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This innovative study analyses the presence of Ovid in contemporary
women's writing through a series of insightful case studies of
prominent female authors, from Ali Smith, Marina Warner, and Marie
Darrieussecq, to Alice Oswald, Saviana Stanescu, and Yoko Tawada.
Using Ovid in their engagements with a wide range of issues
besetting our twenty-first century world - homelessness, refugees,
the financial crisis, internet porn, anorexia, body image - these
writers echo the poet's preoccupation in his own work with fleeting
fame, shape-shifting, and the dangers of immediate gratification,
and make evident that these concerns are not only quintessentially
modern, but also peculiarly Ovidian. Moving beyond the concern of
second-wave feminism with recovering silenced female voices and
establishing a female perspective within canonical works, the
volume places particular emphasis on the intersections between
Ovid's imaginative universe and the political and aesthetic agenda
of third-wave feminism. Focusing on its subjects' socially and
politically charged re-shapings, re-imaginings, and receptions of
Ovid, it not only demonstrates the extraordinary plasticity of his
writing, but also of its myriad re-castings and
re-contextualizations within contemporary culture (in terms of
genre alone, the works discussed included translations, poetry,
plays, novels, short stories, and memoirs). In so doing, it not
only offers us a valuable perspective on the work of the selected
female authors and a new and vital landmark in the history of
Ovidian reception, but also reveals to us an Ovid who remains our
contemporary and an enduring source of inspiration.
The history of Virgil and his receptions is long and varied. His
twentieth-century career transformed his appearance as an anaemic
imitator of Homer into the 'Father of the West', speaking above all
for the marginalized and exiled. At the turn of the millennium it
is women writers who, having been largely absent from the story of
Virgil's reception, are for the first time shaping a new aetas
Vergiliana by drawing on his poems to speak of their own
preoccupations and concerns. Through an analysis of Virgil's
presence in the work of contemporary women writers from North
America (Joyce Carol Oates, Janet Lembke, Ursula Le Guin), Britain
(Margaret Drabble, A. S. Byatt, Ruth Fainlight, Michele Roberts,
Carol Ann Duffy, U. A. Fanthorpe, Josephine Balmer), Ireland (Eavan
Boland), and continental Europe (Christa Wolf, Helene Cixous,
Charlotte Delbo and Monique Wittig), this book identifies a new
Virgil: one who speaks in female tones of the anxieties,
exclusions, pleasures, and threats of the contemporary world. While
each of the female writers included in this volume draws upon her
own distinct cultural heritage, Cox focuses on a number of shared
themes and values which emerge through their work.
Through the works of these modern versions of the Sibyl, Virgil
speaks both of explicitly female concerns and wider cultural issues
and threats that shadow modern life.
This collection of essays examines the ways Ovid's diverse œuvre
has been translated, rewritten, adapted, and responded to by a
range of French and Francophone women from the Renaissance to the
present. It aims to reveal lesser-known voices in Ovidian reception
studies, and to offer a wider historical perspective on the complex
question of Ovid and gender. Ranging from Renaissance poetry to
contemporary creative-criticism, it charts an understudied strand
of reception studies, emphasizing how a longer view allows us to
explore and challenge the notion of a female tradition of Ovidian
reception. The range of genres analysed here—poetry, verse and
prose translation, theatre, epistolary fiction, autofiction,
autobiography, film, creative critique, and novels—also reflect
the diversity of the Ovidian texts in reception from the Heroides
to the Metamorphoses, from the Amores to the Ars Amatoria, from the
Tristia to the Fasti. The study brings an array of critical
approaches to bear on well-known authors such as George Sand, Julia
Kristeva, and Marguerite Yourcenar, as well as less-known figures,
from contemporary writer Linda Lê to the early modern Catherine
and Madeline Des Roches, exploring exile, identity, queerness,
displacement, voice, expectations of modesty, the poetics of
translation, and the problems posed by Ovid's erotized violence, to
name just some of the volume's rich themes. The epilogue by
translator and novelist Marie Cosnay points towards new
eco-critical and creative directions in Ovidian scholarship and
reception. Students and scholars of French Studies, Classics,
Comparative Literature and Translation Studies will find much to
interest them in this diverse collection of essays.
This collection of essays examines the various ways in which the
Homeric epics have been responded to, reworked, and rewritten by
women writers of the twentieth and early twenty-first centuries.
Beginning in 1914 with the First World War, it charts this
understudied strand of the history of Homeric reception over the
subsequent century up to the present day, analysing the
extraordinary responses both to the Odyssey and to the Iliad by
women from around the world. The backgrounds of these authors and
the genres they employ - memoir, poetry, children's literature,
rap, novels - testify not only to the plasticity of Homeric epic,
but also to the widening social classes to whom Homer appeals, and
it is unsurprising to see the myriad ways in which women writers
across the globe have played their part in the story of Homer's
afterlife. From surrealism to successive waves of feminism to
creative futures, Homer's footprint can be seen in a multitude of
different literary and political movements, and the essays in this
volume bring an array of critical approaches to bear on the work of
authors ranging from H.D. and Simone Weil to Christa Wolf, Margaret
Atwood, and Kate Tempest. Students and scholars of not only
classics, but also translation studies, comparative literature, and
women's writing will find much to interest them, while the volume's
concluding reflections by Emily Wilson on her new translation of
the Odyssey are an apt reminder to all of just how open a text can
be, and of how great a difference can be made by a woman's voice.
This study traces Virgil's journey through twentieth-century France
by examining his profile in the works of Gide, Aragon, Valery,
Pagnol, Klossowski, Butor, Simon and Pinget, and by looking at how
their Virgilian appropriations complement and modify current
readings of the "Aeneid" and other works. His presence in these
works provides insights not only into modern French culture but
into the Virgilian oeuvre itself. This process of mutual
illumination is highlighted in Cox's argument by theories of
intertextuality and dialogism. Although Virgil's presence in French
literature is characterized by its focus on exile and uncertainty,
Cox's study reaffirms the multivalency of this great European poet
and his continuing relevance at the turn of the millennium.
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