By Roy Gibson, Steven Green, Alison Sharrock
The artwork of Love celebrates the bi-millennium of Ovid's cycle of subtle and subversive didactic poems on love, normally assumed to were dropped at crowning glory round advert 2. Ars Amatoria (The paintings of Love) and Remedia Amoris (Cures for Love), which purport to educate younger Roman women and men how you can be solid enthusiasts, have been in part liable for the poet's exile from Rome less than the emperor Augustus. None the fewer they exerted nice impression over old and later love poetry. this can be the 1st assortment in English dedicated to the poems, and brings jointly some of the top figures within the box of Latin literature and Ovidian reviews from the British Isles, Germany, Italy, and the us. It bargains a variety of views at the poetics, politics, and erotics of the poems, starting with a serious survey of contemporary learn, and concluding with papers at the historical, medieval, and sleek reception of the poems.
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Extra info for The Art of Love: Bimillennial Essays on Ovid's Ars Amatoria and Remedia Amoris
What is the relationship between the narratives and the Narrative? One way of making a film would be to intersperse a narrative of the relationship between avuncular Ovid and his eager pupil (and, assuming this was not for consumption by the innocent, you might well put an erotic spin on that) with a narrative of the pupil’s progress in his own affair. If this were Hollywood, the film would probably end up with the young couple rejecting Ovid’s cynical and devious instruction and going off to live happily ever after.
For example: the advice on sweet-talking (2. ) implies a narrative like this—in the early weeks of their relationship, they were untroubled by serious arguments or by any intrusions of financial and social reality (2. 153–8). Sometimes she was a bit prickly, being that kind of person, but he managed to win her over by his devotion (2. 177–8). For he was completely besotted, and fawned on her like a lapdog (2. 197–202) . . skip a bit . . but after the honeymoon time, there were occasionally problems.
To the same literate reader, Ovid shows himself, in his use of language, to be adopting the role of the love magician (1994a: 61–86). It is not so much the (naive) ‘Reader’ who is being seduced here, but the knowledgeable literate ‘reader’ who is prey to this ‘magical and pederastic seduction’ (1994a: 86). Sharrock’s critical approach has helped to open up the dynamics and complexities of the text, and its inXuence is strongly felt in this volume. In a novel piece, Duncan Kennedy focuses on the female reader/Reader of Ars 3, and takes up the invitation oVered by the praeceptor to (re)read the Heroides as part of an implicit love-lesson: by ‘re-enacting’ the scenarios in the letters with a certain level of detachment, Ovid suggests that the pupil may be able both to empathize with the heroine’s words and to assess their erotodidactic signiWcance.