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In this chapter, I shall argue that Calvino’s concept of ‘lightness’ will help us to better understand the poetological dimension of Ovid’s Tristia and their paradoxical features. In the first lecture of his Six Memos for the Next Millennium, Calvino illustrates his definition of lightness by employing the myth of Perseus: Perseus not only succeeds in killing the Medusa, but also uses her head to fight against his enemies. Furthermore, Medusa’s blood will bring forth Pegasus, a source of inspiration and creativity. In the myth of Perseus, lightness and weight are inextricably intertwined with each other. Re-reading the Tristia from the perspective of Calvino’s interpretation of the Perseus myth can demonstrate how Ovid employs the sadness in the Tristia as a technique of producing lightness and of re-entering the urban space from which he has been banished.
Barthes, R. (1967). The Death of the Author (übersetzt von Richard Howard). Aspen 5/6 (dt. Übersetzung: Roland Barthes: Der Tod des Autors. In: J. Fotis, G. Lauer, M. Martínez und S. Winko, eds., Texte zur Theorie der Autorschaft. Stuttgart 2000, pp. 185–193).
Burck, E. (1966). Das Paraklausithyron. Die Entwicklungsgeschichte eines Motivs der antiken Liebesdichtung. In: E. Burck. Vom Menschenbild in der römischen Literatur. Ausgewählte Schriften. Bd. 1, Heidelberg, pp. 244–256. (zuerst 1932 in Humanistisches Gymnasium 43, pp. 186–200).
Calvino, I. (1988/2012). Sechs Vorschläge für das nächste Jahrtausend. Frankfurt (ital. Orig. 1988. Lezioni americane. Sei proposte per il prossimo millennio. Mailand).
Hejduk, J.D. (2015). The Offense of Love. Ars Amatoria. Remedia Amoris, and Tristia 2. Madison.
Hinds, S. (2023). Ovid’s Exile Poetry and Zombies. In: J. Farrell, J.F. Miller, D. Nelis, A. Schiesaro, eds. Ovid, Death and Transfiguration, Leiden/Boston, pp. 251–266.
Iser, W. (1972). Der implizite Leser. Kommunikationsformen des Romans von Bunyan bis Beckett. München.
Man, P. de (1979). Modern Language Notes 94.5, pp. 919–930 (wiederabgedruckt in: Man, P. de (1984). The Rhetoric of Romanticism, New York, pp. 76–82).
Rancière, J. (2006). Die Aufteilung des Sinnlichen. Die Politik der Kunst und ihre Paradoxien. Berlin (frz. Orig.: 2000. Le partage du sensible. Esthétique et politique. Paris).
Schmitz-Emans, M. (1995). Metamorphosen der Metamorphosen. Italo Calvino und sein Vorfahr Ovid: Calvinos Poetik und Ovids ‚Metamorphosen‘. Poetica 27.3–4, pp. 433–469.
Sprinker, M. (1980). Fictions of the Self: The End of Autobiography. In: J. Olney, ed. Autobiography: Essays Theoretical and Critical, Princeton, pp. 321–342.
Tornau, C. (2007). Die Liebeskunst in den Tristia. Überlegungen zur Intertextualität in den Tristia. In: M. Janka, U. Schmitzer und H. Seng, eds., Ovid. Werk—Kultur—Wirkung, Darmstadt, pp. 257–279.
Vuković, K. (2020). The Lovers and the Rebel: Reading the Double Heroides as an Exilic Text. In: T.E. Franklinos und L. Fulkerson, eds., Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana, Oxford, pp. 242–261.
Warning, R. (1979). Rezeptionsästhetik. Theorie und Praxis. 2. Aufl. München.
Wessels, A. (2008) Zum Verhältnis von Kunst und Politik in der frühen alexandrinischen Literatur. In: C. König, M. Lepper und M. Espagne, eds., Geschichte der Germanistik 33/34, Göttingen, pp. 60–66.
Williams, G.D. (2002). Ovid’s Exilic Poetry: Worlds Apart. In: B. Weiden Boyd, ed., Brill’s Companion to Ovid, Leiden/Boston/Köln, pp. 337–373.
Williams, G.D. (2022). The End(s) of Reason in Tomis. Philosophical Traces, Erasures, and Error in Ovid’s Exilic Poetry. In: K. Volk und G. Williams, eds., Philosophy in Ovid, Ovid as Philosopher, pp. 308–331.
Wiseman, T.P. (2019). The House of Augustus. A Historical Detective Story. Princeton/Oxford.
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