Russian dancer and film actress Jia Ruskaja (Evgeniya Borisenko, 1902–70) forged a rapidly rising career in Italy as a dancer, teacher and company director during the thirties. The author of La danza come un modo di essere (1927) was a female education reformer, whose Milan dance schools were subsidized by the Fascist Regime. In 1940, she was entrusted with the directorship of the newly founded Royal School for Classical Dance. Though inspired by Isadora Duncan, in the early thirties, Ruskaja added ballet to her modern dance since she considered it crucial for the sound training of the body. According to her, the century-old codified system of ballet, once mingled with the ability to make artfully crafted movements inspired by classical imagery (‘plastique’) and rhythmic gymnastics, could transform into a new and organic physical practice, able to create a new beginning in dance. Was this so? Could her modernized ballet, imbued with the Mediterranean myth that inspired a number of artists in the twenties and thirties, convey such a modernist futural thrust, or was it rather held captive by centuries-old balletic values and culture?
俄罗斯舞蹈家和电影演员贾-鲁斯卡亚（Evgeniya Borisenko，1902-70 年）作为舞蹈家、教师和舞蹈团团长，30 年代在意大利迅速崛起。La danza come un modo di essere》（1927 年）的作者是一位女性教育改革家，她在米兰开办的舞蹈学校得到了法西斯政权的资助。1940 年，她被任命为新成立的皇家古典舞蹈学校的校长。虽然受到伊莎多拉-邓肯的启发，但在 30 年代初，卢斯卡雅在现代舞中加入了芭蕾，因为她认为芭蕾对身体的健全训练至关重要。她认为，拥有百年历史的芭蕾舞编排系统，一旦与从古典意象（"plastique"）和韵律体操中汲取灵感、经过艺术加工的动作相融合，就能转化为一种全新的、有机的身体练习，开创舞蹈的新起点。果真如此吗？她的现代化芭蕾舞剧充满了地中海神话的气息，在二十世纪二三十年代激发了许多艺术家的灵感，她的芭蕾舞剧能否传达出这样一种现代主义的未来主义主旨，还是说，她的芭蕾舞剧被几个世纪以来的芭蕾价值和文化所束缚？
{"title":"Classical dance and Mediterranean imaginaries: Jia Ruskaja in Fascist Italy","authors":"Patrizia Veroli","doi":"10.1093/crj/clad024","DOIUrl":"https://doi.org/10.1093/crj/clad024","url":null,"abstract":"\u0000 Russian dancer and film actress Jia Ruskaja (Evgeniya Borisenko, 1902–70) forged a rapidly rising career in Italy as a dancer, teacher and company director during the thirties. The author of La danza come un modo di essere (1927) was a female education reformer, whose Milan dance schools were subsidized by the Fascist Regime. In 1940, she was entrusted with the directorship of the newly founded Royal School for Classical Dance. Though inspired by Isadora Duncan, in the early thirties, Ruskaja added ballet to her modern dance since she considered it crucial for the sound training of the body. According to her, the century-old codified system of ballet, once mingled with the ability to make artfully crafted movements inspired by classical imagery (‘plastique’) and rhythmic gymnastics, could transform into a new and organic physical practice, able to create a new beginning in dance. Was this so? Could her modernized ballet, imbued with the Mediterranean myth that inspired a number of artists in the twenties and thirties, convey such a modernist futural thrust, or was it rather held captive by centuries-old balletic values and culture?","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139456243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe Romagnoli’s attempt to promote his aesthetics in the staging of Greek drama within the cultural framework of Fascism. Even after his dismissal from the artistic direction of the National Institute of Ancient Drama, which he helped to establish in 1925, Romagnoli strove to find the financial support for his project of a ‘Fascist Institute of Classical Drama’. This Institute never became a reality and was probably intended to compete with the classical productions staged at Syracuse, which in the thirties were undergoing a shift in terms of aesthetics and production management according to the new Fascist politics about theatre matters.
