Página InicialGruposDiscussãoMaisZeitgeist
Pesquisar O Sítio Web
Este sítio web usa «cookies» para fornecer os seus serviços, para melhorar o desempenho, para analítica e (se não estiver autenticado) para publicidade. Ao usar o LibraryThing está a reconhecer que leu e compreende os nossos Termos de Serviço e Política de Privacidade. A sua utilização deste sítio e serviços está sujeita a essas políticas e termos.

Resultados dos Livros Google

Carregue numa fotografia para ir para os Livros Google.

Metamorphoses: A New Translation by Charles…
A carregar...

Metamorphoses: A New Translation by Charles Martin (edição 2005)

por Ovid, Charles Martin (Tradutor), Bernard Knox (Introdução)

MembrosCríticasPopularidadeAvaliação médiaDiscussões / Menções
13,033101459 (4.11)2 / 364
"The first female translator of the epic into English in over sixty years, Stephanie McCarter addresses accuracy in translation and its representation of women, gendered dynamics of power, and sexual violence in Ovid's classic. Ovid's Metamorphoses is an epic poem, but one that upturns almost every convention. There is no main hero, no central conflict, and no sustained objective. What it is about (power, defiance, art, love, abuse, grief, rape, war, beauty, and so on) is as changeable as the beings that inhabit its pages. The sustained thread is power and how it transforms us, both those of us who have it and those of us who do not. For those who are brutalized and traumatized, transformation is often the outward manifestation of their trauma. A beautiful virgin is caught in the gaze of someone more powerful who rapes or tries to rape them, and they ultimately are turned into a tree or a lake or a stone or a bird. The victim's objectification is clear: They are first a visual object, then a sexual object, and finally simply an object. Around 50 of the epic's tales involve rape or attempted rape of women. Past translations have obscured or mitigated Ovid's language so that rape appears to be consensual sex. Through her translation, McCarter considers the responsibility of handling sexual and social dynamics. Then why continue to read Ovid? McCarter proposes Ovid should be read because he gives us stories through which we can better explore ourselves and our world, and he illuminates problems that humans have been grappling with for millennia. Careful translation of rape and the body allows readers to see Ovid's nuances clearly and to better appreciate how ideas about sexuality, beauty, and gender are constructed over time. This is especially important since so many of our own ideas about these phenomena are themselves undergoing rapid metamorphosis, and Ovid can help us see and understand this progression. The Metamorphoses holds up a kaleidoscopic lens to the modern world, one that offers us the opportunity to reflect on contemporary discussions about gender, sexuality, race, violence, art, and identity"--… (mais)
Membro:lenimo
Título:Metamorphoses: A New Translation by Charles Martin
Autores:Ovid
Outros autores:Charles Martin (Tradutor), Bernard Knox (Introdução)
Informação:W. W. Norton & Company (2005), Paperback, 624 pages
Coleções:A sua biblioteca, Em leitura
Avaliação:
Etiquetas:poetry, classics

Informação Sobre a Obra

Metamorphoses [in translation] por Ovid

A carregar...

Adira ao LibraryThing para descobrir se irá gostar deste livro.

» Ver também 364 menções

Inglês (82)  Italiano (6)  Espanhol (3)  Holandês (3)  Sueco (2)  Finlandês (1)  Dinamarquês (1)  Português (1)  Francês (1)  Catalão (1)  Todas as línguas (101)
Mostrando 1-5 de 101 (seguinte | mostrar todos)
Edición y traducción de Vicente López Soto
  jose.calero.gt | Jan 12, 2024 |
Oh my. Unbearable in Russian. Mostly due to its meter and language, probably imitating the original. With all due respect I thought what's the worth of trudging on? I'm not a PhD student in Ancient Literature after all and the plot is not gripping, unlike many other primary sources.
  Den85 | Jan 3, 2024 |
Relata historias míticas en la que los protagonistas se transforman en árboles, animales, rocas...
  libreriarofer | Oct 14, 2023 |
Fantastico ( )
  gutenberg_2022 | Jun 18, 2023 |
https://fromtheheartofeurope.eu/metamorphoses-by-publius-ovidius-naso-translated....

Way way back 40 years ago, I studied Latin for what were then called O-levels, and one of the set texts was a Belfast-teenager-friendly translation of Ovid’s Metamorphoses. I loved it. If you don’t know, it’s a narrative poem in fifteen books re-telling classical legends, concentrating in particular on those where there is a change of shape – usually humans turned into animals, vegetables or minerals, though with other variations too. It’s breezy, vivid and sometimes funny, and it’s been a store of easily accessible ancient lore for centuries.

