Master of Arts, The Ohio State University, 1968, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Science, The Ohio State University, 2008, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1968, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1972, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1925, Graduate School

Committee: Not Provided (Other) Subjects:

MA, Kent State University, 2023, College of Arts and Sciences / Department of Modern and Classical Language Studies

This paper offers a comparison of early Christian and Roman accounts of paradise, decline, and restoration, focusing on writings of the first centuries B.C.E. and C.E. As Christianity arose as a sect within Judaism, my analysis will also include Jewish texts, many of which were written before the first century B.C.E., but which continued to be very influential during the period on which I am focusing. My comparison will be focused on the cultural values that are reflected in such discourses as utopian and eschatological accounts have a lot to tell us about the ideals of their authors. In particular, I will be analyzing the values presented in Christian texts in light of the Roman virtues of virtus, self-restraint, and pietas, as well as Roman views of social hierarchy. In doing so, I hope to highlight not only the similarities between Judeo-Christian and Roman accounts, but also, and perhaps more importantly, the differences. While the Roman writings that I will discuss almost invariably present a view from the “center” of imperial power, the Jewish and Christian writings, at least to a large extent, originate at the “periphery.” This difference, as we will see, has a significant effect on the values of each group, despite superficial similarities.

Committee: Jennifer Larson (Advisor); Radd Ehrman (Committee Member); Brian Harvey (Committee Member) Subjects: Biblical Studies; Classical Studies

Doctor of Philosophy, The Ohio State University, 2021, Greek and Latin

This project takes advantage of modern trauma theory to develop a new reading and understanding of Ovid's first book of exile poetry, the Tristia. Using trauma theory, clinical research data, and traditional philology, this paper demonstrates that the language that Ovid uses to describe his experience of banishment and life in exile reveals that this period of his life included several potentially traumatic events. Shoshanna Felman's and Dori Laub's concepts of testimony and witnessing, strongly influenced the reading of the text as a reflection of the poet's personal experiences instead of either literal facts or empty artifice as scholars have previously done. This approach opens up new ways of understanding Ovid's experiences from the time that his banishment was announced through the third year of his exile. Through the lens of trauma theory, this project discovers how Ovid understood and expressed his separation from Rome, sense of self, relationship to poetry and language, and methods of coping with the pain.

Committee: William Batstone (Advisor); Zoe Plakias (Other); Julia Nelson-Hawkins (Committee Member); Dana Munteanu (Committee Member) Subjects: Classical Studies; Comparative Literature

MA, Kent State University, 2019, College of Arts and Sciences / Department of Modern and Classical Language Studies

By examining feminine speech within the corpus of love elegies composed throughout the Augustan period, especially those written by Tibullus, Sulpicia, Propertius, and Ovid, one can determine various stylistic uses of female characters within the entire corpus. In addition to this, while his writings were penned a generation before the others, the works of Catullus will be examined as well, due to the influence his works had on the Augustan Elegists. This examination will begin identifying and detailing every instance of speech within the elegies from a female source, and exploring when, how, and why they are used. The majority of the elegies in which these instances occur are briefer, more veristic in nature, although longer, more polished examples exist as well; both types are examined. Except for Sulpicia, these poets are male and present the majority of their elegies from a masculine point of view; this influence is also examined.

Committee: Jennifer Larson Dr. (Advisor); Brian Harvey Dr. (Committee Member); Sarah Harvey Dr. (Committee Member) Subjects: Classical Studies; Gender Studies; Language

