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ovid medicamina faciei femineae

3.61–4). 1979. “ Ars Gratia Cultus : Ovid as Beautician.” American Journal of Philology 100: 381-392. 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. Fund for the Improvement of Postsecondary Education provided support … 3.5–6: non erat armatis aequum concurrere nudas/ sic etiam vobis vincere turpe, viri (‘it were not just that defenceless maids should fight with armed men; such a victory, O men, would be shameful for you also’). While the other Augustan poets tended to perpetuate the view that cultus, or beautification and adornment, was for meretrices, Ovid subversively encourages it, in a way which opposes the ‘Augustan precept’ of modesty, and the poet later champions the idea that female cultus can be practised without ‘rejecting traditional societal values and respectability.’[6], While a didactic interpretation presents Ovid as knowledgeable and well researched, and provides a rich historicist reading, which indicates what recipes for cosmeceuticals might have looked like, Ovid’s advice, as Toohey remarks, cannot be taken entirely seriously. These are three big topics to fit into fewer than 200 pages, and where Johnson cannot be exhaustive she points to important issues and offers interested readers direction for further study. [27] His comparison of the years of a woman’s life (anni) to flowing water (fluentis aquae), or a wave (unda) suggests that age and the pastoral are inherently linked by their connection to nature and their reliance on time. J.] Od. He also wrote smaller pieces like the “Remedia Amoris” and “Medicamina Faciei Femineae”. Noté /5. 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. Ovid; Ovid, Medicamina Faciei Femineae; Search the Perseus Catalog for: Editions/Translations; Author Group; View text chunked by: text: line; Table of Contents: Amores Epistulae (vel Heroides) Medicamina faciei femineae Ars Amatoria Remedia amoris Click on a word to bring up parses, dictionary entries, and frequency statistics. ; Centre Traditio Litterarum Occidentalium.] Medicamina Faciei Femineae (Cosmetics for the Female Face, also known as The Art of Beauty) is a didactic poem written in elegiac couplets by the Roman poet Ovid.In the hundred extant verses, Ovid defends the use of cosmetics by Roman women … Medicamina faciei femineae/De medicamine faciei (nua Fragment dahoidn; Tipps fia Weiwa: Schminkn usw.) Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) [Ovid, Kenney, E. 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). [22] Watson, 2001, 470; Nisbet-Hubbard, 1970, 289. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. Buy Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris 2/e (Oxford Classical Texts) 2 by Kenney, E. J., Kenney, E. J. [9] Volk, 2002, 40; the term is taken from Fowler, 2000. Anne Mahoney. 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. Discite, quae faciem commendet cura, puellae, Et quo sit vobis causa tuenda modo! When asked whether this child would live to reach well-ripened age, the seer replied: “If he ne’er know himself.” — (Ovid, Met. Medicamina Faciei Femineae. [8] Ovid, Ars Am. WorldCat Home About WorldCat Help. Discussions of parody are based in the ambiguous definition of 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 Es handelt sich also um ein frühes Werk. allusion, voice, persona, and so on). This usefully updates Green’s work.1 So, ladies, provided you can get your hands on some red natron gum and a rough millstone, you can concoct for yourself Ovid’s treatment that promises a gleaming face. Comparisons have been drawn with Virgil’s Georgics, but, as discussed by Johnson, the Medicamina values ingenuity, and tackles a more ‘trivial’ didactic subject than the practical content of Virgil’s pastoral didactic. [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’. 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. Ovid, Met. Cultivation improves the bitter juice of fruit, and the cleft tree gains adopted richness. 1. ; additional ancient sources of evidence; and literary criticism of the passages. Culta placent. Ovide (0043 av. [23] Kenney gives dic, which is disputed in Rosati and Goold. This question introduces us to a second narrative. [Ovid. Poésie didactique latine. This post is an adapted and condensed excerpt from an essay I recently submitted for my MPhil. [3], Wilkinson’s view that the Medicamina’s fragmentary state is ‘hardly a matter of regret’ has been rightly taken to task, most recently by Rimell, Watson, and Johnson, to name a few. These are small critiques. The texts assembled in Ovid on Cosmetics are often discussed together, since they address similar topics and were composed in relatively close succession. 23-26 (“Here Ovid’s persona is that of the urbane sophisticate,” p. 18)—a statement that acknowledges the possibility of multiple personae. Virgil describes exhausted fields (effetos agros) in relation to sterile land, for example (Virgil, Georgics 1.81, 84). Culta placent. The praeceptor’s inclusion of narcissus bulbs therefore has implications of perpetual youth. Accompanied by a form of ipse, the verb videre is commonly attested in Cicero to denote an eye-witness account. [14] He includes the young puella (17) and a respectable, married matrona (nupta, 26) adjacent to the traditional use of cultus by meretrices. [4], But, how do we construe the Medicamina in the grand scheme of didactic poetry? 