I’d always meant to get back to it properly, and it finally popped up on my list of books that I owned but had not yet blogged here. However, my 40-year-old copy is safely in Northern Ireland, so I acquired both the latest Penguin translation, by Stephanie McCarter, and Ted Hughes’ selection of twenty-four choice chapters, and read them – I took the McCarter translation in sequence, and then jumped across to read the relevant sections if Hughes had translated them, though he put them in a different order.

I do find Ovid fascinating. In some ways he speaks to the present day reader very directly – a lot of the emotions in the Ars Amatoria could be expressed by lovers two thousand years later. But here he’s taking material that was already very well known, the Greek and Roman classical legendarium, and repackaging it for a sophisticated audience in the greatest city in the world. The book ends (McCarter’s translation):

Where Roman power spreads through conquered lands,
I will be read on people’s lips. My fame
will last across the centuries. If poets’
prophecies can hold any truth, I’ll live.

And he did. I have been particularly struck by Ovid’s popularity among the patrons of my favourite 17th-century stuccador, Jan Christiaan Hansche. A number of his most interesting ceilings feature stories from Ovid, some of them well known, some less so. Sixteen centuries after Ovid laid down his pen, his work was still part of the standard canon of literature known to all educated Western Europeans.

So. The two translations are different and serve different purposes. McCarter’s mandate was to translate the whole of the Metamorphoses into iambic pentameter in English. She is necessarily constrained to giving us an interpretation of Ovid’s text, with all of its limitations, and confining her own original thoughts to footnotes and other supporting material.

In a very interesting introduction, she is clear about the many scenes of rape in the story. But she also makes it clear that Ovid has a lot more active female characters than are in his sources, and they get more to do. She gives some telling examples of previous translators projecting later concepts of femininity onto Ovid’s fairly unambiguous original words.

Given the contemporary debate, it’s also interesting that Ovid has several examples of gender fluidity – not really presented as a standard part of everyday life, but nonetheless as a phenomenon that happens. For Ovid, we must simply accept that someone’s current gender may not be the one that they were born with.

Ted Hughes, on the other hand, was translating favourite bits of Ovid because he had reached the stage of his career where he could do what he wanted. He could leave out all the bits he found boring (I haven’t counted, but I think he translates about only 40% of Ovid’s text), and he could add his own flourishes at will. Inevitably this makes for a more satisfactory reading experience, though it is incomplete.

Both translations bring to life Ovid’s vivid imagery, which really throws you into the narrative. For a compare and contrast passage, here is the beginning of their treatment of the story of Phaethon, the son of the Sun who crashed to disaster trying to drive his father’s chariot (a favourite topic for Hansche). I think that the differences speak for themselves:

McCarter:
The Sun’s child Phaethon equaled him in age
and mind. But Epaphus could not endure
his boasts, his smugness, and his arrogance
that Phoebus was his father and declared,
“You crazily trust all your mother says!
Your head is swollen by a phony father!”
Phaethon blushed as shame repressed his wrath.
He took these taunts to Clymene, his mother,
and told her, “Mother, to upset you more,
although I am free-spoken and quick-tempered,
I could not speak, ashamed these insults could
be uttered and that I could not refute them.
If I am truly born of holy stock,
give me a sign and claim me for the heavens!”
Wrapping his arms around his mother’s neck,
he begged—by his life, Merops’ life, his sisters’
weddings—that she give proof of his true father.

Hughes:
When Phaethon bragged about his father, Phoebus
The sun-god,
His friends mocked him.
‘Your mother must be crazy
Or you’re crazy to believe her.
How could the sun be anybody’s father?’
In a rage of humiliation
Phaethon came to his mother, Clymene.
‘They’re all laughing at me,
And I can’t answer. What can I say? It’s horrible.
I have to stand like a dumb fool and be laughed at.
‘If it’s true, Mother,’ he cried, ‘if the sun,
The high god Phoebus, if he is my father,
Give me proof.
Give me evidence that I belong to heaven.’
Then he embraced her. ‘I beg you,
‘On my life, on your husband Merops’ life,
And on the marriage hopes of my sisters,
Only give me proof that the sun is my father.’

