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Silenced Voices is a pointed examination of the loss of speech, exile from community, and memory throughout the literary corpus of the Roman poet Ovid. In his book-length poem Metamorphoses, characters are transformed in ways that include losing their power of human speech. In Tristia and Epistulae ex Ponto, poems written after Ovid's exile from Rome in 8 ce, he represents himself as also having been transformed, losing his voice. Bartolo A. Natoli provides a unique cross-reading of these works. He examines how the motifs and ideas articulated in the Metamorphoses provide the template for the poet's representation of his own exile. Ovid depicts his transformation with an eye toward memory, reformulating how his exile would be perceived by his audience. His exilic poems are an attempt to recover the voice he lost and to reconnect with the community of Rome.
Ovid, --- Nasó, P. Ovidi, --- Naso, Publius Ovidius, --- Nazon, --- Ouidio, --- Ovide, --- Ovidi, --- Ovidi Nasó, P., --- Ovidiĭ, --- Ovidiĭ Nazon, Publiĭ, --- Ovidio, --- Ovidio Nasón, P., --- Ovidio Nasone, Publio, --- Ovidios, --- Ovidiu, --- Ovidius Naso, P., --- Owidiusz, --- P. Ovidius Naso, --- Publiĭ Ovidiĭ Nazon, --- Publio Ovidio Nasone, --- Ūvīd, --- אוביד, --- Criticism and interpretation. --- E-books --- Ovid --- Ovidius Naso, Publius,
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Ovid could be considered the original poet of late antiquity. In his exile poetry, he depicts a world in which Rome has become a distant memory, a community accessible only through his imagination. This, Ovid claimed, was a transformation as remarkable as any he had recounted in his Metamorphoses. Ian Fielding's book shows how late antique Latin poets referred to Ovid's experiences of isolation and estrangement as they reflected on the profound social and cultural transformations taking place in the fourth, fifth and sixth centuries AD. There are detailed new readings of texts by major figures such as Ausonius, Paulinus of Nola, Boethius and Venantius Fortunatus. For these authors, Fielding emphasizes, Ovid was not simply a stylistic model, but an important intellectual presence. Ovid's fortunes in late antiquity reveal that poetry, far from declining into irrelevance, remained a powerful mode of expression in this fascinating period.
HISTORY / Ancient / General. --- Latin literature --- History and criticism. --- Ovid, --- Criticism and interpretation. --- Influence. --- Nasó, P. Ovidi, --- Naso, Publius Ovidius, --- Nazon, --- Ouidio, --- Ovide, --- Ovidi, --- Ovidi Nasó, P., --- Ovidiĭ, --- Ovidiĭ Nazon, Publiĭ, --- Ovidio, --- Ovidio Nasón, P., --- Ovidio Nasone, Publio, --- Ovidios, --- Ovidiu, --- Ovidius Naso, P., --- Ovidius Naso, Publius, --- Owidiusz, --- P. Ovidius Naso, --- Publiĭ Ovidiĭ Nazon, --- Publio Ovidio Nasone, --- Ūvīd, --- אוביד, --- History and criticism --- E-books --- Ovid
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Alors qu?il est convenu de dire que nous vivons dans une civilisation de l?image, les enluminures des manuscrits médiévaux ont été longtemps oubliées ou sous-estimées par la recherche littéraire. Ces images tissent pourtant des rapports dialectiques complexes avec le texte et en modèlent la réception par le lecteur. Comment lire aujourd?hui un manuscrit enluminé? Comment saisir et comprendre ce langage fait de formes et de couleurs ? Les images constituent une rhétorique, un discours à part entière en contrepoint du texte, qui selon les cas le conforte, s?en écarte ou le contredit, le complète ou même s?en affranchit. Ce livre analyse les jeux complexes de l?image et du texte dans les manuscrits enluminés de l?Ovide moralisé, long poème anonyme qui présente les Métamorphoses d?Ovide comme une préfiguration de l?Ancien et du Nouveau Testament. L?auteur s?est attaché à analyser plus particulièrement les images mettant en scène des réalités non figuratives, comme le monde surnaturel, les dieux, les métamorphoses merveilleuses, qu?elles soient d?ordre animal, végétal ou minéral, et à comprendre les enjeux de ces modalités de figuration. L?emplacement des miniatures dans le folio, le nombre des images, le rythme de leur insertion, leur facture et leur thématique, la gamme de leurs couleurs, dessinent un univers esthétique et dialectique singulier. L?image, dans les manuscrits étudiés de l?Ovide moralisé, mêle toujours une pluralité de références : ici elle renvoie à la mythologie antique, là elle évoque des scènes de la Bible et du Nouveau Testament, le plus souvent elle s?inspire de la vie et des valeurs de l?aristocratie médiévale. Elle a véritablement une fonction didactique et contribue à installer le texte dans l?imaginaire de ses lecteurs
Ovid, --- Criticism and interpretation --- History. --- Nasó, P. Ovidi, --- Naso, Publius Ovidius, --- Nazon, --- Ouidio, --- Ovide, --- Ovidi, --- Ovidi Nasó, P., --- Ovidiĭ, --- Ovidiĭ Nazon, Publiĭ, --- Ovidio, --- Ovidio Nasón, P., --- Ovidio Nasone, Publio, --- Ovidios, --- Ovidiu, --- Ovidius Naso, P., --- Ovidius Naso, Publius, --- Owidiusz, --- P. Ovidius Naso, --- Publiĭ Ovidiĭ Nazon, --- Publio Ovidio Nasone, --- Ūvīd, --- אוביד, --- 091.31 "13/14" --- 091.14 --- 091.14 Codicologie. Codices. Scriptoria --- Codicologie. Codices. Scriptoria --- 091.31 "13/14" Verluchte handschriften--?"13/14" --- Verluchte handschriften--?"13/14" --- 091 OVIDIUS NASO, PUBLIUS --- 091 OVIDIUS NASO, PUBLIUS Handschriftenkunde. Handschriftencatalogi--OVIDIUS NASO, PUBLIUS --- Handschriftenkunde. Handschriftencatalogi--OVIDIUS NASO, PUBLIUS --- Literary semiotics --- Old French literature --- Enluminure médiévale --- French poetry --- Illumination of books and manuscripts, Medieval --- Literature, Medieval --- Poésie française --- Littérature médiévale --- Illustrations --- Ovide moralisé (Prose) --- Poésie française --- Enluminure médiévale --- Littérature médiévale --- Ovide moralisé (Prose) --- Enluminure médiévale. --- Illustrations. --- Ovid --- Ovid, - 43 B.C.-17 A.D. or 18 A.D. - Criticism and interpretation --- Ovid, - 43 B.C.-17 A.D. or 18 A.D.
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