Doctor of Philosophy, The Ohio State University, 2019, Greek and Latin

Animalization classifies women as non-human animals who must be tamed and controlled by marriage and motherhood. Our earliest written sources, like Hesiod's Theogony and Works and Days (7th c. BCE) and Semonides' Fragment 7 (7th c. BCE), describe women's body parts in animal terms to manipulate the actions and behavior of female characters for a male audience. Animalization continues to affect the treatment of women and animals today, particularly regarding voice, agency, and bodily autonomy. Using Julia Kristeva's (1985), Donna Haraway's (1985), and Carol J. Adams' (1990) theories, I propose a woman-as- animal spectrum where female-presenting individuals slide between neutral/domesticated/sacrificial animals and bestial/wild/hybrid monsters. Using this spectrum, I investigate the animalized female body in classical literature through women's skin, mind, and reproductive system and end with a discussion of how contemporary authors and artists are reclaiming animalization today. Because women develop from monsters in ancient cosmogonies, I argue in chapter 1, “Skin,” that Io, Callisto, Ocyrhoe, and Scylla in Ovid's Metamorphoses (1st c. CE) experience species dysphoria, anxiety and depression because their interior and exterior experiences do not match. Hindu and First Nations stories, however, show that women do not have to suffer when transforming into animals with whom they share a close kinship. In chapter 2, “Mind,” I explore three animal metaphors (snakes, dogs, and lions) through four women from Greek tragedy (5th c. BCE): Agave in Euripides' Bacchae, Creusa in Euripides' Ion, Clytemnestra in Aeschylus' Oresteia, and Medea in Euripides' Medea. I then move to Roman tragedy (1st c. CE), where I argue that Seneca's Medea and Phaedra present the title characters as uniquely Roman manifestations of the woman-as- animal spectrum. I end by suggesting how tragic women can harness hybridity as a tool for promoting their own and their children's agency. In c (open full item for complete abstract)

Committee: Thomas Hawkins (Committee Chair); Dana Munteanu (Committee Member); Julia Hawkins (Committee Member) Subjects: Ancient Languages; Animals; Classical Studies; Comparative Literature; Gender Studies; Womens Studies

Doctor of Philosophy, The Ohio State University, 2017, Greek and Latin

The main aim of this dissertation is to study Fracastoro's allusive technique: particularly his reception of classical authors. I will identify and assess the evidence for Fracastoro's reception of these classical authors through a close reading of the Morbus Gallicus and its classical intertexts, and by an examination of that poetry identify and uncover the motifs, themes, diction, and poetic agendas that Fracastoro recognized, engaged, and leveraged – in effect, how he read his predecessors as he produced his own work. The manner in which Fracastoro uses his classical antecedents reveals a greater complexity in Fracastoro's allusive technique than previous scholars have noticed. This project, at its core, is about coming to a better and more complete understanding of Fracastoro as a poet. Most previous examinations of Fracastoro's work (and engagement with his antecedents) tend to create a dichotomy between Fracastoro's works as a man of science and as a man of letters, often implying the primacy of his role as a scientist. In this project, I seek to draw attention to his work – and talent – as a poet. To that end, my discussion starts with Fracastoro's reception of the authors where a far more reasonable premise would be that Fracastoro was looking at them with a purely poetic eye; the first half of the project deals with the ties to Vergil, Ovid, and Catullus. The influence of Vergil's Georgics on the basic narrative structure of Syphilis sive Morbus Gallicus is presented practically as a given by several scholars – but a close reading of the passages from Vergil that made a clear imprint on Fracastoro strongly suggest that it was the violent pastoralist approach that spans all of Vergil's poems that made the most significant impact on Fracastoro – indeed, it infuses the way that Fracastoro communicates the symptoms, causes, and cures for the disease. The second half of the project then moves on to Lucretius, whose influence on Fracastoro has primari (open full item for complete abstract)

Committee: Fritz Graf (Committee Chair); Julia Nelson-Hawkins (Committee Member); Frank Coulson (Committee Member) Subjects: Classical Studies; Literature

Doctor of Philosophy, The Ohio State University, 2017, French and Italian

This dissertation is a study in physical and spiritual transformation in medieval French and Occitan literature from the eleventh through the fifteenth centuries. By considering the Ovidian and biblical tropes of metamorphosis and transfiguration that are present in medieval French and Occitan literature, particularly in works such as Robert le diable, Flamenca, La Vie de Sainte Marie l'Egyptienne, the various Tristan narratives, and the works of Chretien de Troyes, one can have a clearer understanding of the influence that both Ovidian and biblical narratives had on medieval French and Occitan literature. By examining Ovidian metamorphic trope of metamorphic degradation and exploring the instances in which this trope appears in medieval French and Occitan literature, one can arrive at a greater appreciation for the influence that Ovid and his works exercised on medieval authors and readers. It is also possible to foster a greater appreciation for transformation by examining instances of disguise, costuming, and clothing presented in medieval French and Occitan literature it is possible to further explore the tropes of transformation as one gains a clearer appreciation for the role that clothing and disguise play in transformation narratives.

