FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W4205176301> ?p ?o ?g. }

• W4205176301 endingPage "198" @default.
• W4205176301 startingPage "197" @default.
• W4205176301 abstract "BOOK REVIEWS/COMPTES RENDUS 197 and I are in complete agreement that meter matters, or that it may at any moment matter, in our reading and interpretation. Harvard University Richard F. Thomas Freud's Rome: Psychoanalysis and Latin Poetry. By Ellen Oliensis. Cambridge: Cambridge University Press. 2009. Pp. xi, 148. Ellen Oliensis's book provides provocative, witty, and highly enjoyable analyses of themes we might consider “psychoanalytical” in the poetry of (mainly) Virgil, Catullus, and Ovid. Divided into three chapters (“Two Poets Mourning,” “Murdering Mothers,” and “Variations on a Phallic Theme”), plus Introduction and Afterword, Freud’s Rome does not evince a belief in Freudian theory—nor does it show complete scepticism either. Instead of psychoanalysing fictional characters in Latin poetry (a mode of reading favoured by psychoanalytic critics in the early and mid-twentieth century), in order to excavate their unconscious wishes (whether murderous or incestuous), Oliensis is interested in “the textual unconscious,” moments when the text seems to say something at odds to what appears to be the authorial voice/intention. Intriguingly, the textual unconscious erupts in Catullus, Virgil, and Ovid when issues of mourning, relationships between mother and child, and signification of sexual difference are addressed, issues which Freud himself analysed. Latin literary studies has recently benefited from ebullient psychoanalytic criticism from Michael Janan, Paul Allen Miller, and Erik Gunderson, work which Oliensis addresses . The scholarship of Gunderson, Janan, and Miller, however, is more informed by the seminars of Jacques Lacan. Oliensis’s return to Freud, then, offers a challenge to literary critics. But it is not Oliensis’s contention to defend Freud for his misogynistic, homophobic, and imperialist logic, but to show that Freud has got us interested in what we do when we mourn; what we think about our relationships with our mother; and how we understand sexual difference. Rather than trace Oliensis’s stimulating readings, let me consider just one in the first chapter on mourning, which examines this topic in Ovid’s Metamorphoses and Catullus’ poetry. More precisely, “what will engage me in this chapter,” Oliensis writes, “is the way mourning infiltrates, as if without the mourner’s knowledge or consent, texts which are not officially ‘elegiac’ at all” (17). For example, in Catullus 65, a cover letter for Poem 66, the poet is “devoted to his dead brother, keeping him continually in view, and yet sailing away, abandoning him at the lapping margin of Lethe” (29). Catullus’ poetry anticipates Freud’s insights into what it means to mourn. Oliensis’s analyses are most fun when she attends closely to the texture of the Latin (as she does continually through the book). So she reads (30) the simile that closes 65: But even so, in the midst of this overwhelming sorrow, Hortalus, I send you this translation of Callimachus, lest perchance you should think your words, entrusted in vain to the shifting winds, have slipped my mind, as when an apple, sent as a lover’s secret gift, rolls out of a maiden’s innocent lap, the apple she put, poor forgetful thing, under her delicate dress, and which is shaken out when she jumps up at her mother’s approach; and it races headlong in slanting downward course, while she feels the conscious blush wash across her sad cheeks. (Catull. 65.15–24) Oliensis eloquently argues that this “Callimachean apple bears the burden not just of the poem but of the forgetting that is entailed in producing the poem: the apple carries (the 198 PHOENIX aborted memory, the cast-off image of) the brother” (31). Intriguingly, “what matters for my [Oliensis’s] purposes is that everything takes place as if the simile took Catullus as unawares as the apple takes the girl” (32). The apple drops out of the mindless girl’s lap, just as the poem for Hortalus (Poem 66) emerges out of Catullus’ mind, despite forgetting to mourn for his dead brother. Remembering Hortalus entails forgetting his brother. The apple does not just represent the fruit of his poetry, but also how he must forget his brother in order to produce his poetry. But Oliensis does not seek to locate a psychological secret in Catullus’ unconscious which the text might..." @default.