29.). R. Ehwald. Rosati’s parallels with similar lines in Ars Am. 25; Ver. [2] Women are promised that the praeceptor amoris’ (Ovid’s role as teacher) instructions will enhance and preserve their beauty: Discite quae faciem commendet cura, puellae, Learn, O women, what pains can enhance your looks, and how your beauty may be preserved — (Ovid, Med. Johnson does a service to the field by making ancient texts, material evidence, and scholarship accessible to all readers, who will have clear direction for further study thanks to the work’s wide scope and up-to-date bibliography. 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. Ovid on Cosmetics gathers together five passages from Ovid’s erotic poetry that directly address issues of beautification and appearance, unified by the theme not of “cosmetics” per se, as the title implies, but of cultus (consistently translated as “cultivation”) more broadly. Ovid on Cosmetics: Medicamina Faciei Femineae and Related Texts: Johnson, Marguerite: Amazon.com.au: Books Achetez neuf ou d'occasion [22] The praeceptor even introduces his first recipe with the claim that it will make faces ‘shine fresh and fair’ (discite age…candida quo possint ora nitere modo, 51–2)– a description which implies renewed youth, and a glowing complexion.[23]. The Medicamina Faciei Femineae is a didactic elegy that showcases an early example of Ovid's trademark combination of poetic instruction and trivial subject matter. It is about men and power.’[33] As modern consumers, we are often sold a narrative which simultaneously recommends a natural yet highly modified look. The former is organized by the name of the ancient author, but cited in the text by the name of the modern editor, which makes checking a reference much slower. Home. General Overviews. Retrouvez Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) by Ovid(1994-09-15) et des millions de livres en stock sur Amazon.fr. This narrative of transparency and undressing is easier to conceptualise using Gamel’s theory of performance: that elegiac poems are open to more interpretations when viewed as ‘scripts for performance’. One might imagine the Medicamina being performed with an ironic, mocking exaggeration of didactic elements, as if the praeceptor were walking his audience through the exposé. In the introduction, much more than in the commentaries, Johnson addresses literary critical topics (e.g. — (Ovid, Ars Am. 2.15.21). As Naomi Wolf puts it, ‘[T]he beauty myth is not about women at all. Cultus humum sterilem Cerealia pendere iussit Munera, mordaces interiere rubi. 15.199–213: Pythagoras explicitly compares the four seasons to human life. — (Ovid, Med. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) Kindle Edition Author(s): Ovid. The concept of cultus forms the cornerstone of the Medicamina. The English translations that accompany each text are clear, accurate, and literal, with line numbers and line breaks that mirror the Latin original for easy reference. There is, however, a risk inherent in this kind of collection. 22-35) also provides background on each of the four works that contribute excerpts, including information about date of composition and genre, as well as sources and models. Johnson supplements the technical discussions with briefer discussions of literary elements of these didactic texts. Vite ! 65–6). I read circumstantial, periphrastic descriptions as equivalent to legal eye-witness testimony, rather than rigid instruction. [19] The praeceptor strips away the layers of female cultus before his readership, forming a narrative which culminates in transparency. For the Sabine women mentioned in the praeceptor’s aetiological description in lines 11–16, cultus refers to pastoral cultivation, as in the Georgics. The texts are preceded by a substantial introduction, which offers both historical and literary context, arranged in five sections. Ancient testimony on related topics, by authors from Alexis to Vitruvius, gives evidence of the range of ancient views of beauty. Everyday low prices and free delivery on eligible orders. And, while numerous commentaries exist for the other texts, Johnson’s interest in the history, archaeology, and chemistry of ancient beauty practices leads her to delve into topics not … [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. 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. 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. In “High maintenance … the Roman body,” Johnson lays out the common practices and tools of ancient beautification, as known through textual and archaeological evidence. Ovid Medicamina Faciei. 2013-2014. “Gender Reversals and Intertextuality in Tibullus.” The Classical World 107 (4): 493-514. ("Agamemnon", "Hom. Medicamina Faciei Femineae and Related Texts, Ovid on Cosmetics, Marguerite Johnson, Bloomsbury Academic. Ovid’s Medicamina Faciei Femineae, (‘Cosmetics for the Female Face’) is an unusual work, to say the least. Create lists, bibliographies and reviews: or Search WorldCat. Two opposing narratives can be unearthed in Ovid’s Medicamina Faciei Femineae: one which sets the audience on a quest to allay the physical detriments of ageing; and one that, recipe by recipe, unveils female beautification processes to the rest of Ovid’s audience. Exploring female beauty and cosmeceuticals, with particular emphasis on the concept of cultus, the poem presents five practical recipes for treatments for Roman women. The last passage ( A.A. 1.505-524) stands out in the collection as the only one that addresses male, rather than female, cultus. Livraison rapide ! 