Gaze, movement and gender in Ovid’s story of Atalanta and Hippomenes (Met. 10.560-707)
DOI:
https://doi.org/10.11606/issn.2358-3150.v2i1p195-224Palavras-chave:
Ovid, Metamorphoses, gaze, movement, genderResumo
In his Metamorphoses, Ovid created a world of alternating images that reflect both the significance of visual communication and the importance of movement. In these stories, vision and movement are closely related to the characters’ genders, the plot, and the final transformations. The relationship between Ovid’s literary text and a movie as a narrative, wherein the medium of storytelling differs, allows for the application of feminist film theory, especially that of Laura Mulvey. This approach can be applied to the Metamorphoses, Ovid’s piece of art that combines both text and image in an exemplary manner. Atalanta’s story, which will be discussed, is chosen precisely because it highlights the multidimensional function of vision and movement, combined with the gender of the observer and the object of the gaze, as well as the transformation process.
Downloads
Referências
Tarrant, Richard J. 2004. P. Ovidi Nasonis Metamorphoses (Oxford Classical Texts). Oxford: Oxford University Press.
Kline, Antony S. 2004. Ovid. Metamorphoses. With a complete English translation and mythological index. Ann Arbor: Borders Classics.
Anderson, William S. 1966. “Talaria and Ovid Met. 10.591”. TAPA 97:1-13.
Anderson, William S. 1972. Ovid’s Metamorphoses: Books 6-10. Norman: University of Oklahoma Press.
Barringer, Judith M. 1996. “Atalanta as Model: The Hunter and the Hunted”. Classical Antiquity 15.1:48-76.
Barthes, Roland 1981. Camera lucida: Reflections on photography. N. York: Hill and Wang.
Ciabaton, M.A. 2020. “Multiplicity (Intertextual et al.) in Metamorphoses 10.560–707: Atalanta’s Duplicity Unveiled”. Classical Philology 115.3: 186-208.
Curran, Leo C. 1978. “Rape and Rape Victims in the Metamorphoses”. Arethusa 11:213-241.
Davis, Gregson 1983. The death of Procris: “amor” and the hunt in Ovid’s Metamorphoses. Rome: Edizioni dell'Ateneo.
Devereaux, Mary 1990. “Oppresive Texts, Resisting Readers and the Gendered Spectator: The New Aeshetics”. The Journal of Aesthetics and Art Criticism 48.4:337-347.
Doane, Mary A. 1991. Femmes Fatales: Feminism, Film Theory, Psychoanalysis. N.York; London: Routledge.
Faraone, Christopher A. 1990. “Aphrodite’s ΚΕΣΤΟΣ and Apples for Atalanta: Aphrodisiacs in Early Greek Myth and Ritual”. Phoenix 44.3:219-243.
Feldherr, Andrew 2010. “Metamorphosis in the Metamorphoses”. In The Cambridge companion to Ovid, edited by P. Hardie, transl. A.N. Michalopoulos & Ch.N. Michalopoulos, 233-256. Athens: Papadimas.
Forbes Irving, Paul M.C. 1990. Metamorphosis in Greek Myths. Oxford: Oxford University Press.
Fratantuono, Lee 2014. Ovid: Metamorphoses X. London; N. York: Bloomsbury.
Freud, Sigmund 1986. “Feminity”. In The standard edition of the complete psychological works of Sigmund Freud, edited by J. Strachey, 112-135. London: Hogarth Press.
Gentilcore, Roxanne 1995. “The Landscape of Desire: The Tale of Pomona and Vertumnus in Ovid’s Metamorphoses”. Phoenix 49.2:110-120.
Greene, Ellen 1998. The erotics of domination: Male desire and the mistress in Latin love poetry. Baltimore: Johns Hopkins University Press.
Grimal, Pierre 1990. A Concise Dictionary of Classical Mythology. edited by S. Kershaw, trans. A.R. Maxwell-Hyslop. Oxford: Basil Blackwell.
Groves, Robert 2016. “From Statue to Story: Ovid’s Metamorphosis of Hermaphroditus”. Classical World 109.3:321-356.
Gubar, Susan 1987. “Representing Pornography: Feminism, Criticism, And Depictions of Female Violations”. Critical Inquiry, 13.4:712-741.
Hersch, Karen 2010. The Roman wedding: Ritual and meaning in antiquity. Cambridge: Cambridge University Press.
Hinds, Stephen E. 2010. “Landscape with Figures: Aesthetics of Place in the Metamorphoses and its Tradition”. In The Cambridge companion to Ovid, edited by P. Hardie, transl. A.N. Michalopoulos & Ch.N. Michalopoulos, 177-214. Athens: Papadimas.
Irigaray, Luce 1977. “This Sex Which Is Not One”. In Feminisms: An Anthology of Literary Theory and Criticism, edited by Warhol, R. & Hemdl, D.P., 363-369. N. Jersey: Rutgers.
