Other versions Ovid metamorphoses mary innes pdf. The myth of Myrrha has been chronicled in several other works than Ovid's Metamorphoses. Among the scholars who recounted it are Apollodorus, Hyginus. Ovid metamorphoses mary innes pdf. The Metamorphoses.Mary M. Middlesex, England: Penguin Books, 1955 (1970). Rigoglioso, Marguerite. Mysticism, Mother Worship,.

The purpose of this paper is to explore the impact that developments in transhumanist technologies may have upon human cultures (and thus upon the lifeworld), and to do so by exploring a potential debate between Habermas and the transhumanists. Transhumanists, such as Nick Bostrom, typically see the potential in genetic and other technologies for positively expanding and transcending human nature. In contrast, Habermas is a representative of those who are fearful of this technology, suggesting that it will compound the deleterious effects of the colonisation of the lifeworld, further constraining human autonomy and undermining the meaningfulness of the lifeworld by expanding the technological control and manipulation of humanity. It will be argued that these opposed positions are grounded in fundamentally different understandings of the consequences of scientific and technological advance.

On one level, the transhumanists remain confident that the lifeworld has within it the resources necessary to find meaning and purpose in a society deeply infused by genetic technology. Habermas disagrees. On another level, the difference is articulated by Horkheimer and Adorno in Dialectic of Enlightenment, primarily by challenging what may be understood as a Baconian faith in science as a project for the domination of nature (where nature is an infinitely malleable material, to be dominated and shaped, without adverse consequences, purely for the purposes of human survival). While the transhumanists broadly embrace this faith, Habermas returns to something akin to Horkheimer and Adorno’s pessimistic scepticism. The very possibility of intrinsic advantages presupposes that there are generalisable capacities, that are open to genetic manipulation.

It may be suggested that Habermas need not be opposed to genetic modifications that could enhance the individual’s capacity to enjoy the rights that he defends in his legal philosophy (see Rehg, p. In particular, it may be suggested that if one could genetically modify a person, so as to enhance their communicative abilities, this would be desirable. 11.Badmingtom, N. Basingstoke: Macmillan.Bostrom, N.

Existential risks: Analyzing human extinction scenarios and related hazards. Journal of Evolution and Technology 9: 1–37.Bostrom, N.

A history of transhumanist thought. Journal of Evolution and Technology 14(1): 1–25.Bostrom, N. In defense of posthuman dignity. Bioethics 19(3): 202–214.Habermas, J. On systematically distorted communication.

Inquiry 13: 360–375.Habermas, J. Knowledge and human interests.

London: Heinemann.Habermas, J. Theory and practice.

Boston, MA: Beacon Press.Habermas, J. Legitimation crisis.

London: Heinemann.Habermas, J. Communication and the evolution of society. Boston, MA: Beacon Press.Habermas, J. The theory of communicative action, vol. 1, reason and the rationalisation of society.

Cambridge: Polity Press.Habermas, J. The Theory of communicative action, vol. 2, lifeworld and system: A critique of functionalist reason. Cambridge: Polity Press.Habermas, J. Postmetaphysical thinking: Philosophical essays. Cambridge, MA: MIT Press.Habermas, J. The postnational constellation: Political essays.

Cambridge, MA: MIT Press.Habermas, J. The future of human nature. Cambridge: Polity.Haraway, D. Simians, cyborgs and women: The reinvention of nature. New York: Routledge.Horkheimer, M., and T.W.

Dialectic of enlightenment: Philosophical fragments. Stanford, CA: Stanford University Press.Hughes, J. Citizen cyborg: Why democratic societies must respond to the redesigned human of the future. Cambridge, MA: Westview Press.Kaku, M. Perspectives: Are we becoming gods? New Scientist, issue 2628, (3rd November): 58–59.Kant, I.

The critique of pure reason. Basingstoke: Macmillan.Ovid. Harmondsworth, Penguin.Pickstock, C. Liturgy, art and politics. Modern Theology 16(2): 159–180.Rehg, W.

Translator’s introduction. In Between facts and norms: Contributions to a discourse theory of law and democracy, ed. Cambridge, MA: MIT.Svenaeus, F. The ethics of self change: Becoming oneself by way of antidepressants or psychotherapy. Medicine, Health Care and Philosophy.

