Orpheus, Byblis, Myrrha : Towards a Matrixial Ethics of Encounter in Ovid’s Metamorphoses. / Spentzou, Efrossini.

In: International Journal of the Classical Tradition, 07.02.2019, p. 1-16.

Research output: Contribution to journalArticle

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Orpheus, Byblis, Myrrha : Towards a Matrixial Ethics of Encounter in Ovid’s Metamorphoses. / Spentzou, Efrossini.

In: International Journal of the Classical Tradition, 07.02.2019, p. 1-16.

Research output: Contribution to journalArticle

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Spentzou, Efrossini. / Orpheus, Byblis, Myrrha : Towards a Matrixial Ethics of Encounter in Ovid’s Metamorphoses. In: International Journal of the Classical Tradition. 2019 ; pp. 1-16.

BibTeX

@article{73ac514a4cc947ffa9b282f6a6f4ec8d,
title = "Orpheus, Byblis, Myrrha: Towards a Matrixial Ethics of Encounter in Ovid’s Metamorphoses",
abstract = "This article re-reads the stories of Eurydice, Byblis and Myrrha in Ovid’s Metamor-phoses alongside the art and critical thought of the Israeli-born artist and psychoana-lyst Bracha Ettinger (b. 1948). In her work, Ettinger seeks to escape the exclusivity of ‘either/or’ engagements in previous discourses defining the male and the female and valorizes co-emergence in identities and genders. In her view, gender/subjecthood is not fixed but is in continuous engagement, forming a subject position incorporating in an ever-evolving togetherness of I and non-I (terms that Ettinger prefers as they show an inextricable bond between Self and Other). Ettinger’s engagement with Ovid is indirect. She engages with Eurydice in a series of c. 50 paintings, gradually pro-duced (and reproduced) since c. 1990. Although I engage with her Eurydice paint-ings in Part I, alongside the Ovidian retelling of the Orpheus and Eurydice story, it is some of her key psychoanalytical writings (rather than her paintings) that I deploy in my new readings of Byblis and Myrrha stories/characters in Parts II and III.",
author = "Efrossini Spentzou",
year = "2019",
month = "2",
day = "7",
doi = "10.1007/s12138-019-00512-8",
language = "English",
pages = "1--16",
journal = "International Journal of the Classical Tradition",

}

RIS

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T1 - Orpheus, Byblis, Myrrha

T2 - Towards a Matrixial Ethics of Encounter in Ovid’s Metamorphoses

AU - Spentzou, Efrossini

PY - 2019/2/7

Y1 - 2019/2/7

N2 - This article re-reads the stories of Eurydice, Byblis and Myrrha in Ovid’s Metamor-phoses alongside the art and critical thought of the Israeli-born artist and psychoana-lyst Bracha Ettinger (b. 1948). In her work, Ettinger seeks to escape the exclusivity of ‘either/or’ engagements in previous discourses defining the male and the female and valorizes co-emergence in identities and genders. In her view, gender/subjecthood is not fixed but is in continuous engagement, forming a subject position incorporating in an ever-evolving togetherness of I and non-I (terms that Ettinger prefers as they show an inextricable bond between Self and Other). Ettinger’s engagement with Ovid is indirect. She engages with Eurydice in a series of c. 50 paintings, gradually pro-duced (and reproduced) since c. 1990. Although I engage with her Eurydice paint-ings in Part I, alongside the Ovidian retelling of the Orpheus and Eurydice story, it is some of her key psychoanalytical writings (rather than her paintings) that I deploy in my new readings of Byblis and Myrrha stories/characters in Parts II and III.

AB - This article re-reads the stories of Eurydice, Byblis and Myrrha in Ovid’s Metamor-phoses alongside the art and critical thought of the Israeli-born artist and psychoana-lyst Bracha Ettinger (b. 1948). In her work, Ettinger seeks to escape the exclusivity of ‘either/or’ engagements in previous discourses defining the male and the female and valorizes co-emergence in identities and genders. In her view, gender/subjecthood is not fixed but is in continuous engagement, forming a subject position incorporating in an ever-evolving togetherness of I and non-I (terms that Ettinger prefers as they show an inextricable bond between Self and Other). Ettinger’s engagement with Ovid is indirect. She engages with Eurydice in a series of c. 50 paintings, gradually pro-duced (and reproduced) since c. 1990. Although I engage with her Eurydice paint-ings in Part I, alongside the Ovidian retelling of the Orpheus and Eurydice story, it is some of her key psychoanalytical writings (rather than her paintings) that I deploy in my new readings of Byblis and Myrrha stories/characters in Parts II and III.

U2 - 10.1007/s12138-019-00512-8

DO - 10.1007/s12138-019-00512-8

M3 - Article

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EP - 16

JO - International Journal of the Classical Tradition

JF - International Journal of the Classical Tradition

ER -