Metamorphosis in the <i>Metamorphoses</i>

Feldherr, Andrew

doi:10.1017/ccol0521772818.012

Cited by 119 publications

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“…Metamorphosis is “a means for the figurative to become more than figurative, for a trope to become reality” (Feldherr, 2002, p. 176). As the tale of Baucis and Philemon repeatedly demonstrates, wooden trees may be turned into different objects and structures 5 .…”

Section: Metaphor and Metamorphosismentioning

confidence: 99%

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Metamorphosis and the aesthetics of loss: I. Mourning Daphne –TheApollo and Daphnepaintings of Nicolas Poussin

Tutter

2011

The International Journal of Psychoanalysis

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The myth of Apollo and Daphne, as told in Ovid's Metamorphoses, is viewed through the self-referential eye of the seicento painter, Nicolas Poussin. Collectively, the tree-metaphoric myths are argued to metaphorically represent, mourn, and negate unbearable realities, including the developmental challenges of adolescence and adulthood - in particular, loss. Examined in the context of their aesthetic precedents and a close reading of Ovid 's text, the two Apollo and Daphne paintings that bracket Poussin's oeuvre are interpreted as conveying the conflict and ambiguity inherent to Ovid, as well as connotations more personal to the artist. The poetic and aesthetic reworking of the regressive, magical experience of metamorphosis restores it to the symbolic world of metaphor: for reparation, remembrance, and return.

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Section: Metaphor and Metamorphosismentioning

confidence: 99%

“…Daphne’s humanity is sacrificed to her evergreen destiny, her branches consigned to crown the immortal Apollo and his assorted signifiers. The Ovid scholar Andrew Feldherr (2002) insightfully notes that:…”

Section: Poussin’s 1625 Apollo and Daphnementioning

confidence: 99%

Metamorphosis and the aesthetics of loss: I. Mourning Daphne –TheApollo and Daphnepaintings of Nicolas Poussin

Tutter

2011

The International Journal of Psychoanalysis

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“…This shared devotion points to a meaningful relationship between the work in which Woodman cast herself as a Caryatid and as Daphne. The two themes also share a crucial formal commonality: in metamorphic situations of “petrifaction, the frozen forms … are essentially indistinguishable from statues” (Feldherr, 2002, p. 175). This resemblance extends to the similar columnar shape of the Caryatids and trees, reminding us that columned temples were likely patterned after the original tenemos [sacred places]: consecrated groves of trees, such as those dedicated to the worship of Artemis.…”

Section: The Woods From Whence They Camementioning

confidence: 99%

Metamorphosis and the aesthetics of loss: II. Lady of the woods–The transformative lens of Francesca Woodman

Tutter

2011

The International Journal of Psychoanalysis

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As interpreted by the celebrated American photographer, Francesca Woodman, the myth of Apollo and Daphne forms an allegorical locus for the transitions and tensions of adolescence and young adulthood. Woodman’s employment of this myth and related themes is also expressive of a preoccupying topos of regressive longings. Seamlessly extending Ovid’s transformation of the metamorphic myths into poetic epic, her work delves deeply into their driving purpose: to make sense of change, of loss, and of life itself. Over the millennia, classical myth is infused and enriched with personal meaning by the reanimating, clarifying and transformative lens of art.

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“…Forse proprio l'evoluzione del protagonista del testo, che in una sorta di scalata sociale passò da semplice capitano di ventura a duca di uno dei più potenti stati regionali italiani del XV secolo, in fondo potrebbe essere considerata una vera e propria metamorfosi del potere signorile. A ben vedere, nel passo in questione, è come se ci si trovasse di fronte a una vera e propria 12 Per ulteriori approfondimenti sull'interpretazione politica del I libro delle Metamorfosi si vedano Anderson (1989), Feeney (1991), Rosati (2001Rosati ( e 2002, Habinek (2002), Feldherr (2002), Barchiesi (2005Barchiesi ( , 2009, mentre per il XV libro si considerino Due (1974), Barchiesi (1994Barchiesi ( e 1989, Gladhill (2012). legittimazione divina: lui, che era arrivato al potere grazie al fortunato matrimonio con Bianca Maria, aveva messo in campo numerose strategie con le quali farsi riconoscere dalla cittadinanza quel potere che di fatto dal 25 febbraio 1450 già esercitava su di essa.…”

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Santapaola

2023

Myrtia

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El incansable brío creativo de Filelfo (25 de julio de 1398 – 13 de julio de 1481) y su inescrupulosa capacidad de satisfacer con sus alabanzas el deseo de gloria de los poderosos no le impidieron enfrentarse también con el género épico. En este trabajo se ha tomado en consideración un breve pasaje de la Sphortias (2.674-733), el poema dedicado a Francesco Sforza (23 de julio de 1401 – 8 de marzo de 1466), en que se presenta la descripción de una tempestad, topos literario propio de la épica. A partir de este exemplum, se ha intentado pues aclarar los mecanismos de la construcción narrativa de la obra que, aun hundiendo sus raíces en el mare magnum de la tradición épica, parecería presentar, quizás no en vano, interesantes innovacione L’instancabile estro creativo del Filelfo (25 luglio 1398 – 13 luglio 1481) e la sua spregiudicata capacità di soddisfare con le sue lodi il desiderio di gloria dei potenti non lo trattennero dal confrontarsi anche con il genere epico. In questo lavoro è stato preso in considerazione un breve passo tratto dalla Sphortias (2.674-733), il poema dedicato a Francesco Sforza (23 luglio 1401 – 8 marzo 1466), in cui viene presentata la descrizione di una tempesta, topos letterario proprio dell’epica. A partire da questo exemplum, si è cercato, dunque, di mettere in luce i meccanismi della costruzione narrativa dell’opera che, pur affondando le radici nel mare magnum della tradizione epica, sembrerebbe presentare, forse non invano, delle interessanti innovazioni.

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Metamorphosis in the Metamorphoses

Cited by 119 publications

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Metamorphosis and the aesthetics of loss: I. Mourning Daphne –TheApollo and Daphnepaintings of Nicolas Poussin

Metamorphosis and the aesthetics of loss: I. Mourning Daphne –TheApollo and Daphnepaintings of Nicolas Poussin

Metamorphosis and the aesthetics of loss: II. Lady of the woods–The transformative lens of Francesca Woodman

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