Title page of 1556 edition published by Joannes Gryphius (decorative border added subsequently). Hayden White Rare Book Collection, University of California, Santa CruzThe Metamorphoses (: Metamorphōseōn librī: 'Books of Transformations') is a by the poet, considered his.

Comprising 11,995 lines, 15 books and over 250, the poem chronicles the history of the world from its to the deification of within a loose mythico-historical framework.Although meeting the criteria for an, the poem defies simple genre classification by its use of varying themes and tones. Ovid took inspiration from the genre of metamorphosis poetry, and some of the Metamorphoses derives from earlier treatment of the same myths; however, he diverged significantly from all of his models.One of the most influential works in, the Metamorphoses has inspired such authors as,. Numerous episodes from the poem have been depicted in acclaimed works of sculpture, painting, and music. Although interest in Ovid faded after the, there was a resurgence of attention to his work towards the end of the 20th century. Today the Metamorphoses continues to inspire and be retold through various media.

Numerous English of the work have been made, the first by in 1480. Ovid's relation to the Hellenistic poets was similar to the attitude of the Hellenistic poets themselves to their predecessors: he demonstrated that he had read their versions.

But that he could still treat the myths in his own way.— Karl GalinskyOvid's decision to make myth the dominant subject of the Metamorphoses was influenced by the predisposition of. However, whereas it served in that tradition as the cause for moral reflection or insight, he made it instead the 'object of play and artful manipulation'. The model for a collection of metamorphosis myths derived from a pre-existing genre of metamorphosis poetry in the, of which the earliest known example is ' Ornithogonia—a now- poem collecting myths about the metamorphoses of humans into birds.There are three examples of Metamorphoses by later Hellenistic writers, but little is known of their contents. The Heteroioumena by is better known, and clearly an influence on the poem—21 of the stories from this work were treated in the Metamorphoses.

However, in a way that was typical for writers of the period, Ovid diverged significantly from his models. The Metamorphoses was longer than any previous collection of metamorphosis myths (Nicander's work consisted of probably four or five books) and positioned itself within a historical framework.Some of the Metamorphoses derives from earlier literary and poetic treatment of the same myths. This material was of varying quality and comprehensiveness—while some of it was 'finely worked', in other cases Ovid may have been working from limited material. In the case of an oft-used myth such as that of in Book I, which was the subject of literary adaptation as early as the 5th century BC, and as recently as a generation prior to his own, Ovid reorganises and innovates existing material in order to foreground his favoured topics and to embody the key themes of the Metamorphoses. Contents. A from, illustrating the of, the final event of the poem (XV.745–850)Scholars have found it difficult to place the Metamorphoses in a.

The poem has been considered as an or a type of epic (for example, an anti-epic or mock-epic); a Kollektivgedicht that pulls together a series of examples in miniature form, such as the; a sampling of one genre after another; or simply a narrative that refuses categorization.The poem is generally considered to meet the criteria for an epic; it is considerably long, relating over 250 narratives across fifteen books; it is composed in, the of both the ancient and, and the more contemporary epic; and it treats the high literary subject of myth. However, the poem 'handles the themes and employs the tone of virtuallyevery species of literature', ranging from epic and to and.Commenting on the genre debate, G. Karl Galinsky has opined that '. it would be misguided to pin the label of any genre on the Metamorphoses.' The Metamorphoses is comprehensive in its chronology, recounting the creation of the world to the death of, which had occurred only a year before Ovid's birth; it has been compared to works of, which became important in the 1st century BC.

In spite of its apparently unbroken chronology, scholar Brooks Otis has identified four divisions in the narrative:. Book I–Book II (end, line 875): The Divine Comedy. Book III–Book VI, 400: The Avenging Gods. Book VI, 401–Book XI (end, line 795): The Pathos of Love. Book XII–Book XV (end, line 879): Rome and the Deified RulerOvid works his way through his subject matter, often in an apparently arbitrary fashion, by jumping from one transformation tale to another, sometimes retelling what had come to be seen as central events in the world of and sometimes straying in odd directions. It begins with the ritual 'invocation of the ', and makes use of traditional. But instead of following and extolling the deeds of a human, it leaps from story to story with little connection.The recurring theme, as with nearly all of Ovid's work, is love—be it personal love or love personified in the figure of Amor.

