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ovid medicamina faciei femineae

The Ovid of the Medicamina is not necessarily the Ovid of the Amores, for example. Medicamina faciei femineae. [7] It is clear already from the poem’s interaction with extant didactic poetry that the Medicamina is most richly received when not read as purely didactic. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. [28] Gibson, 2003, 113: ire is commonly used of the passage of time and water. editio: incognita fons: incognitus. 3.569, Virgil, Aeneid 2.499. Ovid's next poem, the Medicamina Faciei, a fragmentary work on women's beauty treatments, preceded the Ars Amatoria, the Art of Love, a parody of didactic poetry and a three-book manual about seduction and intrigue, which has been dated to AD 2 (Books 1–2 would go back to 1 BC). Marguerite Johnson (who has books on Sappho, Boudicca, a source collection with Terry Ryan on gender and sexuality, and Alcibiades and the Socratic Lover/Educator [MXL ,EVSPH 8EVVERX S ìIVW YW XLMW RI[ ZSPYQI Ovid … 351–6 is a commonly cited instance of this. Ovid is considered as a master of the elegiac couplet and is ranked among the canonic poets of Latin literature, alongside Virgil and Horace. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. [4], But, how do we construe the Medicamina in the grand scheme of didactic poetry? Ovid on Cosmetics Medicamina Faciei Femineae and Related Texts In the hundred extant verses, Ovid… Vite ! [22] Watson, 2001, 470; Nisbet-Hubbard, 1970, 289. At the beginning of each commentary, she situates the selected text within the larger work from which it was taken (essential context for a reader encountering these works for the first time). Ovid can be read as responding to this Tibullan mismatch, both in A.A. 1.505-524 and in his repeated declaration that a certain standard of feminine cultus is needed to match the modern standards of male cultus ( A.A. 3.107-8; Med. In the case of the aforementioned facial treatment, she draws the reader’s attention to the sexual connotations of key verbs and the “overtly sexual implications due to the imagery of the young men with their muscular arms pounding away” (p. 71). P. Ovidius Naso, Medicamina Faciei Femineae various, Ed. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.sg: Books Nur der einleitende Teil und vier Rezepte haben sich erhalten. The types of analysis laid out in the introduction guide the discussions in the commentaries, which develop three main topics: the technical aspects of cosmeceuticals, adornment, etc. Its advice centres around men’s actions, and how women should respond to them.[8]. [17] Her reading is founded in the idea that the process of beautification must not be seen, and that the reader has interrupted a woman at her dressing table. Ancient testimony on related topics, by authors from Alexis to Vitruvius, gives evidence of the range of ancient views of beauty. 99–100). 3.61–4). Discite, quae faciem commendet cura, puellae, Et quo sit vobis causa tuenda modo! Rimell construes this as a reference to the poem’s mirror motif. [15] Ovid, Med. [3] Latin taken from Kenney’s Oxford Classical Text and all translations, as befits, are taken from Mozley’s Loeb, unless otherwise stated. Ovid, Met. 23-26 (“Here Ovid’s persona is that of the urbane sophisticate,” p. 18)—a statement that acknowledges the possibility of multiple personae. In the last extant lines of the poem, for example, the praeceptor provides an account via autopsy of a woman blushing her cheeks: vidi quae gelida madefacta papavera lympha, I have seen one who pounded poppies moistened with cool water, and rubbed them on her tender cheeks — (Ovid, Med. Découvrez Ovid Amores, Medicamina Faciei Femineae, Ars Amato ainsi que les autres livres de au meilleur prix sur Cdiscount. Saeculo I a.Ch.n. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) [Ovid, Kenney, E. [9] Volk, 2002, 40; the term is taken from Fowler, 2000. (The identification of the addressee of these Tibullan lines, which the misleading narrative makes ambiguous until line 15, is discussed by Damer,2 whom Johnson cites on p. This view also influences the attention Johnson pays to “intratextual contradictions” such as the one she points out between A.A. 1.505-24 and Med. The Ars Amatoria, which is often paired with the Medicamina, is addressed to women, but has Ovid’s male audience at its core. [25] The implication from the praeceptor’s chronological narrative, is that, through cultus, these women can pass as being in the ‘right season for love’. [9] Alison