Knox, Peter E. 1990. “In Pursuit of Daphne”. TAPA 120:183-202.
Kaplan, Ann E. 1983. “Is the Gaze Male?”. In Powers of desire: The politics of sexuality, edited by A. Snitow, C. Stansell and S. Thompson, 309-327. N. York: Monthly Review Press.
Lacan, Jacques M.E. 1998. The Seminar of Jacque Lacan: The Four Fundamental Concepts of Psychoanalysis, edited by Miller, J.A., transl. Sheridan, A. N. York: W.W. Norton & Company.
Laird, Andrew 1996. “Ut Figura Poesis: Writing Art and the Art of Writing in Augustan Poetry”. In Art and text in Roman culture, edited by J. Elsner, 75-102. Cambridge: Cambridge University Press.
Littlewood, Antony R. 1968. “The Symbolism of the Apple in Greek and Roman Literature”. HSCPh 72:147-181.
Mèndez, Abigail L.M. 2020. “Manzanas para Cídipe y Atalanta: ¿obsequio amoroso o estrategia para el engaño?”. Cuadernos de Literatura. Revista de Estudios Lingüísticos y Literarios 14:27-36.
Metz, Christian 1985. The Imagery Signifier in Film Theory Cricism (3d ed.), edited by Mast, G. & Cohen, M. Oxford: Oxford University Press.
Miller, Paul Α. 2001. “Why Propertius is a Woman: French Feminism and Augustan Elegy”. CP 96:127-146.
Mulvey, Laura 1975. “Visual Pleasure and Narrative Cinema”. Screen 16.3:6-18.
Pavlock, Barbara 2009. The image of the poet in Ovid’s Metamorphoses. Madison: University of Wisconsin Press.
Pietropaolo, Mariapia 2011. “Metamorphic Composition in Ovid’s Treatment of Salmacis and Hermaphroditus”. Mouseion: Journal of the Classical Association of Canada 11.3:279-294.
Pucci, Pietro 1978. “Lingering on the Threshold”. Glyph 3:52-73.
Rabinowitz, Nancy S. & Richlin, Amy 1993. Feminist theory and the classics. N. York: Routledge.
Reed, Joseph D. 2013. Ovidio Metamorfosi Volume V ( Libri X-XII ). Roma; Milano: Fondazione Lorenzo Valla; A. Mondadori.
Reeder, Ellen D. 1995. “Woman as Other”. Notes in the History of Art 15.1:25-31.
Rimell, Victoria 2006. Ovid's lovers: Desire, difference and the poetic imagination. Cambridge: Cambridge University Press.
Rosati, Gianpiero 1983. Narciso e Pigmalione: illusion e spetacolo nelle Metamorfosi di Ovidio. Florence: Sansoni.
Rosati, Gianpiero 2002. “Narrative Techniques and Narrative Structures in the Metamorphosis”. In Brill’s Companion to Ovid, edited by B. Weiden Boyd, 271-304. Leiden: Brill.
Salzman-Mitchell, Patricia B. 2005. A web of fantasies: Gaze, image, and gender in Ovid’s Metamorphoses. Columbus: Ohio State University Press.
Salzman-Mitchell, Patricia B. 2008. “A Whole Out Of Pieces: Pygmalion’s Ivory Statue in Ovid’s Metamorphoses”. Arethusa 41.2:291-311.
Scanlon, Thomas F. 2002. Eros and Greek Athletics. Oxford: Oxford University Press.
Segal, Charles P. 1969. Landscape in Ovid's Metamorphoses. A study in the transformations of a literary symbol. Wiesbaden: Steiner Verlag.
Sharrock, Alison 2010. “Gender and Sexuality”. In The Cambridge companion to Ovid, edited by P. Hardie, transl. A.N. Michalopoulos & Ch.N. Michalopoulos, 137-156. Athens: Papadimas.
Sourvinou-Inwood, Christiane 1987. “A Series of Erotic Pursuits: Images and Meanings”. JHS 107:131-153.
Ziogas, Ioannis 2013. Ovid and Hesiod. The Metamorphosis of the Catalogue of Women. Cambridge: Cambridge University Press.
Downloads
Publicado
Edição
Seção
Licença
Copyright (c) 2024 Artemis Archontogeorgi
Este trabalho está licenciado sob uma licença Creative Commons Attribution-NonCommercial 4.0 International License.
Autores que publicam nesta revista concordam com os seguintes termos:
- Autores mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho licenciado simultaneamente sob uma Licença Creative Commons Attribution 2 anos após a publicação, permitindo o compartilhamento do trabalho com reconhecimento da autoria do trabalho e publicação inicial nesta revista.
- Autores têm autorização para assumir contratos adicionais separadamente, para distribuição não-exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista.
- Autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado (Veja O Efeito do Acesso Livre).
