By Ronnie Ancona
This is often the 1st publication aimed particularly at preserving academics modern on contemporary advancements in Latin scholarship. Edited by means of Ronnie Ancona, a classics pupil with services in pedagogy, it positive factors contributions by means of tested gurus on all the 5 Latin authors. each one essay combines theoretical fabric with Latin passages in order that teachers can see how essentially to use those the way to particular texts.
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Additional info for A Concise Guide to Teaching Latin Literature (Oklahoma Series in Classical Culture)
Reading Ovid offers not an answer or a solution, but a thread with which to negotiate our way through such choices. When we take hold of the thread, we become participants in the restoration of Ovid to the world of Roman poetry. I therefore invite new readers of Ovid who come to him with at least some distance from those biases so neatly captured by Hinds and tested against the above excerpts to welcome Ovid wholeheartedly back into their classrooms—and to discover one more way to sustain the energy of the discipline we share.
30 and c. 12 In this context, the apparent bathos of the final stanza, where Catullus veers away from the symptoms of love to an ironic self-address, may be less striking, and in this stanza we may hear the voice of an imagined response from Calvus. What you see in a given Catullan poem, then, depends to a large extent on what connections you make with other poems in the oeuvre. Experiments of the sort I have been making are a useful critical or pedagogical practice. They make us aware of the categories and narratives that we want to find, and they help to open us to different possibilities.
E. 3 I want to emphasize that I use metaphors associated with exile throughout most of this discussion as simply (and powerfully) that—metaphors, and ones of modern origin. I do not think that exile was simply a metaphor for Ovid, however, although his exile poetry amply exploits its imaginative potential. 4 While I applaud the healthy skepticism that invites such theorizing, in this case I wish to redirect it, and explore here not the relative merits of fact and fiction per se but rather the ways in which Ovid’s poetry invites us to speculate, as readers and as teachers, about the inextricable relationships between art and life, between thought and expression, between other and self, and between teaching and learning.