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Offers detailed reading of the Amores, oriented toward the writer's and reader's pleasure, that reframes the discussion around elegy and identity.
The first book of its kind, Marlowe's Ovid explores and analyzes in depth the relationship between the Elegies-Marlowe's translation of Ovid's Amores-and Marlowe's own dramatic and poetic works. Stapleton carefully considers Marlowe's Elegies in the context of his seven known dramatic works and his epyllion, Hero and Leander, and offers a different way to read Marlowe. Stapleton employs Marlowe's rendition of the Amores as a way to read his seven dramatic productions and his narrative poetry while engaging with previous scholarship devoted to the accuracy of the translation and to bibliographical issues. The author focuses on four main principles: the intertextual relationship of the Elegies to the rest of the author's canon; its reflection of the influence of Erasmian humanist pedagogy, imitatio and aemulatio; its status as the standard English Amores until the Glorious Revolution, part of the larger phenomenon of pan-European Renaissance Ovidianism; its participation in the genre of the sonnet sequence. He explores how translating the Amores into the Elegies profited Marlowe as a writer, a kind of literary archaeology that explains why he may have commenced such an undertaking. Marlowe's Ovid adds to the body of scholarly work in a number of subfields, including classical influences in English literature, translation, sexuality in literature, early modern poetry and drama, and Marlowe and his milieu.
A Handbook to the Reception of Ovid presents more than 30 original essays written by leading scholars revealing the rich diversity of critical engagement with Ovid’s poetry that spans the Western tradition from antiquity to the present day. Offers innovative perspectives on Ovid’s poetry and its reception from antiquity to the present day Features contributions from more than 30 leading scholars in the Humanities. Introduces familiar and unfamiliar figures in the history of Ovidian reception. Demonstrates the enduring and transformative power of Ovid’s poetry into modern times.
Uses adaptation and appropriation studies to explore early modern textual and theatrical metamorphoses of OvidApplies contemporary theoretical approaches, such as gender/queer/trans studies, feminist ecostudies, hauntology, rhizomatic adaptation, transmedialityUses adaptation studies in analyzing early modern transformations of OvidFocuses on the appropriations of "e;Ovid"e; (as an umbrella term for "e;all things Ovidian"e;) on the early modern English stageIncludes chapters on Shakespeare and Marlowe as well as other early modern dramatistsDid you know that Ovid was a multifaceted icon of lovesickness, endless change, libertinism, emotional torment and violence in early modern England? This is the first collection to use adaptation studies in connection with other contemporary theoretical approaches in analysing early modern transformations of Ovid. It provides innovative perspectives on the 'Ovids' that haunted the early modern stage, while exploring intersections between adaptation theory and gender/queer/trans studies, ecofeminism, hauntology, transmediality, rhizomatics and more. This book examines the multidimensional, ubiquitous role that Ovid and Ovidian adaptations played in English Renaissance drama and theatrical performance.
What is love? Popular culture bombards us with notions of the intoxicating capacities of love or of beguiling women who can bewitch or heal—to the point that it is easy to believe that such images are timeless and universal. Not so, argues Laine Doggett in Love Cures. Aspects of love that are expressed in popular music—such as “love is a drug,” “sexual healing,” and “love potion number nine”—trace deep roots to Old French romance of the high Middle Ages. A young woman heals a poisoned knight. A mother prepares a love potion for a daughter who will marry a stranger in a faraway land. How can readers interpret such events? In contrast to scholars who have dismissed these women as fantasy figures or labeled them “witches,” Doggett looks at them in the light of medical and magical practices of the high Middle Ages. Love Cures argues that these practitioners, as represented in romance, have shaped modern notions of love. Love Cures seeks to engage scholars of love, marriage, and magic in disciplines as diverse as literature, history, anthropology, and philosophy.
"James shapes a new and original understanding of elegy. The author's agenda of foregrounding the viewpoint of the docta puella should stimulate major changes in the way that these poems are studied."—Judith P. Hallett, University of Maryland, College Park "James provides a highly original reading of the elegiac genre. Her use of the docta puella as the focalizing point of her reading provides new insight into its fundamental nature…. The book would serve as an excellent introduction to the genre for undergraduates."—Paul Allen Miller, author of Latin Erotic Elegy: An Anthology and Reader "Learned Girls and Male Persuasion should be required reading for anyone teaching or studying the elegists. . . . [Sharon James] views the genre in the light of social reality, showing us what is ubiquitous and obvious in the poems if we take off the rose-colored glasses of romantic idealism: the facts of violence, rape, and abortion, and, above all, the fundamental tension between the erotic demands of the lover and the economic needs of the puella. Elegy will never be the same again."—Julia Gaisser, author of Catullus and his Renaissance Readers
"This book is about how the sea and seafaring shaped literary creativity in early modern Portugal during the most active, consequential decades of European overseas expansion. Josiah Blackmore understands "literary" in a broad sense, including a diverse archive spanning genres and disciplines: epic and lyric poetry, historical chronicles, nautical documents, ship logs and diaries, shipwreck narratives, geographic descriptions, and reference to texts of other seafaring powers and literatures of the period (including works from Spain, Italy, Galician-Portugal, and Catalan). The centerpiece of the book, the great Luís de Camões, is arguably the sea poet par excellence of early modernity, not only of Portugal and Iberia, but of Europe more generally. Blackmore shows that the sea and nautical travel for Camões and his contemporaries were not merely historical realities in early modern Iberia during the age of discovery; they were also principles of cultural creativity that connect to larger critical debates in the widening field of the maritime humanities. For Blackmore, the sea, ships, and nautical travel unfold into a variety of empirical, metaphoric, and symbolic dimensions, and the oceans across the globe that were traversed in the fifteenth and sixteenth centuries correspond to oceans within the literary self, vast reaches and depths of emotion, consciousness, memory, and identity. Thus the sea and seafaring were not merely themes in textual culture but were also principles that created individual and collective subjects according to oceanic modes of perception, nautical modes of thought: a "maritime subject" that was one of the consequences of the sustained practice of navigation and imaginative engagements with the sea throughout the period. Blackmore concludes with a discussion of depth and sinking in shipwreck narratives as metaphoric and discursive dimensions of the maritime subject, foreshadowing empire's decline. The book will be welcomed by students of Iberian literature and culture, the maritime humanities, and those interested in maritime poetics beyond early modernity"--
Hebrews 12:1-17 depicts the audience's sufferings as God's discipline. But is this discipline a punishment for sin or positive, formative training? Phillip A. Davis, Jr. examines this question in light of Hebrews' ethics, ancient corporal punishment practices, and the passage's use of Proverbs 3:11-12 -- Bac cover.