{"title":"Ettore Romagnoli, rievocatore of ancient Greek drama","authors":"Sara Troiani","doi":"10.1093/crj/clad029","DOIUrl":"https://doi.org/10.1093/crj/clad029","url":null,"abstract":"\u0000 The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe Romagnoli’s attempt to promote his aesthetics in the staging of Greek drama within the cultural framework of Fascism. Even after his dismissal from the artistic direction of the National Institute of Ancient Drama, which he helped to establish in 1925, Romagnoli strove to find the financial support for his project of a ‘Fascist Institute of Classical Drama’. This Institute never became a reality and was probably intended to compete with the classical productions staged at Syracuse, which in the thirties were undergoing a shift in terms of aesthetics and production management according to the new Fascist politics about theatre matters.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139458326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the aesthetic means employed in classical performances produced by the Institute of Ancient Drama (INDA) in Syracuse between 1914 and 1930, with a particular focus on performances of Aeschylus’ tragedies. The first part of this study traces the influences of late nineteenth- and early twentieth-century modernist and avant-garde movements on the Syracusan project, including the experiments pioneered by the radical French gauche, the German productions directed by Hans Oberländer with Ulrich von Wilamowitz-Mollendorf in the role of dramaturg and translator, as well as Max Reinhardt’s early engagements with ancient Greek drama and his vision of theatre (particularly his Theatre of the Five Thousand). It then discusses the aesthetic trajectory that productions of ancient Greek drama, and more specifically those of Aeschylus’ plays, underwent from INDA’s beginnings in 1914–30, when an all-fascist governing body was installed at its helm.
{"title":"Constructing a Hellenic modernism: Aeschylus at the ancient theatre of Syracuse (1914–30)","authors":"Giovanna Di Martino","doi":"10.1093/crj/clad025","DOIUrl":"https://doi.org/10.1093/crj/clad025","url":null,"abstract":"\u0000 This article examines the aesthetic means employed in classical performances produced by the Institute of Ancient Drama (INDA) in Syracuse between 1914 and 1930, with a particular focus on performances of Aeschylus’ tragedies. The first part of this study traces the influences of late nineteenth- and early twentieth-century modernist and avant-garde movements on the Syracusan project, including the experiments pioneered by the radical French gauche, the German productions directed by Hans Oberländer with Ulrich von Wilamowitz-Mollendorf in the role of dramaturg and translator, as well as Max Reinhardt’s early engagements with ancient Greek drama and his vision of theatre (particularly his Theatre of the Five Thousand). It then discusses the aesthetic trajectory that productions of ancient Greek drama, and more specifically those of Aeschylus’ plays, underwent from INDA’s beginnings in 1914–30, when an all-fascist governing body was installed at its helm.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139456214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist government in 1923 advocated for the staging of modern Sicilian plays in the theatre of Syracuse. Contrary to Futurism, Italian Fascism turned to Greek models in creating new forms of popular theatre. Mussolini’s state supported the production of ancient drama throughout the ventennio, as evidenced by the consolidation of the Istituto Nazionale del Dramma Antico (INDA) in 1925. The theatre of Syracuse should be viewed as a field of antagonism between the different versions of modernism represented by Futurism and Fascism. By examining the convergences and divergences of Futurist and Fascist visions of theatrical renewal, this article highlights not only the Hellenic character of Fascism’s modernism but also the role of Fascism in transforming classical traditions.
