Power Play in Latin Love Elegy and its Multiple Forms of Continuity in Ovid s Metamorphoses

Conceived as a necessary reconsideration of the pristine "elegiac question" in Ovid s Metamorphoses, this book intends to offer an analysis of the function of elegiac discourse within Ovid s magnum opus from the perspective of metapoetics. To that end, the author undertakes, in the first s...

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Detalles Bibliográficos
Autor principal: Blanco Mayor, José Manuel
Formato: Livre numérique
Lenguaje:Anglais
Publicado: Berlin ; Boston : De Gruyter 2017.
Berlin ; Boston :
Colección:Trends in Classics - Supplementary Volumes volume 42
Acceso en línea:Accès sur la plateforme de l'éditeur
Accès sur la plateforme ISTEX
Accès Université d'Orléans
Nota: De Gruyter e-books Corpus Sciences de l'Antiquité (Licence nationale)
Autres localisations: Voir dans le Sudoc
Edition sous un autre format:• Power Play in Latin Love Elegy and its Multiple Forms of Continuity in Ovid s Metamorphoses, Texte imprimé, 978-3-11-049029-9
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520 |a Conceived as a necessary reconsideration of the pristine "elegiac question" in Ovid s Metamorphoses, this book intends to offer an analysis of the function of elegiac discourse within Ovid s magnum opus from the perspective of metapoetics. To that end, the author undertakes, in the first section, a close re-reading of some relevant passages of Latin love elegy. From a prism that takes into account the characteristically elegiac multivocality, the genre reveals itself as an agonistic discourse in which the poet dramatises his metaliterary power-relation with the puella, who is unveiled as the synthesis of the distinct sub-products of his poetic activity. Thereupon, the author proceeds to scrutinise how elegiac elements are assimilated and transformed as they become integrated within the framework of Ovid s poem of changing forms. Far from being a mere stylistic ornament, the presence of an elegiac register in many erotic passages tells us about Ovid s stance towards love as a metapoetic trope. By reworking elegiac tradition to the point of transforming it into a novum corpus, the poet ultimately substantiates the mutability of generic categories 
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