Committee: Sarah-Grace Heller Ph.D (Committee Chair); Jonathan Combs-Schilling Ph.D (Committee Member); Leslie Lockett Ph.D (Committee Member) Subjects: Literature; Medieval Literature; Middle Ages

Doctor of Philosophy, The Ohio State University, 2017, English

The recent work on the manuscript reception of Ovid's canon and Ovidian commentaries in western Europe has affirmed the author's significant literary influence in the late Mid- dle Ages. The production and reception of Ovidinia flourished, and Ovid's poems in- creasingly became read as coherent compositions rather than dissected for bits of moral exempla. In particular, the Metamorphoses profoundly affects the literary landscape of late medieval France and England. Allusions to Ovid's poem reemerge throughout the late Middle Ages at defining moments of poetic self-consciousness, most often through figures of ekphrasis, the use of poetry in order to portray other media of art. By examin- ing such moments from a selection of influential medieval poems, the mind of the late medieval poet reveals itself in perpetual contestation with the images and figures of an Ovidian lineage, but the contest entails the paradoxical construction of poetic identity, which forces the poet to impose the haunting shadow of literary history onto the mirror of his or her craft.

Committee: Ethan Knapp (Advisor) Subjects: Literature

Doctor of Philosophy, The Ohio State University, 1973, Graduate School

Committee: Not Provided (Other) Subjects: Literature

Doctor of Philosophy, The Ohio State University, 1973, Graduate School

Committee: Not Provided (Other) Subjects: Literature

Doctor of Philosophy, Case Western Reserve University, 2016, Musicology

The animated statue represented one of the central magical figures in French musical theater of the seventeenth and eighteenth centuries. During the period covered by this dissertation, 1661-1748, animated statues appeared in more than sixty works of musical theater of almost every available genre. This number does not include the many works containing statues that demonstrated magical or otherworldly properties through means other than movement or song. Some of the works of this period that feature living statues are well-known to musicologists—e.g. Moliere/Jean-Baptiste Lully's comedy-ballet Les Facheux (1661), Lully's opera Cadmus et Hermione (1673), and Jean-Philippe Rameau's one-act ballet Pigmalion (1748)—while others have received little recognition. This dissertation is the first study to consider the history of animated statues on the French stage during this period, and the first to reveal music as a defining feature of these statues. Over the course of nearly ninety years, music assumed an increasingly important role in the theatrical treatments of these figures that operated in the space between magic and mechanics. At the beginning of Louis XIV's reign, animated statues appeared with some frequency in both public and court spectacles. By the mid-eighteenth century, the animated statue had become the central focus of many works and had transformed into a potent symbol of, among other ideas, the power of music and dance, as most dramatically realized in Rameau's Pigmalion. This dissertation traces the history of this transformation.

Committee: Georgia Cowart (Committee Co-Chair); Francesca Brittan (Committee Co-Chair); Susan McClary (Committee Member); Elina Gertsman (Committee Member) Subjects: Art History; Dance; European History; Music; Theater

Doctor of Philosophy, The Ohio State University, 2015, Greek and Latin

The teacher and antiquarian Pomponius Laetus was and is among the most celebrated and studied of the 15th-century Italian humanists, and a wealth of extant material witnesses (particularly exegetical commentaries on classical texts, neo-Latin poetry, and correspondences to and from other notable humanists) testifies to his life and his activities in the various intellectual circles of Quattrocento Rome. One such piece of evidence is an extant commentary composed by Pomponius on Ovid's Fasti. Supplementary evidence suggests that Ovid's Fasti was a lifelong object of study for Pomponius and that his work in explicating the calendar poem's obscure mythological, historical, and topographical references greatly influenced future generations of humanists. Despite the centrality of this particular classical text to Pomponius's pedagogical and personal programs, his commentary on the poem has gone understudied and today lacks an edition. This dissertation remedies this lack by locating, studying, and contextualizing previously unknown extant witnesses to Pomponius's work on Ovid's Fasti and by providing an edition of the commentary itself. Pomponius's commentary and the traditions in which it was read and copied are valuable witnesses to a period of intense intellectual activity and cultural engagement with classical antiquity, and this dissertation makes this evidence accessible for the first time to the modern reader.

Committee: Frank Coulson PhD (Advisor); Richard Fletcher PhD (Committee Member); Anna Grotans PhD (Committee Member) Subjects: Classical Studies

Bachelor of Fine Arts (BFA), Ohio University, 2014, Theater

The thesis examines the relationship of love and art's presentation in dramatic literature, and how it creates extraordinary behavior in characters. This is explored through the Orpheus and Eurydice myth, The Master Builder, and Murder Bird, the play attached to the thesis.