I think I’d recommend that a reader unfamiliar with Ovid start with Hughes and then go on to McCarter to get the full story. ( )
  nwhyte | Apr 1, 2023 |
Mostrando 1-5 de 101 (seguinte | mostrar todos)
sem críticas | adicionar uma crítica

» Adicionar outros autores (747 possíveis)

Nome do autorPapelTipo de autorObra?Estado
Ovidautor principaltodas as ediçõesconfirmado
Ovid & Gregory; Horace (Translator; AfteTradutorautor secundáriotodas as ediçõesconfirmado
Anguillara, Giovanni Andrea dell'Tradutorautor secundárioalgumas ediçõesconfirmado
Bernini, FerruccioEditorautor secundárioalgumas ediçõesconfirmado
Bosselaar, Didericus ErnestusEditorautor secundárioalgumas ediçõesconfirmado
Dryden, JohnTradutorautor secundárioalgumas ediçõesconfirmado
Ehwald, RudolfEditorautor secundárioalgumas ediçõesconfirmado
Feeney, DenisIntroduçãoautor secundárioalgumas ediçõesconfirmado
Garth, Sir SamuelEditorautor secundárioalgumas ediçõesconfirmado
Gay, ZhenyaIlustradorautor secundárioalgumas ediçõesconfirmado
Golding, ArthurTradutorautor secundárioalgumas ediçõesconfirmado
Gregory, HoraceTradutorautor secundárioalgumas ediçõesconfirmado
Hane-Scheltema, M. d'Tradutorautor secundárioalgumas ediçõesconfirmado
Haupt, MorizEditorautor secundárioalgumas ediçõesconfirmado
Humphries, RolfeTradutorautor secundárioalgumas ediçõesconfirmado
Innes, M. M.Tradutorautor secundárioalgumas ediçõesconfirmado
Kline, A. S.Tradutorautor secundárioalgumas ediçõesconfirmado
Knox, BernardIntroduçãoautor secundárioalgumas ediçõesconfirmado
Korn, OttoEditorautor secundárioalgumas ediçõesconfirmado
Mandelbaum, AllenTradutorautor secundárioalgumas ediçõesconfirmado
Martin, CharlesTradutorautor secundárioalgumas ediçõesconfirmado
Müller, Hermann JohannesEditorautor secundárioalgumas ediçõesconfirmado
McCarter, StephanieTradutorautor secundárioalgumas ediçõesconfirmado
Melville, A. D.Tradutorautor secundárioalgumas ediçõesconfirmado
Miller, Frank JustusTradutorautor secundárioalgumas ediçõesconfirmado
Parramon i Blasco, JordiTradutorautor secundárioalgumas ediçõesconfirmado
Pattist, M.J.Tradutorautor secundárioalgumas ediçõesconfirmado
Pepermans, G. M. A.Editorautor secundárioalgumas ediçõesconfirmado
Pepermans, G. M. A.Tradutorautor secundárioalgumas ediçõesconfirmado
Proosdij, B.A. vanEditorautor secundárioalgumas ediçõesconfirmado
Raeburn, DavidTradutorautor secundárioalgumas ediçõesconfirmado
Tarrant, R. J.Editorautor secundárioalgumas ediçõesconfirmado
Tissol, GarthIntroduçãoautor secundárioalgumas ediçõesconfirmado
Vondel, Joost van denTradutorautor secundárioalgumas ediçõesconfirmado

Está contido em

Contém

É recontada em

É uma adaptação de

Tem a adaptação

Inspirada

Tem como guia de referência/texto acompanhante

Tem como estudo

Tem um comentário sobre o texto

Tem um guia de estudo para estudantes

Tem de autenticar-se para poder editar dados do Conhecimento Comum.
Para mais ajuda veja a página de ajuda do Conhecimento Comum.
Título canónico
Informação do Conhecimento Comum em inglês. Edite para a localizar na sua língua.
Título original
Títulos alternativos
Informação do Conhecimento Comum em alemão. Edite para a localizar na sua língua.
Data da publicação original
Pessoas/Personagens
Informação do Conhecimento Comum em inglês. Edite para a localizar na sua língua.
Locais importantes
Informação do Conhecimento Comum em inglês. Edite para a localizar na sua língua.
Acontecimentos importantes
Filmes relacionados
Epígrafe
Dedicatória
Informação do Conhecimento Comum em inglês. Edite para a localizar na sua língua.
This translation of Ovid's seamless song
is inscribed to my brother in law and in love,
Leonard Feldman, and my sister, Rayma.
Primeiras palavras
Informação do Conhecimento Comum em inglês. Edite para a localizar na sua língua.
Now I shall tell you of things that change, new being / Out of old: since you, O Gods, created / Mutable arts and gifts, give me the voice / To tell the shifting story of the world / From its beginning to the present hour.
Širdį man traukia giedot, kaip naujus pavidalus gavo Žemiški kūnai.
My purpose is to tell of bodies which have been transformed into shapes of a different kind. You heavenly powers, since you were responsible for those changes, as for all else, look favourably on my attempts, and spin an unbroken thread of verse, from the earliest beginnings of the world, down to my own times. [Mary M. Innes translation, Penguin Books, 1955]
My soul would sing of metamorphoses.
(Tr. Allan Mandelbaum)
My mind would tell of forms changed into new bodies;  gods, into my undertakings (for you changed even those) breathe life and from the first origin of the world to my own times draw forth a perpetual song!
(Tr. Z Philip Ambrose)
Citações
Informação do Conhecimento Comum em inglês. Edite para a localizar na sua língua.
Žemės kraštuos, kur tik sieks raminanti Romos galybė, žmonės mane skaitys, ir lūpose būsiu aš gyvas, jeigu teisybės yra kiek dainių spėjimuos, per amžius.
Últimas palavras
Informação do Conhecimento Comum em inglês. Edite para a localizar na sua língua.
(Carregue para mostrar. Atenção: Pode conter revelações sobre o enredo.)
(Carregue para mostrar. Atenção: Pode conter revelações sobre o enredo.)
(Carregue para mostrar. Atenção: Pode conter revelações sobre o enredo.)
Nota de desambiguação
Informação do Conhecimento Comum em inglês. Edite para a localizar na sua língua.
3150003563 Reclam UB
3150206375 Reclam Taschenbuch