Sharrock takes this a step further, and has argued that a quasi-narrative can be read in Ovid’s Ars Amatoria out of the implied action of the central characters, which is manifested through the ‘directly instructional parts of the text’. In this specific instance, another productive line of analysis could be comparison with Tibullus 1.8, which displays a different approach to male cultus : the (male) Marathus has adorned himself excessively to attract the (female) Pholoe, who herself looks lovely even with an “uncultivated face” ( inculto … ore, 1.8.15). The praeceptor encourages women to use these strategies, but not to the detriment and deception of men. The second narrative is one of chronology and age. Each Latin text is accompanied by an English translation and a commentary (though the book is explicitly not intended as a textbook for an undergraduate Latin language course). Create lists, bibliographies and reviews: or Search WorldCat. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) Kindle Edition Author(s): Ovid. [8] Ovid, Ars Am. Despite first addressing puellae specifically (1), the praeceptor amoris addresses women of all social standings in its prooemium. [5] This has even led Watson to construe the Medicamina as a didactic parody. The fourth section, “Ovid and Augustus’s moral legislation,” presents Ovid’s erotic compositions as conflicting with, sometimes even defiantly, Augustan moral precepts and laws such as the lex Iulia of 18 BCE. This can draw our attention to important connections, but may also allow us to overlook others and encourage us to read “Ovid on cosmetics” as a coherent entity. When asked whether this child would live to reach well-ripened age, the seer replied: “If he ne’er know himself.” — (Ovid, Met. In “High maintenance … the Roman body,” Johnson lays out the common practices and tools of ancient beautification, as known through textual and archaeological evidence. [4] Johnson, 2016; Rimell, 2006; Watson, 2001. J.-C.-0017) Titre principal : Medicamina faciei (latin) Langue : latin: Genre ou forme de l’œuvre : Œuvres textuelles: Date : 2: Note : Poème de forme didactique dont il ne subsiste que le début, écrit entre 1 av. This is echoed in a recent paper by Rhode: ‘Yet even as the culture expects women to conform, they often face ridicule for their efforts…But neither should women “let themselves go,” nor look as if they were trying too hard not to. Johnson also addresses here the issue of Ovid’s intended audience ( matronae or not?). The ideals set out for women are unattainable, and therefore ‘their task is boundless’, as Rhode writes. Poésie didactique latine. Noté /5. The concept of cultus forms the cornerstone of the Medicamina. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) The commentary on the relatively neglected Medicamina Faciei Femineae may be the most welcome portion, as previously Rosati’s 1985 Italian edition was the only modern commentary available. 1.8.9-10 to refer to the puella rather than to Marathus, which obscures the passage’s connection to Ovid’s discussions of male cultus. PARODY AND SUBVERSION IN OVID'S MEDICAMINA FACIEI FEMWEAE BY PATRICIA A. WATSON The Medicamina Facia Femineae ('Female cosmetics')1) is usuaUy regarded as Ovid's earnest attempt at didactic elegy.2) The poem faUs into two sections: a general introduction (1-50), in which the use of cosmetics is justified as part of the cultas of modern day Rome Culta placent. It is funded by Knowledge Unlatched.The Medicamina Faciei Femineae is a didactic elegy that showcases an early example of Ovid's trademark combination … Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris: Kenney: Amazon.com.au: Books ×Your email address will not be published. [27] Cf. Medicamina Faciei Femineae: | ||Medicamina Faciei Femineae|| (|Cosmetics for the Female Face|, also known as |The Art o... World Heritage Encyclopedia, the aggregation of the largest online encyclopedias available, and the most definitive collection ever assembled. After all, a genuinely didactic reading would arguably isolate Ovid’s male audience. 