By Barbara K. Gold
A spouse to Roman Love Elegy is the 1st accomplished paintings devoted exclusively to the research of affection elegy. The style is explored via 33 unique essays thatoffer new and leading edge ways to precise elegists and the self-discipline as a whole.
- Contributors symbolize various demonstrated names and more youthful students, all of whom are revered specialists of their fields
- Contains unique, by no means ahead of released essays, that are either available to a large viewers and provide a brand new method of the affection elegists and their work
- Includes 33 essays at the Roman elegists Catullus, Tibullus, Propertius, Sulpicia, and Ovid, in addition to their Greek and Roman predecessors and later writers who have been stimulated by means of their work
- Recent years have noticeable an explosion of curiosity in Roman elegy from students who've used a number of serious methods to open up new avenues of understanding
Chapter 1 Calling out the Greeks: Dynamics of the Elegiac Canon (pages 9–24): Joseph Farrell
Chapter 2 Catullus the Roman Love Elegist? (pages 25–38): David Wray
Chapter three Propertius (pages 39–52): W. R. Johnson
Chapter four Tibullus (pages 53–69): Paul Allen Miller
Chapter five Ovid (pages 70–85): Alison R. Sharrock
Chapter 6 Corpus Tibullianum, ebook three (pages 86–100): Mathilde Skoie
Chapter 7 Elegy and the Monuments (pages 101–118): Tara S. Welch
Chapter eight Roman Love Elegy and the Eros of Empire (pages 119–133): P. Lowell Bowditch
Chapter nine Rome's Elegiac Cartography: The View from the through Sacra (pages 134–151): Eleanor Winsor Leach
Chapter 10 Callimachus and Roman Elegy (pages 153–171): Richard Hunter
Chapter eleven Gallus: the 1st Roman Love Elegist (pages 172–186): Roy ok. Gibson
Chapter 12 Love's Tropes and Figures (pages 187–203): Duncan F. Kennedy
Chapter thirteen Elegiac Meter: Opposites allure (pages 204–218): Llewelyn Morgan
Chapter 14 The Elegiac publication: styles and difficulties (pages 219–233): S. J. Heyworth
Chapter 15 Translating Roman Elegy (pages 234–250): Vincent Katz
Chapter sixteen Elegy and New Comedy (pages 251–268): Sharon L. James
Chapter 17 Authorial identification in Latin Love Elegy: Literary Fictions and Erotic Failings (pages 269–284): Judith P. Hallett
Chapter 18 The Domina in Roman Elegy (pages 285–302): Alison Keith
Chapter 19 “Patronage and the Elegists: Social fact or Literary Construction?” (pages 303–317): Barbara ok. Gold
Chapter 20 Elegy, artwork and the Viewer (pages 318–338): Herica Valladares
Chapter 21 appearing intercourse, Gender and tool in Roman Elegy (pages 339–356): Mary?Kay Gamel
Chapter 22 Gender and Elegy (pages 357–371): Ellen Greene
Chapter 23 Lacanian Psychoanalytic thought and Roman Love Elegy (pages 373–389): Micaela Janan
Chapter 24 Intertextuality in Roman Elegy (pages 390–409): Donncha O'Rourke
Chapter 25 Narratology in Roman Elegy (pages 410–425): Genevieve Liveley
Chapter 26 The Gaze and the Elegiac Imaginary (pages 426–439): David Fredrick
Chapter 27 Reception of Elegy in Augustan and Post?Augustan Poetry (pages 441–458): P. J. Davis
Chapter 28 Love Elegies of overdue Antiquity (pages 459–475): James Uden
Chapter 29 Renaissance Latin Elegy (pages 476–490): Holt N. Parker
Chapter 30 Modernist Reception (pages 491–507): Dan Hooley
Chapter 31 instructing Roman Love Elegy (pages 509–525): Ronnie Ancona
Chapter 32 instructing Ovid's Love Elegy (pages 526–540): Barbara Weiden Boyd
Chapter 33 educating Rape in Roman Elegy, half I (pages 541–548): Genevieve Liveley
Chapter 33a educating Rape in Roman Love Elegy, half II (pages 549–557): Sharon L. James
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Additional resources for A Companion to Roman Love Elegy
Ed. 2002. The Cambridge Companion to Ovid. Cambridge. Harrison, S. 2002. ” In Hardie 2002, 79–94. , ed. 2005. A Companion to Latin Literature. Malden, MA. Hinds, S. E. 1986. The Metamorphosis of Persephone: Ovid and the Self-conscious Muse. Cambridge. —— . 1992a. ” Arethusa 25: 81–112. —— . 1992b. ” Arethusa 25: 113–149. indd 23 2/15/2012 3:54:35 PM 24 The Text and Roman Erotic Elegists Hunter, R. 2006. The Shadow of Callimachus: Studies in the Reception of Hellenistic Poetry at Rome. Cambridge.
By contrast, Propertian aetiological elegy and Ovidian meta-elegiac poetry refer constantly both to their Greek models, with their focus on narrative, and to the norms of Roman love elegy, as well. They take for granted the idea that elegy is especially suited to be the vehicle for subjective reflections on love; and this is perhaps the main thing that distinguishes the Fasti from the Aetia, in which love, as I noted previously, is a theme but hardly the most important one. Thus the Fasti narrator eroticizes his material in order to make the matter fit the meter (Hinds 1992a).
Indd 17 2/15/2012 3:54:35 PM 18 The Text and Roman Erotic Elegists Callimachus: Style and Genre To understand what happened we must return to the Hellenistic period and to Callimachus. In the history of Greek elegy, Philitas is a relatively uncontroversial figure, the only poet who appears in the canons of both Hermesianax and Quintilian. Mimnermus and especially Antimachus are another matter. Hermesianax approved of them, and, if he was Philitas’ pupil, then he may have got this opinion from his master.