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His topics include the intertextual relations between Ovid's Metamorphoses and Latin elegy: critical assessment, power relations in elegy and "the elegiac" in Ovid's Metamorphoses, te mihi materiem felicem in carmina praebe: the puella as subject matter, the body-text: the puella as literary work, and mutual love in the Metamorphoses" towards the ultimus ardor of Latin elegy.
From Mantegna himself, to Piero di Cosimo, Pollaiuolo, Botticelli, to Titian's Poesie--to name only a few--the Metamorphoses was the ultimate sourcebook for artists.
Jon Delogu (Professor of English, Universite Jean Moulin, Lyon 3, in France), "The Metamorphoses of Fat: A History of Obesity" is enhanced with the inclusion of forty-eight pages of Notes, and a twelve page Index.
26 of the Metamorphoses (and before the section on Lucius' so-called 'Romecoming') and then to change only the last part of the narrative significantly by means of a literary sphragis, reminiscent of many Latin poets.
Playing Gods: Ovid's Metamorphoses and the Politics of Fiction.
Metamorphosis; transformations of the body and the influence of Ovid's Metamorphoses on Germanic literature of the nineteenth and twentieth centuries.
Shapeshifters" retells in modern prose and poetry some of the most famous of the Metamorphoses tales from Ovid.
For Gower, as McKinley shows, examples of (negative) behavior drawn from the Metamorphoses also become the instrument to provide political teaching and opinions: "[.
The section themed Metamorphosis includes an embroidery work of that name by Alice Kettle, and The Woodpecker, a tapestry by William Morris, uses Ovid's Metamorphoses as its inspiration.
Its unity of focus, despite essays ranging from the Middle Ages to Milton, is owed partly to the excellent introduction provided by the editors, and partly to the fact that nearly all the authors, while acknowledging the important role of intermediaries, take us back to the text of Ovid's Metamorphoses itself, while exploring such broader themes as selfhood, authority, and change (p.
It would have been welcome to see some treatment of the metamorphoses of the thieves in Inferno, where Dante (xxv.