Stitching Orality Into the Textual Quilt in Derek Walcott's Omeros
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Caribbean Voices Broadcasts
APPENDIX © The Author(s) 2016 171 G.A. Griffi th, The BBC and the Development of Anglophone Caribbean Literature, 1943–1958, New Caribbean Studies, DOI 10.1007/978-3-319-32118-9 TIMELINE OF THE BBC CARIBBEAN VOICES BROADCASTS March 11th 1943 to September 7th 1958 © The Author(s) 2016 173 G.A. Griffi th, The BBC and the Development of Anglophone Caribbean Literature, 1943–1958, New Caribbean Studies, DOI 10.1007/978-3-319-32118-9 TIMELINE OF THE BBC CARIBBEAN VOICES EDITORS Una Marson April 1940 to December 1945 Mary Treadgold December 1945 to July 1946 Henry Swanzy July 1946 to November 1954 Vidia Naipaul December 1954 to September 1956 Edgar Mittelholzer October 1956 to September 1958 © The Author(s) 2016 175 G.A. Griffi th, The BBC and the Development of Anglophone Caribbean Literature, 1943–1958, New Caribbean Studies, DOI 10.1007/978-3-319-32118-9 TIMELINE OF THE WEST INDIES FEDERATION AND THE TERRITORIES INCLUDED January 3 1958 to 31 May 31 1962 Antigua & Barbuda Barbados Dominica Grenada Jamaica Montserrat St. Kitts, Nevis, and Anguilla St. Lucia St. Vincent and the Grenadines Trinidad and Tobago © The Author(s) 2016 177 G.A. Griffi th, The BBC and the Development of Anglophone Caribbean Literature, 1943–1958, New Caribbean Studies, DOI 10.1007/978-3-319-32118-9 CARIBBEAN VOICES : INDEX OF AUTHORS AND SEQUENCE OF BROADCASTS Author Title Broadcast sequence Aarons, A.L.C. The Cow That Laughed 1369 The Dancer 43 Hurricane 14 Madam 67 Mrs. Arroway’s Joe 1 Policeman Tying His Laces 156 Rain 364 Santander Avenue 245 Ablack, Kenneth The Last Two Months 1029 Adams, Clem The Seeker 320 Adams, Robert Harold Arundel Moody 111 Albert, Nelly My World 496 Alleyne, Albert The Last Mule 1089 The Rock Blaster 1275 The Sign of God 1025 Alleyne, Cynthia Travelogue 1329 Allfrey, Phyllis Shand Andersen’s Mermaid 1134 Anderson, Vernon F. -
On Translating Homer's Iliad
On Translating Homer’s Iliad Caroline Alexander Abstract: This reflective essay explores the considerations facing a translator of Homer’s work; in par- ticular, the considerations famously detailed by the Victorian poet and critic Matthew Arnold, which re- main the gold standard by which any Homeric translation is measured today. I attempt to walk the reader Downloaded from http://direct.mit.edu/daed/article-pdf/145/2/50/1830900/daed_a_00375.pdf by guest on 24 September 2021 through the process of rendering a modern translation in accordance with Arnold’s principles. “I t has more than once been suggested to me that I should translate Homer. That is a task for which I have neither the time nor the courage.”1 So begins Matthew Arnold’s classic essay “On Translating Ho- mer,” the North Star by which all subsequent trans- lators of Homer have steered, and the gold stan- dard by which all translations of Homer are judged. A reader will find Arnold’s principles referenced, directly or indirectly, in the introduction to most modern translations–Richmond Lattimore’s, Rob- ert Fagles’s, Robert Fitzgerald’s, and more recently Peter Green’s. Additionally, Arnold’s discussion of these principles serves as a primer of sorts for poets and writers of any stripe, not only those audacious enough to translate Homer. While the title of his essay implies that it is about translating the works of Homer, Arnold has little to CAROLINE ALEXANDER is the au- thor of The War That Killed Achil- say about the Odyssey, and he dedicates his attention les: The True Story of Homer’s Iliad to the Iliad. -
The Bakhtin Circle and Ancient Narrative
