientific paper / izvorni znanstveni rad DOI 10.20302/NC.2021.30.4 PSOROSA MEDITERRANELLA (AMSEL, 1954) (LEPIDOPTERA: PYRALIDAE, PHYCITINAE) – A NEW SPECIES FOR THE CROATIAN PYRALOID MOTH FAUNA, WITH AN UPDATED CHECKLIST DANIJELA GUMHALTER Azuritweg 2, 70619 Stuttgart, Germany (e-mail: [email protected]) Gumhalter, D.: Psorosa mediterranella (Amsel, 1954) (Lepidoptera: Pyralidae, Phycitinae) – a new species for the Croatian pyraloid moth fauna, with an updated checklist. Nat. Croat., Vol. 30, No. 1, 37–52, 2021, Zagreb. From 2016 to 2020 numerous surveys were undertaken to improve the knowledge of the pyraloid moth fauna of Biokovo Nature Park. On August 27th, 2020 one specimen of Psorosa mediterranella (Amsel, 1954) from the family Pyralidae was collected on a small meadow (985 m a.s.l.) on Mt Biok- ovo. In this paper, the first data about the occurrence of this species in Croatia are presented. The previ- ous mention in the literature for Croatia was considered to be a misidentification of the past and has thus not been included in the checklist of Croatian pyraloid moth species. P. mediterranella was recorded for the first time in Croatia in recent investigations and, after other additions to the checklist have been counted, is the 396th species in the Croatian pyraloid moth fauna. An overview of the overall pyraloid moth fauna of Croatia is given in the updated species list. Keywords: Psorosa mediterranella, Pyraloidea, Pyralidae, fauna, Biokovo, Croatia Gumhalter, D.: Psorosa mediterranella (Amsel, 1954) (Lepidoptera: Pyralidae, Phycitinae) – nova vrsta u hrvatskoj fauni Pyraloidea, s nadopunjenim popisom vrsta.
    [Show full text]
  • Proquest Dissertations
    THE RISE OF THE COURTIER-ARTIST: THE POLITICAL CAREERS OF PETER PAUL RUBENS AND DIEGO VELAZQUEZ IN PHILIP IV'S SPAIN A Thesis Presented to The Faculty of Graduate Studies of The University of Guelph by NICOLE GRIEVE In partial fulfillment of requirements For the degree of Master of Arts January, 2008 © Nicole Grieve, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-41824-6 Our file Notre reference ISBN: 978-0-494-41824-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • The Burial of the Urban Poor in Italy in the Late Republic and Early Empire
    Death, disposal and the destitute: The burial of the urban poor in Italy in the late Republic and early Empire Emma-Jayne Graham Thesis submitted for the degree of Doctor of Philosophy Department of Archaeology University of Sheffield December 2004 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl.uk The following have been excluded from this digital copy at the request of the university: Fig 12 on page 24 Fig 16 on page 61 Fig 24 on page 162 Fig 25 on page 163 Fig 26 on page 164 Fig 28 on page 168 Fig 30on page 170 Fig 31 on page 173 Abstract Recent studies of Roman funerary practices have demonstrated that these activities were a vital component of urban social and religious processes. These investigations have, however, largely privileged the importance of these activities to the upper levels of society. Attempts to examine the responses of the lower classes to death, and its consequent demands for disposal and commemoration, have focused on the activities of freedmen and slaves anxious to establish or maintain their social position. The free poor, living on the edge of subsistence, are often disregarded and believed to have been unceremoniously discarded within anonymous mass graves (puticuli) such as those discovered at Rome by Lanciani in the late nineteenth century. This thesis re-examines the archaeological and historical evidence for the funerary practices of the urban poor in Italy within their appropriate social, legal and religious context. The thesis attempts to demonstrate that the desire for commemoration and the need to provide legitimate burial were strong at all social levels and linked to several factors common to all social strata.