• W4205176301 created "2022-01-25" @default.
• W4205176301 creator A5023935426 @default.
• W4205176301 date "2012-01-01" @default.
• W4205176301 modified "2023-10-17" @default.
• W4205176301 title "Freud's Rome: Psychoanalysis and Latin Poetry by Ellen Oliensis" @default.
• W4205176301 doi "https://doi.org/10.1353/phx.2012.0019" @default.
• W4205176301 hasPublicationYear "2012" @default.
• W4205176301 type Work @default.
• W4205176301 citedByCount "0" @default.
• W4205176301 crossrefType "journal-article" @default.
• W4205176301 hasAuthorship W4205176301A5023935426 @default.
• W4205176301 hasConcept C10559345 @default.
• W4205176301 hasConcept C11171543 @default.
• W4205176301 hasConcept C115786838 @default.
• W4205176301 hasConcept C124952713 @default.
• W4205176301 hasConcept C138885662 @default.
• W4205176301 hasConcept C142362112 @default.
• W4205176301 hasConcept C15744967 @default.
• W4205176301 hasConcept C164913051 @default.
• W4205176301 hasConcept C17744445 @default.
• W4205176301 hasConcept C18903297 @default.
• W4205176301 hasConcept C189946632 @default.
• W4205176301 hasConcept C199539241 @default.
• W4205176301 hasConcept C2777496998 @default.
• W4205176301 hasConcept C2778061430 @default.
• W4205176301 hasConcept C41895202 @default.
• W4205176301 hasConcept C43450049 @default.
• W4205176301 hasConcept C527412718 @default.
• W4205176301 hasConcept C554936623 @default.
• W4205176301 hasConcept C86803240 @default.
• W4205176301 hasConceptScore W4205176301C10559345 @default.
• W4205176301 hasConceptScore W4205176301C11171543 @default.
• W4205176301 hasConceptScore W4205176301C115786838 @default.
• W4205176301 hasConceptScore W4205176301C124952713 @default.
• W4205176301 hasConceptScore W4205176301C138885662 @default.
• W4205176301 hasConceptScore W4205176301C142362112 @default.
• W4205176301 hasConceptScore W4205176301C15744967 @default.
• W4205176301 hasConceptScore W4205176301C164913051 @default.
• W4205176301 hasConceptScore W4205176301C17744445 @default.
• W4205176301 hasConceptScore W4205176301C18903297 @default.
• W4205176301 hasConceptScore W4205176301C189946632 @default.
• W4205176301 hasConceptScore W4205176301C199539241 @default.
• W4205176301 hasConceptScore W4205176301C2777496998 @default.
• W4205176301 hasConceptScore W4205176301C2778061430 @default.
• W4205176301 hasConceptScore W4205176301C41895202 @default.
• W4205176301 hasConceptScore W4205176301C43450049 @default.
• W4205176301 hasConceptScore W4205176301C527412718 @default.
• W4205176301 hasConceptScore W4205176301C554936623 @default.
• W4205176301 hasConceptScore W4205176301C86803240 @default.
• W4205176301 hasIssue "1-2" @default.
• W4205176301 hasLocation W42051763011 @default.
• W4205176301 hasOpenAccess W4205176301 @default.
• W4205176301 hasPrimaryLocation W42051763011 @default.
• W4205176301 hasRelatedWork W1492376998 @default.
• W4205176301 hasRelatedWork W1984935217 @default.
• W4205176301 hasRelatedWork W2046929882 @default.
• W4205176301 hasRelatedWork W2104480230 @default.
• W4205176301 hasRelatedWork W2496408055 @default.
• W4205176301 hasRelatedWork W2748952813 @default.
• W4205176301 hasRelatedWork W3217254961 @default.
• W4205176301 hasRelatedWork W4320153469 @default.
• W4205176301 hasRelatedWork W4365791045 @default.
• W4205176301 hasRelatedWork W3085363454 @default.
• W4205176301 hasVolume "66" @default.
• W4205176301 isParatext "false" @default.
• W4205176301 isRetracted "false" @default.
• W4205176301 workType "article" @default.