{"title":"Who Owns Reason?","authors":"Colin Wells","doi":"10.1353/arn.2011.0035","DOIUrl":"https://doi.org/10.1353/arn.2011.0035","url":null,"abstract":"","PeriodicalId":147483,"journal":{"name":"Arion: A Journal of the Humanities and the Classics","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126745633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Preacher 'D'” Comes to Harlem: A Review of Euripides' The Bacchae","authors":"Helaine L. Smith","doi":"10.2307/arion.27.3.0179","DOIUrl":"https://doi.org/10.2307/arion.27.3.0179","url":null,"abstract":"","PeriodicalId":147483,"journal":{"name":"Arion: A Journal of the Humanities and the Classics","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115547026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Limb-Loosening and the Care of History: Tracing a Motif in Vergil","authors":"George Saad","doi":"10.2307/ARION.28.2.0043","DOIUrl":"https://doi.org/10.2307/ARION.28.2.0043","url":null,"abstract":"","PeriodicalId":147483,"journal":{"name":"Arion: A Journal of the Humanities and the Classics","volume":"228 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122625571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Robert Wilson is famous for his disparagement of “the text,” for his desire to break free from the strictures of the written word and compel his audience to engage with performance on a different level. So it was with some trepidation, and a sense of irony, that I began to watch his production of the Odyssey, now (as I write) moved from Athens to Milan.* For the play opens with Homer’s prologue, recited in ancient Greek—so far, so good: I feel on relatively safe ground. It continues in modern Greek, and this is the language with which it will remain throughout. But in Milan, the majority of the audience are not following the spoken word with their ears, but are, rather, reading the surtitles projected above the performance space. I find myself referring to the surtitles too, and using them to recall Simon Armitage’s English translation which I had re-read only that morning. For behind the spoken modern Greek and the projected Italian surtitles is Armitage’s version, written for radio and first broadcast by the BBC in 2004, and now translated into modern Greek for Wilson’s production. All this translation (from ancient Greek to English, to modern Greek, to Italian) may leave us wondering why Wilson chose Armitage’s text. Of course, the American director would naturally have gravitated towards an English translation of Homer’s epic poem. Even the task of having that translation translated into modern Greek (by Yorgos Depastas) and into Italian (by Isabella Babbucci) for this collabo-
{"title":"Avant-Garde Epic: Robert Wilson's Odyssey and the Experimental Turn","authors":"J. McConnell","doi":"10.2307/ARION.21.1.0161","DOIUrl":"https://doi.org/10.2307/ARION.21.1.0161","url":null,"abstract":"Robert Wilson is famous for his disparagement of “the text,” for his desire to break free from the strictures of the written word and compel his audience to engage with performance on a different level. So it was with some trepidation, and a sense of irony, that I began to watch his production of the Odyssey, now (as I write) moved from Athens to Milan.* For the play opens with Homer’s prologue, recited in ancient Greek—so far, so good: I feel on relatively safe ground. It continues in modern Greek, and this is the language with which it will remain throughout. But in Milan, the majority of the audience are not following the spoken word with their ears, but are, rather, reading the surtitles projected above the performance space. I find myself referring to the surtitles too, and using them to recall Simon Armitage’s English translation which I had re-read only that morning. For behind the spoken modern Greek and the projected Italian surtitles is Armitage’s version, written for radio and first broadcast by the BBC in 2004, and now translated into modern Greek for Wilson’s production. All this translation (from ancient Greek to English, to modern Greek, to Italian) may leave us wondering why Wilson chose Armitage’s text. Of course, the American director would naturally have gravitated towards an English translation of Homer’s epic poem. Even the task of having that translation translated into modern Greek (by Yorgos Depastas) and into Italian (by Isabella Babbucci) for this collabo-","PeriodicalId":147483,"journal":{"name":"Arion: A Journal of the Humanities and the Classics","volume":"163 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122864662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reading Homer in Dark Times: Rachel Bespaloff's On the Iliad","authors":"S. Schein","doi":"10.2307/ARION.26.1.0017","DOIUrl":"https://doi.org/10.2307/ARION.26.1.0017","url":null,"abstract":"","PeriodicalId":147483,"journal":{"name":"Arion: A Journal of the Humanities and the Classics","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122044765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Horace