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Phaedra has been recognized as one of the most elegiac of Seneca’s tragic characters (Armstrong, 2006; Mocanu 2013). By inverting the traditional gender roles of love elegy, Seneca characterizes her as the elegiac amator, hunting her erotic prey, Hippolytus, in a desperate attempt to obtain his love. In this paper, I want to show how Seneca uses references to Phaedra’s body and bodily parts to stress the elegiac connotation of her character and get in direct conversation with Roman elegiac poets.

This paper examines the relationship between bodily autonomy and conceptualizations of gender in the philosophical and tragic corpora of Seneca the Younger. First considering selected passages from a handful of Senecan prose works (e.g.

Medical vocabulary relating to skin and its diseases (such as cutis, ulcus, scabies,

Throughout his Natural Questions, the Younger Seneca urges the mind to break free from the constraints of the body (Sen. NQ 1. praef.

Ovid is the definitive poet of Rome. Many of his works express, in one form or another, the strong ‘gravitational pull’ of the city. In his early erotic works, the city is the setting; the Ars Amatoria, for example, means nothing without Rome as its backdrop. In the Metamorphoses the inexorable direction of travel is towards Rome, and as Ovid meanders from myth to myth, we are pulled closer and closer to the city.

Interrupted (according to Ovid) by his exile, the fasti abruptly break off halfway through the calendar, a monument to the fracturing effects of Augustan imperialism: for Ovid presents his spatial dislocation from Rome to the Black Sea as coinciding with the fragmentation of his portrait of the cosmically complete religious year (Feeney 1992).

In this paper, I will explore the particular logics of Ovidian metamorphoses centering (de)animation and (in)animacy, bodily and environmental instability, and the use of ars or techne that inform the choreographies and production designs of (post)modern dancers like Loie Fuller, Jodie Sperling, and Kinetic Light.

The influence and reception of Ovid’s works spans many world literatures from South America to China (Miller and Newlands 2014; Liu 2021). However, one area that remains to be fully explored is Ovid’s reception in the work of Bosnian authors, which may be said to represent a sort of continuation of Ovid’s exile in the Balkans.

The Blast from the Casts project is an interactive online exhibition bringing the Battle Collection of plaster casts of ancient sculpture, currently held by the Blanton Museum of Art in Austin, Texas, together as a cohesive collection in digital form to make in-depth, up-close, personal interaction with the casts widely accessible to students and the public.

Large-scale data mining of classical literature has facilitated studies of classical intertextuality in recent years of a type previously unimaginable. Projects like Tesserae and the Quantitative Criticism Lab’s Filium allow researchers to compare classical texts and identify lexical similarities, opening new vistas for academic research. However, these tools are often out-of-reach to students at the undergraduate or high school level. I aim to provide a tool more closely aligned in the first instance to the AP Latin curriculum.