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101 0 $aeng
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181   $ctxt$2rdacontent
182   $cc$2rdamedia
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200 10$aTragedy in Ovid $etheater, metatheater, and the transformation of a genre /$fDan Curley
210   $aCambridge ;$aNew York $cCambridge University Press$dc2013
215   $a1 online resource (xi, 275 pages) $cdigital, PDF file(s)
300   $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015).
311   $a1-107-00953-7 
311   $a1-299-74900-3 
320   $aIncludes bibliographical references and index.
327   $aMutatas dicere formas. The transformation of tragedy -- Nunc habeam per te Romana Tragoedia nomen. Ovid's Medea and Roman tragedy -- Lacrimas finge videre meas. Epistolary theater -- Locas exstat et ex re nomen habet. Space, time, and spectacle -- Tollens ad sidera palmas exclamat. Staging rhetoric -- Medeae Medea forem. Tragic intratextuality -- Carmen et error. Tragedy's end.
330   $aOvid is today best known for his grand epic, Metamorphoses, and elegiac works like the Ars Amatoria and Heroides. Yet he also wrote a Medea, now unfortunately lost. This play kindled in him a lifelong interest in the genre of tragedy, which informed his later poetry and enabled him to continue his career as a tragedian - if only on the page instead of the stage. This book surveys tragic characters, motifs and modalities in the Heroides and the Metamorphoses. In writing love letters, Ovid's heroines and heroes display their suffering in an epistolary theater. In telling transformation stories, Ovid offers an exploded view of the traditional theater, although his characters never stray too far from their dramatic origins. Both works constitute an intratextual network of tragic stories that anticipate the theatrical excesses of Seneca and reflect the all-encompassing spirit of Roman imperium.
606   $aTragedy$xHistory and criticism
615  0$aTragedy$xHistory and criticism.
676   $a871/.01
700   $aCurley$b Dan$f1966-$01711840
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996   $aTragedy in Ovid$94103459
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