    [Show full text]
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • HCS — History of Classical Scholarship
    ISSN: 2632-4091 History of Classical Scholarship www.hcsjournal.org ISSUE 1 (2019) Dedication page for the Historiae by Herodotus, printed at Venice, 1494 The publication of this journal has been co-funded by the Department of Humanities of Ca’ Foscari University of Venice and the School of History, Classics and Archaeology of Newcastle University Editors Lorenzo CALVELLI Federico SANTANGELO (Venezia) (Newcastle) Editorial Board Luciano CANFORA Marc MAYER (Bari) (Barcelona) Jo-Marie CLAASSEN Laura MECELLA (Stellenbosch) (Milano) Massimiliano DI FAZIO Leandro POLVERINI (Pavia) (Roma) Patricia FORTINI BROWN Stefan REBENICH (Princeton) (Bern) Helena GIMENO PASCUAL Ronald RIDLEY (Alcalá de Henares) (Melbourne) Anthony GRAFTON Michael SQUIRE (Princeton) (London) Judith P. HALLETT William STENHOUSE (College Park, Maryland) (New York) Katherine HARLOE Christopher STRAY (Reading) (Swansea) Jill KRAYE Daniela SUMMA (London) (Berlin) Arnaldo MARCONE Ginette VAGENHEIM (Roma) (Rouen) Copy-editing & Design Thilo RISING (Newcastle) History of Classical Scholarship Issue () TABLE OF CONTENTS LORENZO CALVELLI, FEDERICO SANTANGELO A New Journal: Contents, Methods, Perspectives i–iv GERARD GONZÁLEZ GERMAIN Conrad Peutinger, Reader of Inscriptions: A Note on the Rediscovery of His Copy of the Epigrammata Antiquae Urbis (Rome, ) – GINETTE VAGENHEIM L’épitaphe comme exemplum virtutis dans les macrobies des Antichi eroi et huomini illustri de Pirro Ligorio ( c.–) – MASSIMILIANO DI FAZIO Gli Etruschi nella cultura popolare italiana del XIX secolo. Le indagini di Charles G. Leland – JUDITH P. HALLETT The Legacy of the Drunken Duchess: Grace Harriet Macurdy, Barbara McManus and Classics at Vassar College, – – LUCIANO CANFORA La lettera di Catilina: Norden, Marchesi, Syme – CHRISTOPHER STRAY The Glory and the Grandeur: John Clarke Stobart and the Defence of High Culture in a Democratic Age – ILSE HILBOLD Jules Marouzeau and L’Année philologique: The Genesis of a Reform in Classical Bibliography – BEN CARTLIDGE E.R.
    [Show full text]
  • Jan Lievens (Leiden 1607 – 1674 Amsterdam)
    Jan Lievens (Leiden 1607 – 1674 Amsterdam) © 2017 The Leiden Collection Jan Lievens Page 2 of 11 How To Cite Bakker, Piet. "Jan Lievens." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. Jan Lievens was born in Leiden on 24 October 1607. His parents were Lieven Hendricxsz, “a skillful embroiderer,” and Machtelt Jansdr van Noortsant. 1 The couple would have eight children, of whom Jan and Dirck (1612–50/51) would become painters, and Joost (Justus), the eldest son, a bookseller. 2 In 1632 Joost married an aunt of the painter Jan Steen (1625/26–79). 3 At the age of eight, Lievens was apprenticed to Joris van Schooten (ca. 1587–ca. 1653), “who painted well [and] from whom he learned the rudiments of both drawing and painting.” 4 According to Orlers, Lievens left for Amsterdam two years later in 1617 to further his education with the celebrated history painter Pieter Lastman (1583–1633), “with whom he stayed for about two years making great progress in art.” 5 What impelled his parents to send him to Amsterdam at such a young age is not known. When he returned to Leiden in 1619, barely twelve years old, “he established himself thereafter, without any other master, in his father’s house.” 6 In the years that followed, Lievens painted large, mostly religious and allegorical scenes.
    [Show full text]
  • Tiina Rosenberg
    Don ’t be Quiet TIINA ROSENBERG , Don’ ,t be Quiet ESSAYS ON FEMINISM AND PERFORMANCE Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance Tiina Rosenberg Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © Tiina Rosenberg 2016 License CC-BY ORCID: Tiina Rosenberg: 0000-0002-7012-2543 Supporting Agency (funding): The Swedish Research Council First published 2016 Cover Illustration: Le nozze di Figaro (W.A. Mozart). Johanna Rudström (Cherubino) and Susanna Stern (Countess Almaviva), Royal Opera, Stockholm, 2015. Photographer: Mats Bäcker. Cover designed by Karl Edqvist, SUP Stockholm Studies in Culture and Aesthetics (Online) ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-023-2 ISBN (PDF): 978-91-7635-020-1 ISBN (EPUB): 978-91-7635-021-8 ISBN (Kindle): 978-91-7635-022-5 DOI: http://dx.doi.org/10.16993/baf This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/ by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This license allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated. Suggested citation: Rosenberg, Tiina 2016 Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance. Stockholm: Stockholm University Press. DOI: http://dx.doi. org/10.16993/baf. License CC-BY 4.0 To read the free, open access version of this book online, visit http://dx.doi.org/10.16993/baf or scan this QR code with your mobile device.
