Introduction 1 Reading dangerously: Phyllis, Dido, Ariadne, and Medea 2 Reading the future: Hypsipyle, Medea, and Oenone 3 Benefits of communal writing: Canace and Hypermestra 4 A feminine reading of epic: Briseis and Hermione 5 Reading magically: Deianira and Laodamia 6 Reading like a virgin: Phaedra and Ariadne 7 Caveat lector: thoughts on gender and power Appendix A The authenticity (and 'authenticity') of Heroides 15 Bibliography Index Index Locorum

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The Ovidian Heroine as Author: Reading, Writing, and Community in the Heroides

This book presents the first systematic appreciation of Ovid's extensive influence on, and affinity with, modern visual culture. Some topics are directly related to Ovid; others exhibit features, characters, or themes analogous to those in his works. The book demonstrates the wide-ranging ramifications that Ovidian archetypes, especially from the Metamorphoses, have provoked in a modern artistic medium that did not exist in Ovid's time. It ranges from the earliest days of film history (Georges Melies's discovery of screen metamorphosis) and theory (Gabriele D'Annunzio's fascination with the metamorphosis of Daphne; Sergei Eisenstein's concept of film sense) through silent films, classic sound films, commercial cinema, art-house and independent films to modernism and the C.G.I. era. Films by well-known directors, including Ingmar Bergman, Walerian Borowczyk, Jean Cocteau, Alfred Hitchcock, Stanley Kubrick, Fritz Lang, Max Ophuls, Alain Resnais, and various others, are analyzed in detail.

Ovid on Screen: A Montage of Attractions

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.

Transformations of Ovid in Late Antiquity

Gaze, image, and gender in Ovid's Metamorphoses -- The intrusive gaze -- The fixing gaze -- Phantastic text(iles) -- Women for women, women by women.

A Web of Fantasies: Gaze, Image, and Gender in Ovid's Metamorphoses

Introduction: Narcissus and Medusa: desiring subjects and the dialectics of Ovidian erotics 1. Specular logicis: Medicamina 2. Double vision: Ars Amatoria I, II, and III 3. Seeing seers: Metamorphoses 10-11.84 4. Co-creators: Heroides 15 5. What goes around: Heroides 16-21 6. Space between: Heroides 18-19 Conclusion.

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

Readers and Writers in Ovid's "Heroides": Transgressions of Genre and Gender

Ovid’s Oenone in Heroides 5, her attempt to win back Paris, is a deft manipulator not only of pastoral and elegy, as previously recognized, but also of epic. This essay illustrates both the nymph’s careful deployment of epic themes and that her approach is a necessary response to Paris’ own change of heart and genre as evidenced in Heroides 16. In particular, Oenone’s version of her past history with Paris, their separate accounts of Paris’ recognition and judgment, and Oenone’s attempts to present herself as appropriate to his epic future show the importance of epic in this correspondence.

Megan O. Drinkwater

Papers

Readers and Writers in Ovid's "Heroides": Transgressions of Genre and Gender

Irreconcilable Differences: Pastoral, Elegy, and Epic in Ovid's Heroides 5

Ovid's "Heroides" and the Augustan Principate