3–6). auro sublimia tecta linuntur, Nigra sub imposito marmore terra latet: Vellera saepe eadem Tyrio … Conj. 23-8) —an argument that strikes me as deserving further comment than it receives. The anti-age anti-narrative runs through the Medicamina’s recipes. These are small critiques. The book’s most exciting contribution comes in the commentary on the Medicamina, where Johnson has “translated” the recipes in the text into the style of a modern cookbook, with ingredients (measured in ounces and grams) and steps listed. However, for Ovid’s Augustan audience cultus refers to beautification. While on one hand, the clinical recipes are the greatest hurdle in the search for a ‘narrative’, the praeceptor’s measurements, ingredients, and periphrastic directions have the precision of forensic evidence for these beautification rituals. [1] Rosati, 1985, 42f; Watson, 2001, 457; Johnson, 2016, xii. 141.22: wives should rely on conversation, character, and comradeship, rather than beauty. Yet, Ovid simultaneously lifts the veil on these very processes. As an auxiliary finding, we observed that the distinction between pharmaceuticals and substances used … Born in Sulmo (east of Rome) in 43 BC , Ovid trained as an orator before crafting his art as one of the canonical poets of Latin literature. The praeceptor’s inclusion of narcissus bulbs therefore has implications of perpetual youth. The praeceptor amoris compares the stages of a woman’s life to the four seasons, here referring to her youth as ‘spring-time’. [14] Toohey, 1996, 161: it is unclear whether puellae refers to slaves or freedwomen, which blurs the audience further; all Latin taken from Kenney’s Oxford Classical Text and all translations, as befits, are taken from Mozley’s Loeb, unless otherwise stated. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction . Six well-chosen images accompany the text of this section and show examples of these tools, such as cosmetics boxes, combs, and mirrors. Retrouvez Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris et des millions de livres en stock sur Amazon.fr. The texts assembled in Ovid on Cosmetics are often discussed together, since they address similar topics and were composed in relatively close succession. 3.346–8). 1855. The first, “Now and then … making-over a woman,” introduces a topic that resurfaces in the commentaries, namely the similarities between ancient and modern beauty practices and attitudes toward physical appearance. Eds Anne Wiseman and Peter Wiseman (2013) Oxford Classical Texts: P. Ovidi Nasonis: Tristium Libri Quinque; Ibis; Ex Ponto Libri Quattuor; Halieutica … 1979. “ Ars Gratia Cultus : Ovid as Beautician.” American Journal of Philology 100: 381-392. 5 Cultus et in pomis sucos emendat acerbo, Fissaque adoptivas accipit arbor opes. 5 Cultus et in pomis sucos emendat acerbo, Fissaque adoptivas accipit arbor opes. 343-56) “If one were to discuss it in isolation, it would present a decidedly distorted interpretation of the poet’s attitude toward such matters” (p. 126) indicate an underlying assumption of a consistent, historical Ovid. P. Ovidius Naso. The worth of matronae stemmed from motherhood and housekeeping skills. The Medicamina reads more comfortably as an exposé of women’s beauty rituals than as a rigidly didactic poem. Tibullus 1.8, though quoted in the introduction (p. 29) as a precedent and possible model for the Amores, is absent from the commentaries on all three of these passages. Johnson explains her translation choices for key terms, which is always welcome from a translator and especially helpful for any reader without extensive Latin training. The five Ovidian passages are: the surviving hundred lines of the Medicamina Faciei Femineae; Amores 1.14; Ars Amatoria 3.101-250; Remedia Amoris 343-356; and Ars Amatoria 1.505-524. Damer, Erika Zimmerman. It can suggest a greater coherence than the passages might have in the context of the larger works. The five Ovidian passages are: the surviving hundred lines of the Medicamina Faciei Femineae; Amores 1.14; Ars Amatoria 3.101-250; Remedia Amoris 343-356; and Ars Amatoria 1.505-524. 69; Div. This is Julian May's translation of Ovid's 'erotic' works: The Amores (the Loves), Ars Amatoria (the Art of Love), Remedia Amoris (The Cure for Love) and the fragmentary Medicamina Faciei Feminae (Women's Facial Cosmetics).This version was published in 1930 in a 'limited' edition with sensual art deco illustrations by Jean de Bosschere. ; additional ancient sources of evidence; and literary criticism of the passages. Od. discite quae faciem commendet cura, puellae, et quo sit vobis forma tuenda modo. The introduction (esp. Johnson applies to these texts a multidisciplinary analysis that takes evidence from the fields of archaeology, history, philology, and even dermatology and horticulture to elucidate the technical details of ancient beauty practices. Ovid, Met. (ISBN: 9780198149699) from Amazon's Book Store. edidit ex Rudolphi Merkelii recognitione. Liveley, 2012 for an approach to