    [Show full text]
  • Download Download
    UNIVERSITY THOUGHT doi:10.5937/univtho7-15336 Publication in Natural Sciences, Vol. 7, No. 2, 2017, pp. 1-27. Original Scientific Paper A CONTRIBUTION TO KNOWLEDGE OF THE BALKAN LEPIDOPTERA. SOME PYRALOIDEA (LEPIDOPTERA: CRAMBIDAE & PYRALIDAE) ENCOUNTERED RECENTLY IN SOUTHERN SERBIA, MONTENEGRO, THE REPUBLIC OF MACEDONIA AND ALBANIA COLIN W. PLANT1*, STOYAN BESHKOV2, PREDRAG JAKŠIĆ3, ANA NAHIRNIĆ2 114 West Road, Bishops Stortford, Hertfordshire, CM23 3QP, England 2National Museum of Natural History, Sofia, Bulgaria 3Faculty of Natural Science and Mathematics, University of Priština, Kosovska Mitrovica, Serbia ABSTRACT Pyraloidea (Lepidoptera: Crambidae & Pyralidae) were sampled in the territories of southern Serbia, Montenegro, the Former Yugoslav Republic of Macedonia and Albania on a total of 53 occasions during 2014, 2016 and 2017. A total of 173 species is reported here, comprising 97 Crambidae and 76 Pyralidae. Based upon published data, 29 species appear to be new to the fauna of Serbia, 5 species are new to the fauna of Macedonia and 37 are new to the fauna of Albania. The data are discussed. Keywords: Faunistics, Serbia, Montenegro, Republic of Macedonia, Albania, Pyraloidea, Pyralidae, Crambidae. of light trap. Some sites were visited on more than one occasion; INTRODUCTION others were sampled once only. Pyraloidea (Lepidoptera: Crambidae and Pyralidae) have As a by-product of this work, all remaining material from been examined in detail in the neighbouring territory of the the traps was returned to Sofia where Dr Boyan Zlatkov was Republic of Bulgaria and the results have been published by one given the opportunity to extract the Tortricoidea. The remaining of us (Plant, 2016). That work presented data for the 386 species material was retained and sent by post to England after the end of and 3 additional subspecies known from that country.
    [Show full text]
  • And Type the TITLE of YOUR WORK in All Caps
    IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND (Under the Direction of Sarah Spence) ABSTRACT Though Ovid presents readers of his Metamorphoses with countless episodes of lovers uniting in a temporary physical closeness, some of his characters find themselves so affected by their love that they become inseparably merged with the ones they desire. These scenarios of “merging bodies” recall Lucretius’ explanations of love in De Rerum Natura (IV.1030-1287) and Aristophanes’ speech on love from Plato’s Symposium (189c2-193d5). In this thesis, I examine specific episodes of merging bodies in the Metamorphoses and explore the verbal and conceptual parallels that intertextually connect these episodes with De Rerum Natura and the Symposium. I focus on Ovid’s stories of Narcissus (III.339-510), Pyramus and Thisbe (IV.55-166), Salmacis and Hermaphroditus (IV.276-388), and Baucis and Philemon (VIII.611-724). I also discuss Ovid’s “merging bodies” in terms of his ideas about poetic immortality. Finally, I consider whether ancient representations of Narcissus in the visual arts are indicative of Ovid’s poetic success in antiquity. INDEX WORDS: Ovid, Metamorphoses, Intertextuality, Lucretius, De Rerum Natura, Plato, Symposium, Narcissus, Pyramus, Thisbe, Salmacis, Hermaphroditus, Baucis, Philemon, Corpora, Immortality, Pompeii IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND B.A., Denison University, 2012 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2014 © 2014 Jaclyn Rene Friend All Rights Reserved IN CORPUS CORPORE TOTO: MERGING BODIES IN OVID’S METAMORPHOSES by JACLYN RENE FRIEND Major Professor: Sarah Spence Committee: Mark Abbe Naomi Norman Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2014 ACKNOWLEDGEMENTS I would like to thank Dr.
    [Show full text]
  • Fifty-Two SEPARATED SPOUSES and EQUAL PARTNERS: CICERO, OVID, and MARRIAGE at a DISTANCE
    Fifty-Two SEPARATED SPOUSES AND EQUAL PARTNERS: CICERO, OVID, AND MARRIAGE AT A DISTANCE William O. Stephens In “The Transformation of the Husband/Wife Relationship during Exile: Let- ters from Cicero and Ovid” (2001), Sabine Grebe argues that Cicero and Ov- id’s letters from exile reveal a transformation of the marital relationship and its gender roles. In traditional, patriarchal Roman society the wife was depen- dent upon and subordinate to the husband in many ways. The wife’s activities were restricted to the private, domestic realm. The husband was engaged in public, legal, and political matters. The wife cooked, made and washed clothes, cared for the husband and the children, or supervised slaves in these tasks, and nursed ill slaves. The husband handled the finances. The wife de- pended on her husband for emotional support and comfort. The husband bore this burden as the stronger partner. These traditional arrangements were reversed, Grebe observes, when the orator Cicero and the poet Ovid were banished. Grebe notes that both hus- bands could have chosen to take their wives with them into exile, but both decided their interests would be better served by having their wives remain in Rome. By doing so Cicero’s wife Terentia and Ovid’s wife (whose name we do not know) could protect their family’s estates, manage finances, and more effectively advocate for their husbands’ return. It is uncertain whether these arrangements were supposed to be practical advantages for the wives, the husbands, or both. Grebe remarks that Terentia “suffered physically and psy- chologically from Cicero’s exile, and worries made Ovid’s wife slim” (this volume, p.
    [Show full text]