Mutata corpora : Ovid's Changing Forms and the Metamorphic Bodies of Pantomime Dancing

Lada‐Richards, Ismene

doi:10.1353/apa.2013.0001

Cited by 8 publications

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“…26Excellent examples are Ovid, whose Metamorphoses are being fruitfully read with an eye on pantomime (see especially Galinsky 1975, 68; 1996, 265; and 1999, 204; Richlin 1992; Habinek 2002, 47, 52 and 53; Lada-Richards 2013; 2016; 2018), and Seneca, whose tragedies have recently been read as composed ‘with pantomime in mind’ (see Zanobi 2008; 2014; Zimmermann 2008; Slaney 2013). …”

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INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE

Lada‐Richards

2019

Camb. class. j.

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Starting from the comparative standpoint of elite hostility to nineteenth-century British melodrama, this article posits pantomime's ‘melodramatic’ mode of exhibitionist excess as one of the missing links in the landscape against which Horace composed his Ars poetica. It suggests that lines 182–8 of the Ars that disapprove the display of death, violence and physical impossibilities on the tragic stage may be better understood as Horace's hostile response to pantomime's increasing prominence in Roman theatrical life, more precisely to the dislocation of ‘horror’ and ‘marvel’ from the realm of the ‘heard’ to that of the ‘seen’ favoured by the pantomime genre.

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confidence: 99%

INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE

Lada‐Richards

2019

Camb. class. j.

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“…2.515–20, 5.7.25–30. On the Metamorphoses and pantomime, see Galinsky (1996), 265f., Ingleheart (2008) and Lada-Richards (2013).…”

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PERFORMING MIRACLES: THENATALICIAOF PAULINUS OF NOLA AS POPULAR ENTERTAINMENT

Fielding

2018

Ramus

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Paulinus of Nola might not be very widely read today, even among professional classicists, but he remains the most popular Latin poet in his adopted hometown. At the Christian basilica complex in Cimitile, near Nola, where Paulinus founded a community for ascetic devotees of the cult of St. Felix in the late fourth century, his poetry is still recited publicly on a number of festive days each year. On a recent visit to Cimitile, I found myself in the audience at one of these narrazioni, which had been organized as a prelude to the Festa dei Gigli, held annually in Paulinus’ honor on June 22. For a group of local residents, gathered around the tomb of Felix in the basilica uetus, an actor read passages from an Italian translation of Paulinus’ carmina, which were then subjected to theological exposition by the Vicar General of the Diocese of Nola. Even now, therefore, Paulinus’ poems, with their straightforward diction and everyday subject matter, are seen as an appropriate vehicle for inspiring religious devotion in the lay community. It is not difficult to imagine a similar scene at Cimitile when Paulinus himself was leading the festivities, 1600 years ago. Still, this modern recitation raises questions about how the Natalicia—that is, the series of poems he composed for Felix's feast day each January 14—were performed in their original context. Presumably, Paulinus would have delivered the Natalicia on his own, without the assistance of actors—but would he have recited all 858 verses of Natalicium 13 (for example), or would he only have presented excerpts? Would the readings have been supplemented by any commentary—theological, or even literary?

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Imagining the Chorus in Augustan Poetry

Curtis

2017

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From archaic Sparta to classical Athens the chorus was a pervasive feature of Greek social and cultural life. Until now, however, its reception in Roman literature and culture has been little appreciated. This book examines how the chorus is reimagined in a brief but crucial period in the history of Latin literature, the early Augustan period from 30 to 10 BCE. It argues that in the work of Horace, Virgil, and Propertius, the language and imagery of the chorus articulate some of their most pressing concerns surrounding social and literary belonging in a rapidly changing Roman world. By re-examining seminal Roman texts such as Horace's Odes and Virgil's Aeneid from this fresh perspective, the book connects the history of musical culture with Augustan poetry's interrogation of fundamental questions surrounding the relationship between individual and community, poet and audience, performance and writing, Greek and Roman, and tradition and innovation.

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Mutata corpora : Ovid's Changing Forms and the Metamorphic Bodies of Pantomime Dancing

Cited by 8 publications

References 83 publications

INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE

INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE

PERFORMING MIRACLES: THENATALICIAOF PAULINUS OF NOLA AS POPULAR ENTERTAINMENT

Imagining the Chorus in Augustan Poetry

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