000			01935nam a22002897a 4500
001			sulb-eb0015569
003			BD-SySUS
005			20160405134438.0
008			101022s2013||||enk o ||1 0|eng|d
020			_a9780511841811 (ebook)
020			_z9781107009530 (hardback)
040			_aUkCbUP _beng _erda _cUkCbUP
050	0	0	_aPA6537 _b.C87 2013
082	0	0	_a871/.01 _223
100	1		_aCurley, Dan, _eauthor.
245	1	0	_aTragedy in Ovid : _bTheater, Metatheater, and the Transformation of a Genre / _cDan Curley.
264		1	_aCambridge : _bCambridge University Press, _c2013.
300			_a1 online resource (285 pages) : _bdigital, PDF file(s).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aTitle from publisher's bibliographic system (viewed on 04 Apr 2016).
520			_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.
776	0	8	_iPrint version: _z9781107009530
856	4	0	_uhttp://dx.doi.org/10.1017/CBO9780511841811
942			_2Dewey Decimal Classification _ceBooks
999			_c37413 _d37413