Epic, Novel, Genre: Bakhtin and the Question of History AHUVIA KAHANE Northwestern University 1. Mikhail Bakhtin has in the course of several major works attempted to characterize the literary forms of epic and novel, as well as the relationship between them. These efforts are important for the study of genre, and spe- cifically epic and novel, beyond which, however, lies a broader sphere. One should be careful not to oversimplify complex and detailed arguments or continuously evolving historical traditions.1 But as one scholar has put it, Bakhtin’s work proceeds from the view that ‘genres themselves are forms of thought that have made valuable discoveries about time, society and human agency’ (Morson 1999: 176).2 And it is fair to say that through Bakhtin’s arguments about the tensions between epic and novel we can trace his views on the historical development of certain modes of thought—or perhaps we should say Weltanschauung or Geist. Our reference to Geist suggests, of course, that Bakhtin’s work should be viewed within the context of a broad (progressionist) critical tradition that paid close attention to the historico- philosophical significance of artistic production, a tradition among whose members we may count, for example, Goethe, Schlegel, Hegel of course, Lukács, and Auerbach.3 Within this tradition, as in Bakhtin’s work, the gen- ————— 1 Bakhtin’s views on the relations of epic and novel carry different emphases in his differ- ent works. See e.g. Nagy 2002: 73–74. 2 Bakhtin 1984: 270 (cited in Morson 1999: 176): ‘We consider the creation of the poly- phonic novel a huge step forward not only in the development of novelistic prose … It seems to us that one could speak directly of a special polyphonic artistic thinking ex- tending [even] beyond the bounds of the novel as a genre.’ See also Adams 1998: 382– 384. -
Caribbean Hybridity: Language and Identity In
CARIBBEAN HYBRIDITY: LANGUAGE AND IDENTITY IN JOHN AGARD’S POETRY by Leanna M. Hall Thesis submitted in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Honours in English Acadia University April, 2017 © Copyright by Leanna M. Hall, 2017 ii This thesis by Leanna M. Hall is accepted in its present form by the Department of English as satisfying the thesis requirements for the degree of Bachelor of Arts with Honours Approved by the Thesis Supervisor __________________________ ____________________ (typed name) Date Approved by the Head of the Department __________________________ ____________________ (typed name) Date Approved by the Honours Committee __________________________ ____________________ (typed name) Date iii iv I, LEANNA HALL, grant permission to the University Librarian at Acadia University to reproduce, loan or distribute copies of my thesis in microform, paper or electronic formats on a non-profit basis. I, however, retain the copyright in my thesis. _________________________________ Signature of Author _________________________________ Date v vi Table of Contents Abstract .............................................................................................................................. ix Chapter 1: Introducing Identity ............................................................................................1 Chapter 2: Imposing Identity .............................................................................................19 Chapter 3: Repressed Identity ............................................................................................33 -
Creole Modernism
ANKHI MUKHERJEE Creole Modernism As affirmations of the modern go, few can match the high spirits of Susan Stanford Friedman’s invitation to formulate a “planetary epistemology” of modernist studies. As she explains in a footnote, Friedman uses the term “planetarity” in a different sense than Gayatri Chakravorty Spivak in Death of a Discipline, where the latter proposes that “if we imagine ourselves as planetary subjects rather than global agents, planetary creatures rather than global entities, alterity remains underived from us.”1 If Spivak’s planet-thought is a “utopian gesture of resistance against globalization as the geohistorical and economic domination of the Global South,” Friedman’s own use of the term ‘planetarity’ is epistemological, implying “a consciousness of the earth as planet, not restricted to geopolitical formations and potentially encompassing the non-human as well as the human.”2 Friedman’s planetary epistemology needs the playground of “modernism/modernity,” the slash denoting a simultaneous separation and connection, “the paradox of all borders,” which she considers to be richly generative (475). For modernism is not simply outside or after modernity, a belated reaction to the shock of it. It is contained within modernity (or particular modernities) as its aesthetic domain, and interacts with other domains, commercial, technological, societal, and governmental. It follows that “Every modernity has its distinctive modernism” (475). Pluralizing the key terms to engage with the polylogue of languages and cultures issuing from forms of modernism/modernity everywhere, Friedman’s invocation of this transformational (planetary) model of cultural circulation opens up possibilities for modernist studies to venture fearlessly outside the Anglo-American field and into “elsewhere” places that constitute modernism’s Other: the colonies and ex- colonies of South Asia and the Caribbean, the American South, and the Diaspora. -
