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Word pictures : visualising with Ovid

dc.contributor.authorClaassen, Jo-Marie
dc.date.accessioned2014-07-07T12:10:27Z
dc.date.available2016-08-31T03:00:05Z
dc.date.issued2013
dc.identifier.citationClaassen, J.-M. 2013. Word Pictures: Visualising with Ovid. Acta Classica 56: 29-54.
dc.identifier.issn0065-1141 (print)
dc.identifier.urihttp://hdl.handle.net/10019.1/91604
dc.descriptionPlease cite as follows:en
dc.descriptionClaassen, J.-M. 2013. Word Pictures: Visualising with Ovid. Acta Classica 56: 29-54.en
dc.descriptionThe original publication is available at http://www.casa-kvsa.org.za/acta_classica.htmen
dc.descriptionSee also - Sabinet Reference Online for the original publication - http://reference.sabinet.co.za/document/EJC146656en
dc.description.abstractOvid verbally portrays three different modes of ‘seeing’. In the Metamorphoses readers mentally ‘watch’ his various protagonists seeing or being seen. In the elegiac poetry readers are often induced to share the field of vision of his protagonists. In Amores 3.2 and Ars Amatoria 1.135ff., readers ‘look’ with the lover and his mistress during ‘a day at the races’, virtually becoming both protagonists. In the exilic poems Ovid is sole viewer. ‘Something he saw that ruined him’ looms large in his imagination. The exile begins to rely solely on mental vision, ‘seeing’ the sights of Rome, conjuring up distant friends into his presence. Readers ‘see’ the lonely exile being comforted by his own inner vision.en
dc.format.extent26 p.
dc.publisherClassical Association of South Africa
dc.subjectOvid, 43 B.C.-17 or 18 A.D. -- Criticism and interpretationen_ZA
dc.titleWord pictures : visualising with Oviden
dc.typeArticle
dc.rights.holderClassical Association of South Africa
dc.embargo.terms2016-08-31


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