Scholarlink

<p>Gabriel Pereira de Castro’s Portuguese epic <i>Ulisseia, ou Lisboa Edificada</i>, published in 1636, presents a striking reception of Homer’s <i>Odyssey</i>, but it is an even more striking reception of Ovid’s <i>Metamorphoses</i> and the Ovidian corpus more generally. This article considers the reception of Ovid in Castro’s <i>Ulisseia</i> first by pursuing the broader thesis that the division of Castro’s poem into the two love affairs of Odysseus with Circe and Calypso can be traced to an Ovidian précis of the <i>Odyssey</i> and then through a close reading of some of its most Ovidian figures: Circe, Calypso, Lotis and Polyphemus. In all these engagements, Castro’s reception of Ovid is shown to be determined by principles of ‘ludic confusion’, that is, the intentional and playful conflation of sources, and combinatorial reception, the use of multiple different referents simultaneously, in an accretion of sources that mirrors Ovid’s own tendency to write multivalent figures. Castro’s reception of Ovid presents an example of an adaptation that tends towards hyper-Ovidianism, that is, the impulse to rewrite the texts of Ovid using an Ovidian style, receiving Ovid by way of Ovid.</p>

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

‘Ludic Confusion’, Combinatorial Reception, and Hyper-Ovidianism in Gabriel Pereira de Castro’s Ulisseia, ou Lisboa Edificada (1636)

  • 期刊论文

  • 发表日期：

    2025年10月8日

查看全文
  • Adriana Vazquez

摘要

Gabriel Pereira de Castro’s Portuguese epic Ulisseia, ou Lisboa Edificada, published in 1636, presents a striking reception of Homer’s Odyssey, but it is an even more striking reception of Ovid’s Metamorphoses and the Ovidian corpus more generally. This article considers the reception of Ovid in Castro’s Ulisseia first by pursuing the broader thesis that the division of Castro’s poem into the two love affairs of Odysseus with Circe and Calypso can be traced to an Ovidian précis of the Odyssey and then through a close reading of some of its most Ovidian figures: Circe, Calypso, Lotis and Polyphemus. In all these engagements, Castro’s reception of Ovid is shown to be determined by principles of ‘ludic confusion’, that is, the intentional and playful conflation of sources, and combinatorial reception, the use of multiple different referents simultaneously, in an accretion of sources that mirrors Ovid’s own tendency to write multivalent figures. Castro’s reception of Ovid presents an example of an adaptation that tends towards hyper-Ovidianism, that is, the impulse to rewrite the texts of Ovid using an Ovidian style, receiving Ovid by way of Ovid.