In telling the story of Tereus, Procne, and Philomela , Ovid transformed tragedy—the Tereus of Sophocles1—into epic. The result was a narrative that followed the tragic plot but with a very different presentation. For example, Ovid incorporated into his episode events from the play's prologue, such as the marriage of Procne and Tereus , the birth of Itys , and the voyage of Tereus to Athens . In addition, he brought offstage action into the limelight, including the violation of Philomela (...) , the slaughter of Itys , and the metamorphoses of Tereus and the sisters . Finally, he explicated innermost thoughts, like the lust of Tereus and the rage of Procne — emotions whose external manifestations would have been clear in performance, but whose effects the reader perceives from the inside out. So sequential and immediate a treatment owes much to the shift from one genre to the other. (shrink)

This note offers two related arguments. First, I supplement the existing scholarly consensus that the speaker of Sophocles’ Tereus fr. 588 Radt is Procne by suggesting that her addressee is a shepherd, whose existence was recently discovered and confirmed by a new papyrus for fr. 583. Second, I attempt to contextualize P.J. Finglass's placement of fr. 583 in the first episode of the play and to respond to the ‘internment’ problem posited by David Fitzpatrick by suggesting that the play takes (...) place on an anniversary or some sort of commemoration of Philomela's supposed death. This proposal justifies the doleful tenor of the fragment and its generalizing subject-matter, the lonely plight of married women torn from their natal families, and resolves the question of Procne's state of knowledge about her sister's fate; and it allows for the internment of Philomela to figure into the play's plot by making Philomela's ‘death’ an established event before the play begins, as Gregory Dobrov suggests. (shrink)

The feminist in academe, says Paula Bennett, is like Procne married to Tereus, "inextricably wedded to the sources of her harm." An ethical justification of academic feminism can be found, not in cooperation and affiliation, but in the strategies currently necessary to ensure curricular and cultural diversity. Historically contextualized and strategically politicized, this ethic is founded on the claim that universities are places where we may all learn to know what is other than ourselves.

Epigram 5.67 derives its point from Martial's critical and creative way of dealing with the mythical tradition. After he has described from the swallows' perspective an incident that occurred in the avian world, in the last distich the point of view undergoes a surprising shift from the victim to the agent. This is effected by a smooth transition from the swallow that has been cruelly torn to bits by its own kind to the mythical Procne, who tore her son to (...) bits and suffered the punishment of being changed into a swallow. The aetiology that forms the concluding point of the epigram shows the incident in a new light. The nature of swallows is marked once and for all by Procne's behavior: as she once tore Itys to pieces, so the swallows of our epigram behave; indeed, at the very beginning they are pointedly designated as Attbides. The narrator's concluding comment that the guilty mother ought to have been torn to bits immediately after her impious act is an attempt, albeit a vain one, to correct the myth. (shrink)

À partir de l’étude d’Amy Richlin, “Reading Ovid’s Rapes” qui se réclame de perspectives féministes anglo-saxonnes et s’inscrit dans le débat sur la “pornographie”, on montre que le “sadisme” dont est accusé Ovide ne s’exerce pas uniquement sur des victimes féminines, puisque le sujet des Métamorphoses porte sur la violence exercée sur le corps humain. On élargit ensuite la problématique aux mythes grecs dont Ovide s’est inspiré, en indiquant que l’imaginaire collectif grec, bien que structuré par l’idéologie masculine dominante, ne (...) cesse de réfléchir sur la hiérarchie qui le fonde et laisse parfois entendre des voix spécifiquement féminines. (shrink)