It is difficult to overstate the extent to which Ovidian poetry has stimulated and framed classicists’ engagement with philosophical ideas that have emerged since the mid-twentieth century, in the fields of critical theory, cultural studies and psychoanalysis. The multiform and palimpsestic dialogues that have grown out of this specific engagement seem to encapsulate the evolution not just of Latin literary studies but of classics as a discipline, in the wake of post-war, post-colonial thinking across the humanities. Of all the Ovidian ‘revivals’ through the twentieth century, beginning with Pound, Joyce, T. S. Eliot, Picasso, Dali, Freud and Lacan in the 1910s-30s, the ‘third wave’ of the late 80s onwards (and the fashioning of a ‘postmodern Ovid’ in criticism, literature and visual art) has been by far the most expansive and the most problematic.1 It is this Ovid, an Ovid who in the second decade of the new millennium feels standardized and endlessly reiterable, but who is animated by contradictions, repressions, critiques, misreadings, and connections not quite made, who will be the focus of this essay. My discussion will be punctuated by speculative pointers towards new shores, just as the wave ebbs.

中文翻译：

---

在奥维德之后，在理论之后

很难夸大奥维多诗歌在批判理论，文化研究和心理分析领域中激发和构筑古典主义者对自20世纪中叶以来出现的哲学思想的参与程度的程度。在战后，后殖民时期的全人类思想之后，这种特定的参与发展出了多种形式的，淡淡的对话，似乎不仅囊括了拉丁文学研究的发展，而且囊括了经典学科的发展。在20世纪的所有奥维德式的“复兴”中，从1910年代至30年代的庞德，乔伊斯，TS艾略特，毕加索，达利，弗洛伊德和拉康开始，是80年代后期的“第三波”（以及批评，文学和视觉艺术中的“后现代奥维德”一直是最广泛和最具问题的。1正是这个Ovid，在新千年的第二个十年中感到标准化和无休止的Ovid，但由于矛盾，压抑，批评，误读和不完全联系而充满生气，这将成为本文的重点。正如浪潮消退一样，我的讨论将被指向新海岸的投机性指针所打断。