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A COMPANION TO OVID

  Knox to be identiļ¬ ed as the author of the editorial material in this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording orotherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher.

Contents

  List of Figuresviii 4. Ovid and Religion Roy K.

Part II Texts

  Lost and Spurious Works 207 Luigi Galasso 14. The Metamorphoses: Politics and Narrative 154 10.

Part III Intertexts

  Ovid and Callimachus: Rewriting the Master 236 20. Ovid’s Catullus and the Neoteric Moment in Roman Poetry 252 Benjamin Acosta-Hughes 16.

Figures

  She has published on Ovid and Cicero, exile in the ancient world and today, women and children in antiquity, the Classical tradition in South African architecture,academic development, and the use of the computer in the teaching of Latin. In addition to Virgil and the Moderns (1993), Ovid and the Moderns (2005), and the forthcoming Minos and the Moderns: Cretan Myth in Twentieth-century Literature and Art (2008), his recent works include Modesof Faith: Secular Surrogates for Lost Religious Belief (2007), Clio the Romantic Muse (2004), and The Sin of Knowledge (2000).

Preface

  On the contrary, it is clear that any patronage of the arts which is connected with the motivations and the inter-ests of political power tends to encourage a production that is mainly conformist and celebratory, and as a result, it may even act as an obstacle to the creation of worksof high quality; and modern readers have often been rather severe in their judgment of that part of the poetic production of the Augustan age which is most closely linkedto the ideology of the regime. In his gesture of breaking with the canon of great national literature, Catullus had opened the way to the ambition of future poets to provide Rome with a new canonof works, which would combine the new requirements of neoterism on the levels of research into subjectivity, and stylistic elegance, with the breadth and the depth of aliterature that intended to represent the cultural patrimony of a nation (Citroni 2006:211–34).

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