Indeed, the other are repeatedly perplexed, humiliated, and made ridiculous by, an otherwise relatively minor god of the, who is the closest thing this putative mock-epic has to a hero. Comes in for particular ridicule as Ovid shows how irrational love can confound the god out of. The work as a whole inverts the accepted order, elevating humans and human passions while making the gods and their desires and conquests objects of low humor.The Metamorphoses ends with an epilogue (Book XV.871–9), one of only two surviving Latin epics to do so (the other being ' ). The ending acts as a declaration that everything except his poetry—even Rome—must give way to change: 'Now stands my task accomplished, such a work As not the wrath of, nor fire nor sword Nor the devouring ages can destroy'. — Ov., Met., lines 1–2.or transformation is a unifying theme amongst the episodes of the Metamorphoses.

Ovid raises its significance explicitly in the opening lines of the poem: In nova fert animus mutatas dicere formas / corpora; ('I intend to speak of forms changed into new entities;'). Accompanying this theme is often violence, inflicted upon a victim whose transformation becomes part of the natural landscape. This theme amalgamates the much-explored opposition between the hunter and the hunted and the thematic tension between art and nature.There is a huge variety among the types of transformations that take place: from human to inanimate object (Nileus), (Ariadne's Crown), animal (Perdix); from animal (Ants) and fungus (Mushrooms) to human; of sex (Hyenas); and of colour (Pebbles). The metamorphoses themselves are often located metatextually within the poem, through grammatical or narratorial transformations. At other times, transformations are developed into humour or absurdity, such that, slowly, “the reader realizes he is being had”, or the very nature of transformation is questioned or subverted. This phenomenon is merely one aspect of Ovid's extensive use of illusion and disguise.

Influence. No work from classical antiquity, either or, has exerted such a continuing and decisive influence on as Ovid's Metamorphoses. The emergence of, and national literatures in the simply cannot be fully understood without taking into account the effect of this extraordinary poem.

The only rival we have in our tradition which we can find to match the pervasiveness of the literary influence of the Metamorphoses is perhaps (and I stress perhaps) the and the.— Ian JohnstonThe Metamorphoses has exerted a considerable influence on literature and the arts, particularly of; scholar A. Melville says that 'It may be doubted whether any poem has had so great an influence on the and of Western civilization as the Metamorphoses.' Although a majority of its stories do not originate with Ovid himself, but with such writers as and, for others the poem is their sole source.The influence of the poem on the works of is extensive.

In, the story of Coronis and Phoebus Apollo (Book II 531–632) is adapted to form the basis for. The story of Midas (Book XI 174–193) is referred to and appears—though much altered—in.The story of Ceyx and Alcyone (from Book IX) is adapted by Chaucer in his poem, written to commemorate the death of and wife of.The Metamorphoses was also a considerable influence on. His is influenced by the story of ( Metamorphoses Book IV); and, in, a band of amateur actors performs a play about Pyramus and Thisbe. Shakespeare's early erotic poem expands on the myth in Book X of the Metamorphoses. In, the story of Lavinia's rape is drawn from ' rape of, and the text of the Metamorphoses is used within the play to enable Titus to interpret his daughter's story. Most of Prospero's renunciative speech in Act V of is taken word-for-word from a speech by Medea in Book VII of the Metamorphoses. Among other English writers for whom the Metamorphoses was an inspiration are —who made use of it in, considered his, and evidently knew it well —and.

In Italy, the poem was an influence on (the story of Pyramus and Thisbe appears in his poem L'Amorosa Fiammetta). This panel by relates the second half of the story of. In the upper left, Jupiter emerges from clouds to order Mercury to rescue Io.In spite of the Metamorphoses ' enduring popularity from its first publication (around the time of in 8 AD) no survives from antiquity.