through Johnson (I): The Skye Odes","authors":"K. Reckford","doi":"10.1353/arn.2010.0018","DOIUrl":"https://doi.org/10.1353/arn.2010.0018","url":null,"abstract":"","PeriodicalId":147483,"journal":{"name":"Arion: A Journal of the Humanities and the Classics","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122214317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Thucydides Quote Unquote","authors":"N. Morley","doi":"10.2307/ARION.20.3.0009","DOIUrl":"https://doi.org/10.2307/ARION.20.3.0009","url":null,"abstract":"","PeriodicalId":147483,"journal":{"name":"Arion: A Journal of the Humanities and the Classics","volume":"10 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117331899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It came as no surprise to learn that, when the colossal Mondragone Antinous bust from the Louvre was taken out of its crate after a long exhibition tour, the curators noticed that the face was smeared with lipstick (fig. 1). A decade or so ago, a well-known New York museum had to spend a small fortune removing the bright-red kiss bestowed upon a Mondrian by a prominent lady during the opening of the building’s expansion. Apparently, after a few glasses of champagne, the art-lover got over-enthusiastic about the excellence of classic abstract art. So her husband, a museum trustee, had to pay for all the work needed to remove the red crimson that had seeped into the painting’s intricate cracks—and, one imagines, for his own embarrassment. This form of love has a long history. Ovid tells us how Venus rewarded Pygmalion for a statue he had created of the goddess herself. Flattered by his exquisite craft, and moved by the obsession that the artist had developed for his artwork, Venus brought the sculpture to life. He called his bride Galatea. But the idea goes well beyond mythology. Think of Freud’s keen interest in Wilhem Jensen’s novel Gradiva, the story of a man’s obsession with a bas-relief of a young woman he discovered while looking for antiquities in Rome. Arguably, the power that some images have to arouse such passions has its roots in primitive, fetishistic appetites. Consider the awe that Leonardo’s Mona Lisa inspires in the masses of pilgrims that crowd around her at
{"title":"Antinous' Lips: A Note on the Slippery Matter of Realism in Portraiture","authors":"A. Arenas","doi":"10.1353/arn.2011.0034","DOIUrl":"https://doi.org/10.1353/arn.2011.0034","url":null,"abstract":"It came as no surprise to learn that, when the colossal Mondragone Antinous bust from the Louvre was taken out of its crate after a long exhibition tour, the curators noticed that the face was smeared with lipstick (fig. 1). A decade or so ago, a well-known New York museum had to spend a small fortune removing the bright-red kiss bestowed upon a Mondrian by a prominent lady during the opening of the building’s expansion. Apparently, after a few glasses of champagne, the art-lover got over-enthusiastic about the excellence of classic abstract art. So her husband, a museum trustee, had to pay for all the work needed to remove the red crimson that had seeped into the painting’s intricate cracks—and, one imagines, for his own embarrassment. This form of love has a long history. Ovid tells us how Venus rewarded Pygmalion for a statue he had created of the goddess herself. Flattered by his exquisite craft, and moved by the obsession that the artist had developed for his artwork, Venus brought the sculpture to life. He called his bride Galatea. But the idea goes well beyond mythology. Think of Freud’s keen interest in Wilhem Jensen’s novel Gradiva, the story of a man’s obsession with a bas-relief of a young woman he discovered while looking for antiquities in Rome. Arguably, the power that some images have to arouse such passions has its roots in primitive, fetishistic appetites. Consider the awe that Leonardo’s Mona Lisa inspires in the masses of pilgrims that crowd around her at","PeriodicalId":147483,"journal":{"name":"Arion: A Journal of the Humanities and the Classics","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124708536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Little Eternities: Henry James's Horatian Sense of Time","authors":"Kathleen C. Riley","doi":"10.2307/ARION.27.1.0021","DOIUrl":"https://doi.org/10.2307/ARION.27.1.0021","url":null,"abstract":"","PeriodicalId":147483,"journal":{"name":"Arion: A Journal of the Humanities and the Classics","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129465989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Homecoming and the Humic: Eleanor Wilner, Brian Jungen, and Derek Walcott","authors":"A. Nightingale","doi":"10.2307/ARION.19.3.0011","DOIUrl":"https://doi.org/10.2307/ARION.19.3.0011","url":null,"abstract":"","PeriodicalId":147483,"journal":{"name":"Arion: A Journal of the Humanities and the Classics","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129738098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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