@The Votives Project
Votives in the news: February/March 2014
@The Votives Project
Votives in the news: February/March 2014
@The Getty Iris
The Christian Empire that Grew from Classical Roots
Brief item from CDN (dated February 14) … just the concluding bit:
Explicó que en su visita al presidente Medina le contó de su experiencia, y le informó que ha recibido los permisos de lugar para iniciar una nueva temporada.
La arqueóloga informó que la investigación comenzó en el año 2005 y que actualmente solo le quedan unos meses para finalizar dicha investigación.
“Será el próximo domingo cuando iniciemos la etapa final, la más importante del proyecto y el Presidente de la República se sintió muy orgulloso y me brindó todo su apoyo”, dijo.
In case you don’t want to press the google translate button, basically Martinez has the permit by now and is digging for at least a month … stay tuned.
Didn’t know there was a controversy raging over the quotation from Vergil on the 9/11 monument … perhaps there isn’t, but the New York Times asked three classicists (Helen Morales, Llewelyn Morgan, and Shadi Bartsch-Zimmer) to weigh in on the appropriateness of the out-of-context sentiment Nulla dies umquam memori vos eximet aevo … You can read their thoughts here:
In any event, if there’s a problem with it now, they had four years (at least) to speak up (“they” not being the Classicists mentioned above, but the people who figured Classicists should be asked at this point in time) …
Seen on the Classicists list:
British Epigraphy Society
Practical Epigraphy Workshop
24 – 26 June 2014
The British Epigraphy Society will hold its sixth Practical Epigraphy
Workshop this summer from 24 to 26 June at Corbridge, Northumberland.
The workshop is aimed primarily at graduates wishing to develop hands-on
skills in working with epigraphic material, though we also welcome
applications from those at any stage in their career who would like to
acquire a greater sensitivity to the gathering of epigraphic evidence.
With expert tuition, participants will gain direct experience of the practical
elements of how to record and study inscriptions.
The programme will include the making of squeezes,
photographing and measuring inscribed stones,
and the production of transcriptions, translations and commentaries.
Participants may choose to work on Latin or Greek texts, and the workshop
will be open to those either with or without epigraphic training.
The course fee will be £90 for this three-day event.
Please direct enquiries about the workshop to Peter Haarer:
peter.haarer AT classics.ox.ac.uk
Application Forms can be obtained from Maggy Sasanow:
margaret.sasanow AT classics.ox.ac.uk.
Seen on the Classicists list:
Traditions in Fragments: the Classical Legacy in Italian 20th-Century Literature
Study Day, 20th June 2014
Faculty of Medieval and Modern Languages, University of Oxford
Classical tradition, as a conceptual cluster in which aesthetic, anthropological and political ideas converge, is central to the study of 20th-century Italian literature. The Classics and their legacy are unavoidable forces in the literary discourse of the last century. Whether reinstating, questioning or establishing a new tradition, the Novecento helped to shape the notion of classical tradition itself. In different forms we find Ancient Greek and Latin classics in both poetry and prose, from the work of Pascoli and D’Annunzio, to the Hermetic translations of Quasimodo, down to the Fascist appropriations of classical antiquity, the essays of Calvino, and the trans-genre adaptations of Pasolini and Dallapiccola (not to mention the reinterpretations of Pavese, Sanguineti, Bemporad, or Zanzotto). Yet this widespread presence is still, for the most part, taken for granted. The few available studies are confined to monographic appreciations of individual authors. Generally these enquiries have remained isolated and fragmentary.
This Study Day proposes to begin mapping and interrogating the presence of the classical legacy in the Novecento. Topics of discussion will include, but are not limited to: dynamics of reprisal or rejection of the Classics and their legacy by modern authors, the concept of â€˜originsâ€™ and archetype in 20th-century literary culture in Italy and abroad, genre and form, the Classics in relation to academic and popular culture in Italy, the relationship between translation and the classical legacy, and the reception of the Classics before, during and after Fascism. Gathering different scholarly contributions, we hope that this Study Day will provide a useful starting point for further research. The symposium setting will highlight similarities and differences between individual modes of engagement with the classical legacy. This may offer a new perspective on several aspects of Italian literature and culture in the 20th century, not least the role of literary traditions within the construction of cultural, authorial and national identities.
Call for Papers
Papers will investigate the presence of the Classics and their legacy in Italian literature of the 20th century. Possible topics of discussion include:
Adaptations and appropriations of Ancient Greek and Latin works by 20th-century authors
Translations of ancient Greek and Latin works by 20th-century writers, including theory and practice
The reception of the Classics during Fascism
The role of the classical legacy in 20th-century poetics
The role of the classics and classical legacy in shaping authorial and national identity
Contributions in English and Italian are welcome. Please send an abstract of 250-300 words, a short biographical note, the speaker’s academic affiliation and any audio-visual equipment needed to Cecilia Piantanida at traditionsinfragments AT gmail.com by 25 April 2014.
Posted with permission:
The Poetics of Consent: Collective Decision Making and the Iliad. By David F. Elmer. Baltimore and London: The Johns Hopkins University Press, 2013. Pp. x + 313. Hardcover, $55.00. ISBN 978-1-4214-0826-2.
Reviewed by Dean Hammer, Franklin and Marshall College
David Elmer’s book addresses two interpretive strands of the Iliad: one that explores its politics, the other the poetics of its transmission. Noting the fluidity of the “collective dynamics” of decision making, Elmer contends, “The formalization of these dynamics is rather a matter of the language and conventions of Homeric poetry,” conventions that permit the reader to see “more deeply into the process of collective decision making than the actors themselves seem capable of doing” (2-3).