narratology in Roman elegy. Send us a message and follow the Durham University Classics Society on Twitter (@DUClassSoc) and Facebook (@DUClassics Society) to keep up with this blog and our other adventures! [1] The first fifty lines focus on cultus (broadly defined as adornment or cultivation), while the next fifty consist of intricate recipes for ointments written in a ‘Nicandrian’ style, before the extant lines of this poem abruptly end. 1–2). Johnson does some work to ameliorate this risk. While a variety of readers will find this book useful, it may be most welcome to scholars outside the traditional boundaries of Classics, in fields such as gender studies, cultural history, and history of medicine (though Classicists will also find much to marvel at in the intricacies of Roman makeup and hair-dressing). Ovid’s references to the pastoral bring together the two meanings to foster the anti-ageing, temporal narrative. [21] Gamel, 2012, 339, 353; Toohey, 1996, 162. [16] In the same way that Farrell argues that we, a secondary audience, are the interceptors of the Heroides, the Medicamina might resemble an intercepted piece of didaxis, and hence Rimell identifies the poem as an ‘anti-seduction’. [24] However, this advice does not detract from the anti-age rhetoric concerning physical appearance. The Medicamina faciei femineae by the Roman poet Ovid is the first Latin text that transmits drugs for aesthetic dermatology. Women are held in a similar limbo in Ovid’s poem, between two hypocritical narratives. However, when the adjective describes a person it implies strictness and severity — qualities which come with age, if we refer to the portraits of old women in Roman comedy — Cleostrata in Plautus’ Casina, for example. Despite enabling female cultus and adornment through his instruction, the praeceptor amoris maintains a level of transparency which undermines female agency, so as not to disadvantage his male audience. On the whole, Johnson has achieved an admirable feat by bringing together such a varied collection of primary and secondary materials in a clear and approachable way. Why not just write as a narrative or exposé? Upon attempting to read a narrative into the Medicamina, I believe that two contradictory ones are in fact uncovered. [11] This method might also be transferred to the Medicamina. [20] Cic. Amores, Epistulae, Medicamina faciei femineae, Ars amatoria, Remedia amoris. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.com.au: Books This final warning, that age will ruin beauty, recalls the elegiac topos of fading beauty and encapsulates the aim of this second narrative: to prevent the ravages of age. WorldCat Home About WorldCat Help. Volk argues that didactic poetry retains a narrative — the ‘didactic plot’ — which conveys the development of the poet’s instructions and the poem itself. The poem falls at the beginning of Ovid’s … Once again the poetic woman is contorted for the poet to showcase his skill, as Ovid maintains two opposing narratives simultaneously. Eds A. D. Melville and Edward J. Kenney (2008) Oxford World's Classics: Ovid: Fasti. Calvin Blanchard. [31] From the prooemium, then the praeceptor makes a direct correlative link between both definitions of cultus, and the physical effects of age, and sets the addressee on a quest against age’s toll. [32] She argues that the moral takeaway is that one cannot use a mirror without also being vulnerable to its powers. Wyke argues that nature, by analogy, demonstrates the legitimacy of the cultus of the female body, citing lines 3–4 as an example of this. 2013-2014. “Gender Reversals and Intertextuality in Tibullus.” The Classical World 107 (4): 493-514. For example: Sextantemque trahat gummi cum semine Tusco: Let gum and Tuscan seed weigh a sixth part of a pound, and let nine times as much honey go to that. Medicamina faciei femineae Discite quae faciem … Anne Mahoney. The theme of love looms large in Newlands 2015, which covers all of Ovid’s output.Ovid’s love poems—more strictly understood as the Amores, Medicamina faciei femineae, Ars amatoria, Remedia amoris, and the Heroides—are seen as “love songs” within the larger framework of Ovid’s Fasti, Tristia, and Epistulae ex Ponto in Liveley 2005. [28] As Rimell points out, Ovid markets cultus to improve on nature. This book will provide a very useful point of entry for any reader interested in understanding ancient attitudes towards and knowledge about cosmetics, cosmeceuticals, and beautification practices in general.

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