Metamorphoses in translation.
Under the 'dead language" convention, there are separate works for Latin and bilingual editions.

This is the complete edition of Metamorphoses. Please do not combine with partial editions (individual volumes of multi-volume editions).
Editores da Editora
Autores de citações elogiosas (normalmente na contracapa do livro)
Informação do Conhecimento Comum em inglês. Edite para a localizar na sua língua.
Língua original
Informação do Conhecimento Comum em inglês. Edite para a localizar na sua língua.
DDC/MDS canónico
LCC Canónico
"The first female translator of the epic into English in over sixty years, Stephanie McCarter addresses accuracy in translation and its representation of women, gendered dynamics of power, and sexual violence in Ovid's classic. Ovid's Metamorphoses is an epic poem, but one that upturns almost every convention. There is no main hero, no central conflict, and no sustained objective. What it is about (power, defiance, art, love, abuse, grief, rape, war, beauty, and so on) is as changeable as the beings that inhabit its pages. The sustained thread is power and how it transforms us, both those of us who have it and those of us who do not. For those who are brutalized and traumatized, transformation is often the outward manifestation of their trauma. A beautiful virgin is caught in the gaze of someone more powerful who rapes or tries to rape them, and they ultimately are turned into a tree or a lake or a stone or a bird. The victim's objectification is clear: They are first a visual object, then a sexual object, and finally simply an object. Around 50 of the epic's tales involve rape or attempted rape of women. Past translations have obscured or mitigated Ovid's language so that rape appears to be consensual sex. Through her translation, McCarter considers the responsibility of handling sexual and social dynamics. Then why continue to read Ovid? McCarter proposes Ovid should be read because he gives us stories through which we can better explore ourselves and our world, and he illuminates problems that humans have been grappling with for millennia. Careful translation of rape and the body allows readers to see Ovid's nuances clearly and to better appreciate how ideas about sexuality, beauty, and gender are constructed over time. This is especially important since so many of our own ideas about these phenomena are themselves undergoing rapid metamorphosis, and Ovid can help us see and understand this progression. The Metamorphoses holds up a kaleidoscopic lens to the modern world, one that offers us the opportunity to reflect on contemporary discussions about gender, sexuality, race, violence, art, and identity"--

Não foram encontradas descrições de bibliotecas.

Descrição do livro
Resumo Haiku

Current Discussions

Nenhum(a)

Capas populares

Ligações Rápidas

Avaliação

Média: (4.11)
0.5 1
1 11
1.5 4
2 47
2.5 11
3 216
3.5 50
4 474
4.5 71
5 510

É você?

Torne-se num Autor LibraryThing.

Penguin Australia

2 edições deste livro foram publicadas por Penguin Australia.

Edições: 014044789X, 0140422307

Indiana University Press

Uma edição deste livro foi publicada pela Indiana University Press.

» Página Web de informação sobre a editora

W.W. Norton

Uma edição deste livro foi publicada pela W.W. Norton.

» Página Web de informação sobre a editora

 

Acerca | Contacto | LibraryThing.com | Privacidade/Termos | Ajuda/Perguntas Frequentes | Blogue | Loja | APIs | TinyCat | Bibliotecas Legadas | Primeiros Críticos | Conhecimento Comum | 201,573,315 livros! | Barra de topo: Sempre visível