From the 9th and 10th centuries there are only fragments of the poem; it is only from the 11th century onwards that manuscripts, of varying value, have been passed down.Influential in the course of the poem's manuscript tradition is the 17th-century Dutch scholar. During the years 1640–52, Heinsius collated more than a hundred manuscripts and was informed of many others through correspondence.But the poem's immense popularity in antiquity and the Middle Ages belies the struggle for survival it faced in late antiquity. 'A dangerously pagan work,' the Metamorphoses was preserved through the Roman period of, but was criticized by the voices of and, who believed the only metamorphosis really was the. University of California, Santa Cruz. Retrieved 15 April 2013.

More, Brookes. Commentary by., pp. 353–86, Marshall Jones Company, Francestown, NH, revised edition, 1978.,. ^ Galinsky 1975, p. 2.

^ Galinsky 1975, p. 1. Fletcher, Kristopher F. The Classical Association of the Middle West and South (CAMWS). Galinsky 1975, pp.

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17–18. ^ Galinsky 1975, p. 41. Galinsky 1975, p. 4. Harrison 2006, p. 87.

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83. Meville 2008, p. 466. Melville 2008, p. Xvi. Melville 2008, p.

379. Melville 2008, pp. Vii–viii. Wheeler 1999, p.

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54 (5): 201–05. (subscription required).

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Archived from on 7 April 2014. Retrieved 15 April 2013. Segal, C. Landscape in Ovid’s Metamorphoses (Wiesbaden, 1969) 45. Solodow, J.

The World of Ovid’s Metamorphoses (Chapel Hill, 1988) 208–13. Ian, Johnston. Vancouver Island University. Retrieved 9 May 2013.

Galinsky 1975, p. 181. Von Glinski, M. Simile and Identity in Ovid’s Metamorphoses. Cambridge: 2012.

120 inter alia. Melville 2008, pp. Xxxvi–xxxvii. Benson 2008, p.

952. Benson 2008, p. The World of Chaucer, Medieval Books and Manuscripts. University of Glasgow. Archived from on 1 June 2009.

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Marshall, David (1982). 'Exchanging Visions: Reading A Midsummer Night's Dream'. 49 (3): 543–75. (subscription required). (1995).

'Love as Trompe-l'oeil: Taxonomies of Desire in Venus and Adonis'. Shakespeare Quarterly. 46 (3): 257–76. (subscription required). West, Grace Starry (1982). 'Going by the Book: Classical Allusions in Shakespeare's Titus Andronicus'.

Studies in Philology. 79 (1): 62–77.

(subscription required). Vaughan, Virginia Mason; Vaughan, Alden T. The Arden Shakespeare, Third Series. The Arden Shakespeare. Pp. 26, 58–59, 66. Meville 2008, p. Xxxvii.

Meville 2008, pp. 392–93. Cumming, William P. 'The Influence of Ovid's 'Metamorphoses' on Spenser's 'Mutabilitie' Cantos'. Studies in Philology.

28 (2): 241–56. The indebtedness to Ovid of passages and ideas in Spenser's Mutabilite cantos has been pointed out by various commentators; (subscription required).

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(subscription required). Most, Glen W. 'Dante's Greeks'. 13 (3): 15–48.

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^ Tarrant 1982, p. Cara buka situs dewasa. 343. Cameron, Alan (2004). Greek Mythography in the Roman World. Oxford University Press. Brooks Otis (1936).

'The Argumenta of the So-Called Lactantius'. Harvard Studies in Classical Philology.

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R. Tarrant, 2004. Ouidi Nasonis Metamorphoses. (Oxford Classical Texts) Oxford: Clarendon Press: praefatio. Richard Treat Bruere (1939).

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Melville 2008, p. Xxx. Lyne 2006, p. 256.

^ Lyne 2006, p. 258. Gillespie et al. 216–18. Gillespie et al. 218.

Lyne 2006, p. 259–60.References Modern translation. AboutMetamorphoses.Elliot, Alison Goddard (1980). 'Ovid's Metamorphoses: A Bibliography 1968–1978'. The Classical World.

73 (7): 385–412. (subscription required) Charles Martindale, ed. Ovid renewed: Ovidian influences on literature and art from the Middle Ages to the twentieth century. Cambridge: Cambridge University Press. External links Wikimedia Commons has media related to.Wikiquote has quotations related to:Latin versionsLatin has original text related to this article.