Fashioning a Return to Africa in Omeros Srila Nayak
ariel: a review of international english literature Vol. 44 No. 2–3 Pages 1–28 Copyright © 2014 The Johns Hopkins University Press and the University of Calgary “Nothing in that Other Kingdom”: Fashioning a Return to Africa in Omeros Srila Nayak Abstract: What are we to make of Achille’s imaginary return to Africa in Derek Walcott’s Omeros? Is it a rejection of Walcott’s ear- lier theme of postcolonial nostalgia for lost origins? Does it lead to a different conception of postcolonial identity away from notions of new world hybridity and heterogeneity that Walcott had es- poused earlier, or is it a complex figuring of racial identity for the Afro-Caribbean subject? My essay answers these questions through a reading of the specific intertextual moments in the poem’s return to Africa passage. The presence of allusions and textual fragments from Virgil’s Aeneid, Homer’s Odyssey, and James Joyce’s Ulysses in this particular passage of Omeros (Book 3) has not received much critical attention so far. Through the use of these modular texts, I argue that Omeros not only transforms the postcolonial genre of a curative return to origins and fashions a distinctive literary landscape but also imagines a postcolonial subjectivity that nego- tiates the polarity between origins and the absence of origins or a fragmented new world identity. Keywords: Derek Walcott; Omeros; intertextuality; postcolonial adaptation; epic canon; paternity Derek Walcott’s Omeros (1990) is an epic of Caribbean life in Saint Lucia and a retelling of the trans-Atlantic histories of descendants of slaves. Omeros’ self-referentiality as epic is signaled by its many ad- aptations of Homeric proper names, plot, and themes to structure a comparison between Aegean narratives of the Iliad and the Odyssey and black diasporic experiences in the West Indies. -
Steve REECE Have We Homer's Iliad (Again)?
Steve REECE Have We Homer's Iliad (Again)? In the very fertile field of Homeric Studies there were published this year dozens of books and monographs, and hundreds of journal articles and reviews; there were conducted numerous conferences, where countless scholarly papers were presented -- a sum total of pages many times the length of the Iliad and Odyssey combined. And this has gone on year after year for the last century, and, though with somewhat less prolificacy, for the twenty-five centuries before that. There is a present danger that we as Homeric scholars will fail to keep up with all the new discoveries and insights in our field as a whole. This seems almost inevitable, and we recognize it. But there is another more sinister danger, I think: that this inundation of new material will cause us to drift away from what we already know; that we will forget what we have so painstakingly learned. I propose to provide a gentle reminder of something that I think we once knew but seem to have forgotten. It has to do with one of the most fundamental issues in Homeric studies -- the centerpiece of all "Homeric Questions": what is the relationship between our eclectic scholarly editions of Homer's epics (let's say, the OCT) and the historical performances of these epics by a Greek bard on (let's say) the island of Chios in (let's say) the 8th century B.C.? To put it in the language most familiar to Homerists: is this (OCT) a more or less reliable record -- though passed through many hands -- of a performance orally delivered by a historical -
“'Kalahari' Or the Afro-Caribbean Connection: Luis Palés Matos
