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Time and the Erotic in Horace's Odes (Hardcover, New)
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Time and the Erotic in Horace's Odes (Hardcover, New)
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In Horace's Odes love cannot last. Is the poet unromantic, as some
critics claim? Is he merely realistic? Or is he, as Ronnie Ancona
contends, relating the erotic to time in a more complex and
interesting way than either of these positions allows? Rejecting
both the notion that Horace fails as a love poet because he
undermines the romantic ideal that love conquers time and the
notion that he succeeds becauses he eschews illusions about love's
ability to endure, this book challenges the assumption that
temporality must inevitably pose a threat to the erotic. The author
argues that temporality, understood as the contingency the male
poet/lover wants to but cannot control, explains why love fails in
Horace's Odes.
Drawing on contemporary theory, including recent work in feminist
criticism, Ancona provides close readings of fourteen odes, which
are presented in English translation as well as in Latin. Through a
discussion of the poet's use of various temporal devices--the
temporal adverb, seasonal imagery, and the lover or beloved's own
temporality--she shows how Horace makes time dominate the erotic
context and, further, how the version of love that appears in his
poems is characterized by the lover's desire to control the
beloved. The romantic ideal of a timeless love, apparently rejected
by the poet, emerges here instead as an underlying element of the
poet's portrayal of the erotic. In a critique of the predominant
modes of recent Horatian scholarship on the love odes, Ancona
offers an alternative view that takes into account the male gender
of the lover and its effect on the structure of desire in the
poems. By doing so, she advances a broader project in recent
classical studies that aims to include discussion of features of
classical literature, such as sexuality and gender, which have
previously escaped critical attention.
Addressing aspects of Horace as a love poet--especially the
dynamics of gender relations--that critics have tended to ignore,
this book articulates his version of love as something not to be
championed or condemned but rather to be seen as challengingly
problematic. Of primary interest to classicists, it will also
engage the attention of scholars and teachers in the humanities
with specializations in gender, sexuality, lyric poetry, or
feminist theory.
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