Ovidian


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Ov·id

 (ŏv′ĭd) Originally Publius Ovidius Naso. 43 bc-ad 17.
Roman poet known for his explorations of love, especially the Art of Love (c. 1 bc) and Metamorphoses (c. ad 8).

O·vid′i·an (ō-vĭd′ē-ən) adj.
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References in periodicals archive ?
Comparini's objective is to order such Ovidian criticisms so that they might achieve scientific uniformity and stylistic clarity.
(14) The Herball's mobilization of charming "classical legends," especially those about Ovidian metamorphosis, affords evidence of such correspondences: as we shall track, Gerard, who may have translated excerpts of Ovidian poetry into English himself, (15) employs it to do precise descriptive work.
Those crypto-citations show that in the Ethics Spinoza is in a healthy and emphatic exploration of Ovidian works and themes.
Leonard Barkan remarks that Ovidian transformation generally results in 'reduction and fixity', and Garth Tissol offers the complementary reflection that the Roman poet habitually employed the vocabulary of 'manere ("to remain"), durare ("to endure"), and the like' when 'describing the...
Among the topics are Salmacis, Hermaphrodite, and the inversion of gender: allegorical interpretations and pictorial representations of an Ovidian myth; lamenting, dancing, praising: the multilayered presence of nymphs in Florentine elegiac poetry of the Quattrocento; Renaissance nymphs as intermediaries in early modern German territorial politics; the medialilty of the nymph in the cultured context of Pirro Visconti's villa at Lainate; and our white ladies on the graves: historicizations of nymphs in early modern antiquarianism.
257); and a letter poem called 'To a Fugitive Lover', which is an Ovidian exercise that expresses 'the lament of a seduced, abandoned, and pregnant woman' (p.
In art from the 15th through to the 17th centuries, where there is myth, it is almost guaranteed to be Ovidian in some shape or form--even if, as Malcolm Bull pointed out in Mirror of the Gods, the countless mythographical handbooks, epitomes and emblem collections of the period meant that artists' borrowings were often unconscious or indirect.
Another intriguing comparison is between Picasso's etchings of the 1930s on Ovidian themes and Rivera's 1931 watercolor illustrations of the Popol Vuh creation myth, which could not be more different.
These include "ij leather anteckes cottes with basses, for Fayeton"; a "sewte for Phayeton"; a "whitte satten dublette"; and probably the "crown with a sone" mentioned later in the "Enventary," since that would seem to correspond so well to the Ovidian source, where Phaeton's father Apollo at one point takes off his "crown of glittering rays." (7)
Angela Fritsen's Antiquarian Voices joins a formidable critical conversation about the role Ovidian commentaries played in shaping literary and intellectual history, driven by studies such as Ralph Hexter, Ovid and Medieval Schooling (1986) and Frank Coulson, James Clark, and Kathryn McKinley, Ovid in the Middle Ages (2015).
This debut collection has drawn widespread praise as an "Ovidian adventure" that blurs the "boundaries between the quotidian and the fantastic," and for its use of thousands of images that "play a kind of dream-tag, each one prompting the next." An assistant dean at Westminster College in Salt Lake City, Ashley Seitz Kramer has won the Ruth Stone Prize, the Robert and Adele Schiff Prize, and the Utah Writers' Award.
Ovidian allusions in these plays have long been noted, but particularly to the Metamorphoses in Golding's translation, and as Stapleton remarks, few have paid attention to the possibility that they are informed by Marlowe's translation of the Amores.