Committee: William Condee Ph.D (Advisor) Subjects: Theater; Theater Studies

Bachelor of Arts (BA), Ohio University, 2014, Classics

The presence of the Augustan family in Ovid’s Metamorphoses has plagued scholars for years, considered everything from an expression of wholehearted devotion to a sarcastic denouncement. I argue that the inclusion of the imperial family within the mythologized context is part of a wider Roman narrative scheme for discussing power rather than a unilateral political statement. I assert first that Ovid used an extant paradigm, drawn from Virgil, for his narrative consideration of power; this assertion is supported and reinforced through careful examination of the two most powerful members of the imperial household—the emperor Augustus in the Metamorphoses, and empress Livia in the Tristia and Ex Ponto. I argue that both figures are framed within an Ovidian take on the Virgilian paradigm as a plausible method of merging the “real world” with the fictive one of Ovid’s works.

Committee: Neil Bernstein Ph.D (Advisor) Subjects: Classical Studies; Literature

DMA, University of Cincinnati, 2001, College-Conservatory of Music : Oboe

Benjamin Britten (1913-76) wrote four chamber works involving oboe. Two of these works were published during Britten's lifetime; the other two remained in virtual obscurity until after he died. The two published during his life, Phantasy, Opus 2 and Six Metamorphoses after Ovid, Opus 49 were the first and the last of his oboe chamber works. They have different instrumentations, the first being for oboe, violin, viola and cello and the last being for unaccompanied oboe, and also span the course of almost twenty years between composition. The two other works, Two Insect Pieces and Temporal Variations, were published posthumously but were composed in close proximity of each other in 1935 and 1936, and both share the same instrumentation, oboe and piano. Britten paid homage to most of the oboists who first performed these works, except for Temporal Variations, by dedicating the work to them. Temporal Variations was dedicated to author Montagu Slater, a colleague of Britten and librettist for Peter Grimes. Montagu Slater was known for his left-wing writings. This document proposes to address the question of why the posthumously published works were not published during Britten's lifetime. The disappearance of these works answers the question in part. Other answers are found through letters from Britten and also in his diary entries. This document also addresses the history behind the works Britten had published, through accounts of their popularity and first performances. Phantasy was a work of a young composer still in his last year of college, whereas Six Metamorphoses after Ovid was composed when Britten was in the midst of his illustrious career. Along with the historical accounts, full detailed analyses give equal legitimacy to all four of the works. These analyses include a recent orchestration of the Temporal Variations by Colin Matthews.

Committee: Robert Zierolf (Advisor) Subjects: Music

PhD, University of Cincinnati, 2009, Arts and Sciences : Classics

Propertius tells us that the eyes are our guides in love. Both he and Ovid enjoin lovers to keep silent about their love affairs. I explore the ability of poetry to make our ears and our eyes guides, and, more importantly, to connect seeing and saying, videre and narrare. The ability of words to spur a reader or listener to form mental images was long recognized by Roman and Greek rhetoricians. This project takes stock for the first time of how poets, three Roman love poets, in this case, applied vivid description and other rhetorical devices to spur their readers to form mental images of the love they read. All three poets reflect on the role played by a reader's mental imaging in poetry in general and love poetry in particular. In my discussion of Catullus, I examine how the poet uses his control of the reader's perspective to include or exclude him from his love affair, and to show that his love for Lesbia was something unique and worth concealing from the visual scrutiny of the outside world. The chapter on Propertius reevaluates what exactly constitutes the temperament visuel that scholars have so often attributed to the poet. In my discussion of Ovid I examine three different ends to which he employs the language of vision and his reader's mental imaging in the Amores, Ars Amatoria, and Metamorphoses. In the Metamorphoses Ovid makes explicit what Catullus and Propertius had implied about the power of words: their power to create images in the reader's mind allows the reader to become a viewer, to peep into the private world of another through the window of the text. As I show throughout the dissertation, all three poets hold that telling (narrare), the purview of the poet, trumps seeing (videre), the realm of the visual artist.

Committee: Kathryn Gutzwiller PhD (Committee Chair); Holt Parker PhD (Committee Member); Susan Prince PhD (Committee Member) Subjects: Classical Studies