在研究未来主义与法西斯主义关系的学术研究中，未来主义者与古典主义之间关于锡拉库扎希腊戏剧的争论在很大程度上仍被忽视。未来主义运动于 1921 年发起了一场反对上演埃斯库罗斯的《献酒者》的论战，将希腊悲剧与借鉴未来主义表演美学和西西里大众戏剧的新戏剧形式对立起来。同样，F. T. 马里内蒂在 1923 年写给法西斯政府的宣言中也主张在锡拉库扎剧院上演西西里现代戏剧。与未来主义相反，意大利法西斯主义转向希腊模式，以创造新形式的大众戏剧。墨索里尼的国家在整个文森特时期都支持古代戏剧的创作，1925 年国家古代戏剧研究所（INDA）的合并就是明证。锡拉库扎的戏剧应被视为未来主义和法西斯主义所代表的不同现代主义之间的对立领域。通过研究未来主义和法西斯主义在戏剧复兴方面的异同，本文不仅强调了法西斯主义现代主义的希腊特色，还强调了法西斯主义在改造古典传统方面的作用。
{"title":"Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism","authors":"Eleftheria Ioannidou","doi":"10.1093/crj/clad028","DOIUrl":"https://doi.org/10.1093/crj/clad028","url":null,"abstract":"\u0000 The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist government in 1923 advocated for the staging of modern Sicilian plays in the theatre of Syracuse. Contrary to Futurism, Italian Fascism turned to Greek models in creating new forms of popular theatre. Mussolini’s state supported the production of ancient drama throughout the ventennio, as evidenced by the consolidation of the Istituto Nazionale del Dramma Antico (INDA) in 1925. The theatre of Syracuse should be viewed as a field of antagonism between the different versions of modernism represented by Futurism and Fascism. By examining the convergences and divergences of Futurist and Fascist visions of theatrical renewal, this article highlights not only the Hellenic character of Fascism’s modernism but also the role of Fascism in transforming classical traditions.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139456595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Giovanna Di Martino, Eleftheria Ioannidou, Sara Troiani
The introduction to the special issue explores the central place of Greek theatre within the culture of Italian Fascism. Building on scholarship from the so-called cultural turn in the study of fascism, which variously identified fascism with a form of modernism, it demonstrates that a dialogue between modernism and classicism was fully at work in the performances of ancient drama occurring all over the Italian peninsula and in the colonies in North Africa. The term ‘Hellenic modernism’ is introduced here to underline the fusion of Greek theatre with distinctively modernist traits during the ventennio and provide an analytical tool for investigating the role of classical performances and spectacles within Fascism’s programme of cultural and national renewal.
{"title":"Introduction A Hellenic Modernism: Greek Theatre and Italian Fascism","authors":"Giovanna Di Martino, Eleftheria Ioannidou, Sara Troiani","doi":"10.1093/crj/clad026","DOIUrl":"https://doi.org/10.1093/crj/clad026","url":null,"abstract":"\u0000 The introduction to the special issue explores the central place of Greek theatre within the culture of Italian Fascism. Building on scholarship from the so-called cultural turn in the study of fascism, which variously identified fascism with a form of modernism, it demonstrates that a dialogue between modernism and classicism was fully at work in the performances of ancient drama occurring all over the Italian peninsula and in the colonies in North Africa. The term ‘Hellenic modernism’ is introduced here to underline the fusion of Greek theatre with distinctively modernist traits during the ventennio and provide an analytical tool for investigating the role of classical performances and spectacles within Fascism’s programme of cultural and national renewal.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139454297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The adaptation of elements of Greek and Roman myth and folklore is a recurrent aspect of late-twentieth- and early-twenty-first-century fiction on page and screen. These elements are usually presented alongside other mythologies and they, over all, serve to add depth and veracity to the world-building. This is no different in Teen Wolf, an MTV show that focused on Scott McCall’s journey through lycanthropy. However, in most modern fiction the Classical element is one of many sources used in in-story world-building. This paper will present the many examples of the use of Classical elements in Teen Wolf, including: the way the werewolves are presented as Lycaon’s descendants and with elements common to Roman versipelles, the way the Classical past (historic, folkloric, mythic) is included as part of the intradiegetic lore, and how the show itself is built following ancient epic patterns with Classical paradigms as points of reference.