Copyright © Antonia Domínguez Miguela · This article appeared in the electronic journal American@, Volume 1.1. June 2002. Universidad de Huelva. http://www.uhu.es/hum676/americana.html. · This online article may be cited or briefly quoted in line with the usual academic conventions. You may also print it for your own personal use. This paper must not be published elsewhere without the author's explicit permission. But please note that if you copy this paper you must include this copyright note. · You should observe the conventions of academic citation in a version of the following form . “’Kalahari’ or the Afro-Caribbean Connection: Luis Palés Matos’ Tuntún de pasa y grifería and Tato Laviera’s La Carreta Made a U-Turn” Antonia Domínguez Miguela University of Huelva The history of colonization in Puerto Rico has influenced its development as a nation between two cultures and languages and the relationships that has been established with other Caribbean countries and the United States. Puerto Rico has always been considered a bridge nation between the Caribbean and the North American colossus. The development of national identity in Puerto Rico has implied a series of contradictions which are reflected in its national literature. Many critics have pointed out that Puerto Rican literature is split between two shores: Puerto Rican literature written by island authors and the more recent Puerto Rican literature written in the United States by the sons and daughters of the different migratory waves along the twentieth century. Puerto Rican literature on the island has been characterized by a number of recurrent themes concerning the definition of cultural and national identity as a way to solve the contradiction of being a Caribbean nation that is still US territory yet culturally and linguistically different. -
Translation, Introduction and Notes by Barry Powell. Oxford: Oxford University Press, 2014
New England Classical Journal Volume 43 Issue 1 Pages 43-48 2-2016 Homer, The Iliad; translation, introduction and notes by Barry Powell. Oxford: Oxford University Press, 2014. Pp. xxv + 596. Paper (ISBN 978-0-19-992586-5) $16.95. and Homer, The Iliad: A New Translation by Peter Green. Berkeley and Los Angeles: University of California Press, 2015. Pp. 608. Cloth (ISBN 978-0-520-28141-7) $29.95; Paper (ISBN 978-0-520-28143-1) $16.95. Louise Pratt Emory University Follow this and additional works at: https://crossworks.holycross.edu/necj Recommended Citation Pratt, Louise (2016) "Homer, The Iliad; translation, introduction and notes by Barry Powell. Oxford: Oxford University Press, 2014. Pp. xxv + 596. Paper (ISBN 978-0-19-992586-5) $16.95. and Homer, The Iliad: A New Translation by Peter Green. Berkeley and Los Angeles: University of California Press, 2015. Pp. 608. Cloth (ISBN 978-0-520-28141-7) $29.95; Paper (ISBN 978-0-520-28143-1) $16.95.," New England Classical Journal: Vol. 43 : Iss. 1 , 43-48. Available at: https://crossworks.holycross.edu/necj/vol43/iss1/4 This Book Review is brought to you for free and open access by CrossWorks. It has been accepted for inclusion in New England Classical Journal by an authorized editor of CrossWorks. BOOK REVIEWS Homer, The Iliad; translation, introduction and notes by Barry Powell. Oxford: Oxford University Press, 2014. Pp. xxv + 596. Paper (ISBN 978-0-19-992586-5) $16.95. and Homer, The Iliad: A New Translation by Peter Green. Berkeley and Los Angeles: University of California Press, 2015. -
The Role of Emotions in Modern Receptions of Homeric Epic
Tales for All Time: The Role of Emotions in Modern Receptions of Homeric Epic Karen Anne Possingham January 2021 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University © Copyright by Karen Anne Possingham 2021 All Rights Reserved 1 This thesis is the original work of the author. Word count: 98,683. 2 Acknowledgements First of all, I would like to acknowledge that this research was supported by an Australian Government Research Training Program Scholarship. My primary supervisor, Elizabeth Minchin, the Best of the Homerists, whose inspiration, support, and dedication helped bring out the best in my work. My secondary supervisors Greta Hawes and Lucy Neave for their sound advice, scholarship and kind encouragement. To my children Nick and Alex, their partners Steph and Tiah, colleagues at ANU and friends for seeing the world through Homer with me for the last four and a half years. Finally, my husband Hugh for his continued patronage of the Arts and for his pithy and witty remarks on the content and progress of this thesis. 