14 ingredients are derived from plants, four from animals, and four from minerals. Medicamina faciei femineae. The praeceptor alludes to ingredients with properties of rejuvenation to continue his quest refers heavily to the myth of Narcissus in this recipe, as he instructs his subject to add twelve narcissus bulbs without their skin (adice narcissi bis sex sine cortice bulbos…, 63). Ovid on Cosmetics Medicamina Faciei Femineae and Related Texts [6] Johnson, 2016, 19: Rosati, 1985, 30–32 & Gibson, 2003, 145. [28] Gibson, 2003, 113: ire is commonly used of the passage of time and water. Ars amatoria (De Kunst vo da Liab) Remedia amoris (Heimiddl geng de Liab) Halieutica (nua Fragment dahoidn, Leahgdicht iwa'n Fiischfong; Echtheit bezweifed) Phaenomena (Gdicht iwa de Himmeseascheinunga; nua Fragment) Metamorphosen (Vawandlungsgschichtn … Ovid reassures that character is also important (ingenio facies conciliante placet, 44). Acerbus, in terms of flavour, has links to immaturity, which might make this mean the exact opposite. An example: She refers to poetic persona in the introduction in the context of Med. Green, Peter. 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. [10] She seeks to read instruction as narrative, and to read narrative back into instruction. [1] Rosati, 1985, 42f; Watson, 2001, 457; Johnson, 2016, xii. MARGUERITE JOHNSON, Ovid on cosmetics: Medicamina faciei femineae and related texts. 2. Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris: Kenney: Amazon.com.au: Books After all, a genuinely didactic reading would arguably isolate Ovid’s male audience. [15] Sharrock views the lack of a named addressee in the Ars Amatoria as a means to slip between “Reader” and “reader”, or primary and external audience respectively. Search for Library Items Search for Lists Search for Contacts Search for a Library. Love Books of Ovid at sacred-texts.ocm. [34] Rhode, 2016, 704; it should also be noted that this discussion intersects with issues of race and class, as rightly outlined by Rhode, 2016, 703. Six well-chosen images accompany the text of this section and show examples of these tools, such as cosmetics boxes, combs, and mirrors. [32] She argues that the moral takeaway is that one cannot use a mirror without also being vulnerable to its powers. Excerpting sections of a poem (as in the case of the Ars) or even complete poems from a larger collection ( Amores 1.14) places these texts in artificial dialogue. discite quae faciem commendet cura, puellae, et quo sit vobis forma tuenda modo. 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. Discite quae faciem commendet cura, puellae, Et quo sit vobis forma tuenda modo. 3.569, Virgil, Aeneid 2.499. [35] The praeceptor retains a monopoly on women’s bodily autonomy, which mirrors the marketing of our modern beauty industry. Once again the poetic woman is contorted for the poet to showcase his skill, as Ovid maintains two opposing narratives simultaneously. P. Ovidius Naso. The Medicamina is first and foremost an exercise in male power. The Ars Amatoria, which is often paired with the Medicamina, is addressed to women, but has Ovid’s male audience at its core. Retrouvez Ovid Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris et des millions de livres en stock sur Amazon.fr. Ovid, Met. Its advice centres around men’s actions, and how women should respond to them.[8]. edidit ex Rudolphi Merkelii recognitione. Damer, Erika Zimmerman. 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. cultus humum sterilem Cerealia pendere iussit munera, mordaces interiere rubi; 5 cultus et in pomis sucos emendat acerbos, fissaque adoptivas accipit arbor opes. [18] Ibid, 55: Ovid, Rem. [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’. Amores, Medicamina Faciei Femineae, Ars Amatoria, Remedia Amoris (Oxford Classical Texts) (Latin Edition) It is funded by Knowledge Unlatched.The Medicamina Faciei Femineae is a didactic elegy that showcases an early example of Ovid's trademark combination … Cultus humum sterilem Cerealia pendere iussit Munera: mordaces interiere rubi; Cultus et in pomis sucos emendat acerbos, 5 Fissaque adoptivas accipit arbor opes. Sacred Texts Archive: Ovid Amores, Ars Amatoria, Medicamina Faciei Femineae, Metamorphoses, Remedia Amoris. 1–2). R. Ehwald. Medicamina Faciei Femineae (Cosmetics for the Female Face, also known as The Art of Beauty) is a didactic poem written in elegiac couplets by the Roman poet Ovid. Women are held in a similar limbo in Ovid’s poem, between two hypocritical narratives. 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. Sterility is a result of, indeed, a lack of cultivation, but also of age. 23-26 (on male cultus). 2.118 and Ex Ponto 1.4.2 evidence a strong connection between the pastoral and cultus, and time and age. Livia’s beauty secrets are secret no more. The commentaries would benefit from sustaining this method of reading, for in them Johnson falls back on a more biographical reading of Ovid that is inconsistent with her discussion of the poet in the introduction. For each passage, the English and Latin texts are divided by paragraph breaks into sections that correspond to the sections of the commentary—a formatting feature that greatly facilitates reading the text with the commentary. 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. Do you have a suggestion for a future topic? 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). [26] This interpretation is founded in Ovid’s approach to age and the pastoral more generally: dum licet, et vernos etiamnum educitis annos. Volk argues that didactic poetry retains a narrative — the ‘didactic plot’ — which conveys the development of the poet’s instructions and the poem itself.

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