Elmer addresses attempts to situate the Iliad in a particular historical context, critiquing the view of the poem as providing some window into, or reflecting on, the archaic or pre-polis world (9-10). Elmer, instead, draws on Nagy’s evolutionary model to understand the processes of “composition and textualization” (11) that both extend the poem’s composition into the sixth century and suggest the importance of this later reception in organizing the theme of consensus in the Iliad. The Iliad’s “representation of politics,” Elmer claims, does not reflect any particular historical context but is the result of a “long-term collective decision-making procedure” by which the poem is itself shaped by different audiences and performers. That is, the politics of the Iliad reflects its “implicit theory of reception” (12). To the extent that there is a political context, it is the Panhellenic festivals that provided “a real-life occasion for the assembly of large groups of people with divergent interests” (12).
The book is divided into three sections. The first section (comprised of four chapters) focuses on the formulaic conventions that govern scenes of collective decision making. In the first chapter, Elmer identifies five constituent elements of what he calls the “grammar of reception,” that is, the collective responses of others: silence, approval (by Achaeans), shout (by Achaeans), shout (by Trojans), and praise (26). Elmer situates these phrases within broader linguistic and cultural patterns to identify how formulaic discourse reveals ingrained patterns of speech and thought. Elmer extends the analysis in Chapter 2, focusing on the importance of epainos as not just a statement of praise, but also connected to notions of consensus.
In the third chapter Elmer argues that the opening scene frames the importance of collective decision making. In this chapter, provocatively titled, “Achilles and the Crisis of the Exception,” a reference to both Schmitt and Agamben in their respective discussions of the “state of exception,” Elmer contends that the opening scene operates as an exception to “traditional norms of decision making” (67). Elmer argues that while the state of exception does not apply to the politics since there is not “a formally constituted set of legal rules and governmental powers” that can be suspended, it does apply to the suspension of “the grammar of reception” (67).
In the suspension of a rule, the norm is reasserted (68-9). But in the meantime there is a crisis of interpretation: in how to respond and how to interpret those responses. Imposing “the state of exception” on the epic feels strained at times. Elmer, for example, contends that the “initial state of exception is, at its core, a failure of language” that extends to the disruption of poetic language “to the point that the ability of the formulaic medium to communicate the meaning of political action is undermined” (77). But the poetic language is doing exactly what it’s supposed to do; namely, communicating the disruption of political understanding and, most of all, trust. And it is doing so in a way not uncommon for social dramas, which function by revealing tensions or breakdowns in norms that are then reaffirmed or critically reassessed.
In the final chapter of this first section, Elmer reads the turmoil of Book 2 as a narrative trajectory for the crisis of the poem as a whole. There are moments where Elmer’s fusion of the poetic with the political leads him to treat the formulae as the foundation of community life. For example, Elmer argues that the “danger posed by Thersites” is “not just that he will undermine the stability of the Achaean confederacy but that he will undermine the poetic conventions that support the narrative of their expedition against Troy” (95). One of Elmer’s interesting insights in this chapter is a political (more than a poetic) one, though. He argues that quieting the “noise” of someone like Thersites is a precondition for opening up a space for “properly political speech” (97).
In the second section, Elmer explores the development of the epainos motif in the context of the Iliad’s three political communities: the Achaeans (Chapter 5), the Trojans (Chapter 6), and the gods (Chapter 7). He argues that consensus is never reached in the Achaean community but is displaced to the Trojans (in which there is consensus about an innovation that seals the fate of the Trojans) and the gods, who, Elmer suggests, function as “a kind of stand-in for the poem’s real-world audience” (173). It is this “fourth community,” the real-world audience, onto which “the Iliad projects the ultimate fulfillment of the epainos motif” and “which bears ultimate responsibility for the Iliadic narrative, just as the gods appear to do within the narrative itself” (173).
In the final section, Elmer seeks to provide evidence of how the epainos motif is resolved. In Chapter 8, Elmer interprets the final scene of Trojan mourning as “some indication of the perfected experience it projects onto its implied audience, but it cannot situate it among those [the Achaeans] who must remain imperfect” (203). It is “only in the later world of the poleis that their potential is fulfilled” (203).
In the final chapter, Elmer provides evidence for how we are to understand the audience or the dynamics of the transmission of the text, which is what the argument largely hinges on. Elmer explores aspects of the Iliad as a Panhellenic epic: the role of “passive tradition bearers” (206) as a check on tradition as performed, as well as what traditions go forward; interesting allusions in Plato to the epainos motif as referring to the role of collective values in the reception (and shaping) of the poem; and some suggestions about how this motif plays itself out in the Odyssey.
The book is remarkably well written and engaging, always seeking clear explanations of complex concepts. The book also synthesizes and extends the current state of scholarship on the Iliad, addressing, as well as any recent book, the different (often divergent) approaches to the politics and poetics of the epic. The argument is ultimately about the politics of poetics in which the Iliad appears as a meta-poem, reflecting more on the act of making poetry than on organizing political communities. To that extent, the analysis (and the themes) might be applied to all performances. Elmer even notes, “From this point of view, any performance can be thought of as a collective decision, insofar as its success-its ability to embody the tradition and so to shape future performances-requires the approval of the audience” (207). The claim is true in many respects, underlying how both politics and poetics are types of performances. But it is a much stronger claim to argue that the poetic themes of the Iliad emerge as a reflection on its own transmission. The reader will judge the plausibility of that connection but will be stimulated by the claim.
[©2013 by The Classical Association of the Middle West and South. All rights reserved.]