3 Abstract The poet we call Homer stands at the intersection of a long oral tradition and the emergence of literacy. The poems associated with his name have exercised a continuing appeal, across time; and yet they can also be unsettling, challenging our ideas of Ancient Greek values and expectations. This has had an impact on the reception of the poems from antiquity to the present day. I have argued in this thesis that, in the cases I have studied, Lorna Hardwick’s idea of ‘faultlines’ in Homeric epic can be adapted to examine the powerful, often contradictory, emotions portrayed in the Iliad and the Odyssey: namely personal and place attachment, grief, and the anger that can lead to acts of retribution or to acts of mercy that rely on the emotion of pity. -
Orality, Fluid Textualization and Interweaving Themes
Orality,Fluid Textualization and Interweaving Themes. Some Remarks on the Doloneia: Magical Horses from Night to Light and Death to Life Anton Bierl * Introduction: Methodological Reflection The Doloneia, Book 10 of the Iliad, takes place during the night and its events have been long interpreted as unheroic exploits of ambush and cunning. First the desperate Greek leader Agamemnon cannot sleep and initiates a long series of wake-up calls as he seeks new information and counsel. When the Greeks finally send out Odysseus and Diomedes, the two heroes encounter the Trojan Dolon who intends to spy on the Achaeans. They hunt him down, and in his fear of death, Dolon betrays the whereabouts of Rhesus and his Thracian troops who have arrived on scene late. Accordingly, the focus shifts from the endeavor to obtain new knowledge to the massacre of enemies and the retrieval of won- drous horses through trickery and violence. * I would like to thank Antonios Rengakos for his kind invitation to Thessalo- niki, as well as the editors of this volume, Franco Montanari, Antonios Renga- kos and Christos Tsagalis. Besides the Conference Homer in the 21st Century,I gave other versions of the paper at Brown (2010) and Columbia University (CAM, 2011). I am grateful to the audiences for much useful criticism, partic- ularly to Casey Dué, Deborah Boedeker, Marco Fantuzzi, Pura Nieto Hernan- dez, David Konstan, Kurt Raaflaub and William Harris for stimulating conver- sations. Only after the final submission of this contribution, Donald E. Lavigne granted me insight into his not yet published manuscript “Bad Kharma: A ‘Fragment’ of the Iliad and Iambic Laughter” in which he detects iambic reso- nances in the Doloneia, and I received a reference to M.F. -
2RPP Contents
2RPP The Best of the Grammarians: Aristarchus of Samothrace on the Iliad Francesca Schironi https://www.press.umich.edu/8769399/best_of_the_grammarians University of Michigan Press, 2018 Contents Preface xvii 1. Main Sources and Method Followed in This Study xix 2. Other Primary Sources and Secondary Literature Used in This Study xx 3. Content, Goals, and Limitations of This Study xxiii Part 1. Aristarchus: Contexts and Sources 1.1. Aristarchus: Life, Sources, and Selection of Fragments 3 1. Aristarchus at Alexandria 3 2. The Aristarchean Tradition and the Venetus A 6 3. The Scholia Maiora to the Iliad and Erbse’s Edition 11 4. Aristarchus in the Scholia 14 4.1. Aristonicus at Work 15 4.2. Didymus at Work 18 4.3. Aristonicus versus Didymus 23 5. Selecting Aristarchus’ Fragments for This Study 26 6. Words and Content in Aristarchus’ Fragments 27 1.2. Aristarchus on Homer: Monographs, Editions, and Commentaries 30 1. Homeric Monographs 31 2. Editions (Ekdoseis) and Commentaries (Hypomnemata): The Evidence 35 2.1. Ammonius and the Homeric Ekdosis of Aristarchus 36 2.2. Ekdoseis and Hypomnemata: Different Reconstructions 38 3. The Impact of Aristarchus’ Recension on the Text of Homer 41 4. Ekdoseis and Hypomnemata: Some Tentative Conclusions 44 Part 2. Aristarchus at Work 2.1. Critical Signs: The Bridge between Edition and Commentary 49 1. The Critical Signs (σημεῖα) Used by the Alexandrians 49 2RPP The Best of the Grammarians: Aristarchus of Samothrace on the Iliad Francesca Schironi https://www.press.umich.edu/8769399/best_of_the_grammarians viiiUniversity of Michigan Press, 2018contents 2. Ekdosis, Hypomnema, and Critical Signs 52 3.