Myth and Postcolonialism in Walcott's Omeros
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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. -
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 -
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. -
Derek Walcott's Don Juans
Connotations Val. 4.1-2 (1994/95) Derek Walcott's Don Juans D. L. MACDONALD Di sasso ha il core, o cor non ha! -Lorenzo da Ponte I. The Nobody of Nowhere1 In 1974, the Royal Shakespeare Company commissioned Derek Walcott to adapt El Burlador de Sevilla (1616?), the original Don Juan play by Tirso de Molina. The resulting play, The Joker of Seville, was given its premiere by Walcott's own company, the Trinidad Theatre Workshop, in November 1974. Budget cuts in the metropolis left the RSC unable to produce it (Chamberlin 158). As John Thieme has shown, Walcott's play is emphatically a Caribbean one, incorporating a number of elements from the folk culture of Trinidad and subjecting Tirso to the process of Creolization that helped to create that culture (63-9). Perhaps the most striking of the changes discussed by Thieme occurs in Walcott's handling of Tirso's second scene. In the original, Don Juan is sailing from Naples to Seville when he is shipwrecked on the coast of Spain, near Tarragona. There he seduces Tisbea, a young fisherwoman. In Walcott's version, Don Juan crosses the Atlantic on a slave ship and is shipwrecked in New Tarragon. His servant Catalinion, who rescues him, is a Moorish slave. Tisbea is /la fishergirl of mixed blood" (34). While Don Juan is in the bushes completing his conquest of Tisbea, Catalinion distracts her friends with the story of how Don Juan conquered him. Another striking change, one which Thieme does not discuss but which turns out to be relevant to those he does, is first obvious in Walcott's _______________ ConnotationsFor debates inspired - A Journal by this for article, Critical please Debate check by the the Connotations Connotations website Society at is licensed<http://www.connotations.de/debmacdonald00412.htm>. -
The Government of Troy: Politics in the Iliad William Merritt Sale
The Government of Troy: Politics in the "Iliad" Sale, William Merritt Greek, Roman and Byzantine Studies; Spring 1994; 35, 1; ProQuest pg. 5 The Government of Troy: Politics in the Iliad William Merritt Sale N RECENTLY PUBLISHED STUDIES of Homeric formulae I have I called attention, on the basis of statistical evidence, to two facts about Homer's Trojans in the Iliad: (1) The nominative proper-name formulae used by the poet to refer to them display a remarkable lacuna: there are no frequently occurring, 'regular', formulae. 1 The other characters and peoples who are mentioned anything like as often as the Trojans all have regular formulae, usually more than one. We give the term 'regular formula' a quantitative definition, "exactly repeated six times or more," but the phenomenon is not mere ly quantitative; there are certain qualities that regular formulae have and that infrequently occurring formulae tend to lack. Most notable of these are their noun-epithet form (nominative proper-name noun-verb formulae all occur infrequently) and the occurrence of the formula in a major colon:2 frequently oc curring formulae are noun-epithet and occupy major cola; infre quent formulae fall in minor cola, and the less frequently they occur, the more likely they are to fall in minor cola and to be noun-verbal in syntax. Hence the distinction between regular and infrequent formulae is qualitative, and the Trojans in the nominative lack something they ought to have, noun-epithet formulae used regularly to fill metrical spaces that the other characters have formulae to fill. A lack of regular formulae is significant; and the significance is statistically demonstrable.3 1 w. -
The Deformed Body As Spectacle in Homer's Iliad
The enfreakment of Thersites: The Deformed Body as Spectacle in Homer’s Iliad In book two of the Iliad, the Greek assembly is interrupted by one of the most unique figures in the Homeric corpus. Not a hero, but a villain: Thersites. Yet his failings are projected not only by his actions and speech, but by the extravagant representation of his body, the longest description of a human body in the entire Iliad. On whose authority does this man, the worst of the Achaeans, speak? Is he the voice and representative of the common soldier? Does he represent a nascent class struggle which will eventually find expression in the polis system and emerge in Classical Athens? What nearly all scholarship on this subject has in common is the reading of Thersites as an aberrant figure. I will argue that this aberrance is not achieved by his political and social status, but by his body and by the rendering of Thersites as a freak. By engaging with art and literary theory related to the field of body studies developed in response to representations of deformity in nineteenth-century freak shows and twentieth-century disability photography, I will demonstrate how Thersites, through the discourse of representation known as enfreakment, is able to play the functional role of a ritual pharmakos, his objectified body becoming a locus for the varying and antagonistic anxieties and social disorders plaguing the Greeks in book two of Homer’s narrative. It is then the Greeks’ abuse and rejection of Thersites, made possible by his physical otherness, which in turn serves to unite them, to reestablish order, and to allow them to successfully navigate the peira set up by Agamemnon. -
The Composition of the Iliad
Sam Watson Greek 336 Dr. Jonathan Fenno November 28, 2007 The Composition of the Iliad The origins of Homer’s Iliad, the earliest work of the Western literary tradition, are shrouded in mystery. Nothing can be said with certainty about its author, and some scholars even question the notion of a single historical Homer. For many centuries, the Iliad had been regarded as a literary poem, adumbrations and occasional remarks aside. However, as evidence was surfacing that our picture of the early text of the Iliad was not complete, some scholars in the early and middle eighteenth century raised new questions about Homer, without outlining any theories or methods of approaching them. The course was set, though, when in 1795 the Prolegomena ad Homerum of the scholar F. A. Wolf of the Prussian University of Halle established the framework for the exploration of the early development of the Iliad and the Odyssey. He advocated the application of critical and historical analysis as the only acceptable method of restoring the text, and he denounced incorporating criteria based on poetic taste [5]. Based on his assertion that writing was not used for literary purposes during the time of the Iliad’s composition, he conjectured that the poem was constructed by illiterate poets in separate pieces and did not achieve written form until much later than supposed by the ancients: Herodotus proposes the tenth century, Wolf the sixth. His position set the stage for a division among the scholarship which persists to this day. The ‘Analysts,’ siding with Wolf, point out the incongruities and contradictions in the poem (such as the death of Pylaemenes preceding a scene where he weeps for the loss of his son) and suggest that the creative force behind the Iliad is a long line of oral poets.