By Dr Victoria Rimell

Critical to Ovid's elegiac texts and his Metamorphoses is his preoccupation with how needing matters engage and seduce one another. This significant learn, which shifts the point of interest in Ovidian feedback from intertextuality to intersubjectivity, explores the connection among self and different, and particularly that among female and male worlds, that is on the middle of Ovid's imaginative and prescient of poetry and the mind's eye. a chain of shut readings, targeting either the extra celebrated and no more studied components of the corpus, strikes past the extra often-asked questions of Ovid, comparable to even if he's 'for' or 'against' ladies, for you to discover how gendered matters speak, compete and co-create. It illustrates how the story of Medusa, along that of Narcissus, reverberates all through Ovid's oeuvre, turning into a basic fantasy for his poetics. This booklet deals a compelling, usually troubling portrait of Ovid that might attract classicists and all these drawn to gender and distinction.

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Extra resources for Ovid's Lovers: Desire, Difference and the Poetic Imagination

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225–7. On the simultaneous fantasy of the Dido and Aeneas relationship as incestuous, brother–sister union, see Hardie (forthcoming). 203. Introduction: Narcissus and Medusa 35 in this flame the pattern of the dominant metaphor is complete . . the serpent has cast its old skin. All previous significances of the serpent are here by implication summed up and rejected in favour of the new. . Anchises does not realize its full significance, but he is joyful (laetus 687) and prays that the omen be confirmed (691).

Luctibus inposuit venitque salutifer Urbi 743–4). 640–1), but kept by Anderson (1982). 640–1 (the scene in which Io is also terrified by her own reflection), is significant rather than gratuitous. See Barchiesi (1997) 190–3. 34 v i c to r i a r i m e l l The run-down of Caesar’s imperial achievements in the lines that follow affirm the extent to which Rome’s power and identity are contingent on conquering the other, on attempting to embody and project snake-like, monumentalizing Medusan dread, whilst limiting the tricky, boomeranging potential of the mirror in which that caput, in order to be represented at all, is necessarily reflected.

107 Those especially skilled at this act of ‘exorcizing’ are called ‘heroes’ or ‘artists’, and succeed in transforming Medusa into Narcissus by making her confront herself in 106 107 Clair (1989) 65. Again, we might compare Irigaray’s analysis of patriarchy (1985a) in which she suggests that the feminine is never defined on its own terms in Western culture, but always as mirror, reflection or object. Introduction: Narcissus and Medusa 37 the mirror-shield. Triumph over Medusa, Clair argues, entails the mastery of fear and the founding of a new order and regularity.

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