希腊和罗马神话及民间传说元素的改编是 20 世纪晚期和 21 世纪早期小说在纸面和银幕上反复出现的一个方面。这些元素通常与其他神话一起呈现，总体而言，它们有助于增加世界构建的深度和真实性。这一点在《少年狼》（Teen Wolf）中也不例外，这部 MTV 节目主要讲述了斯科特-麦考尔（Scott McCall）的变狼之旅。然而，在大多数现代小说中，古典元素只是故事中世界构建的众多来源之一。本文将介绍《少年狼》中使用古典元素的许多例子，包括：狼人作为莱卡恩后裔的表现方式，以及与罗马versipelles共通的元素；古典过去（历史、民俗、神话）作为内在传说的一部分的方式；以及节目本身是如何以古典范式为参照点，按照古代史诗模式构建的。
{"title":"Lycanthropus adulescens: the Classical element in MTV’s Teen Wolf (2011–17)","authors":"Javier Martínez Jiménez","doi":"10.1093/crj/clad030","DOIUrl":"https://doi.org/10.1093/crj/clad030","url":null,"abstract":"The adaptation of elements of Greek and Roman myth and folklore is a recurrent aspect of late-twentieth- and early-twenty-first-century fiction on page and screen. These elements are usually presented alongside other mythologies and they, over all, serve to add depth and veracity to the world-building. This is no different in Teen Wolf, an MTV show that focused on Scott McCall’s journey through lycanthropy. However, in most modern fiction the Classical element is one of many sources used in in-story world-building. This paper will present the many examples of the use of Classical elements in Teen Wolf, including: the way the werewolves are presented as Lycaon’s descendants and with elements common to Roman versipelles, the way the Classical past (historic, folkloric, mythic) is included as part of the intradiegetic lore, and how the show itself is built following ancient epic patterns with Classical paradigms as points of reference.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139169332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers three moments from the beginning, middle and end of Derek Jarman’s artistic career: Lindsay Kemp’s opening dance in Sebastiane (1976), Jarman’s words on a performance by Michael Clark in the 1980s, and Jarman’s last film Blue (1993), while holding onto the affective registers of his final diary entry (1994). Considering the ways in which Jarman indexed the ephemeral myth-making processes of queer life and art, the author develops a new kinetic-temporal methodology for exploring reception based on the fleeting queer modalities of dance. As such this article makes a series of important connections between classical reception studies, queer theory, critical theory, and dance studies. It argues that, despite the fleeting, erotic, and partial engagements with the past offered by Jarman — which challenges ideas of fixity or lineage — an identification nevertheless emerges with the hierarchies of white supremacist Imperialism.
{"title":"‘Dance against the void’: Derek Jarman, dance, queer classical receptions","authors":"Marcus Bell","doi":"10.1093/crj/clad020","DOIUrl":"https://doi.org/10.1093/crj/clad020","url":null,"abstract":"This article considers three moments from the beginning, middle and end of Derek Jarman’s artistic career: Lindsay Kemp’s opening dance in Sebastiane (1976), Jarman’s words on a performance by Michael Clark in the 1980s, and Jarman’s last film Blue (1993), while holding onto the affective registers of his final diary entry (1994). Considering the ways in which Jarman indexed the ephemeral myth-making processes of queer life and art, the author develops a new kinetic-temporal methodology for exploring reception based on the fleeting queer modalities of dance. As such this article makes a series of important connections between classical reception studies, queer theory, critical theory, and dance studies. It argues that, despite the fleeting, erotic, and partial engagements with the past offered by Jarman — which challenges ideas of fixity or lineage — an identification nevertheless emerges with the hierarchies of white supremacist Imperialism.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138579236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
James Ijames, the winner of a 2022 Pulitzer prize for Fat Ham, loosely based on Hamlet, has just presented a new realization of Medea, Media/Medea, which had its world premiere at Bryn Mawr College and the Community College of Philadelphia in April 2023. This article provides a reading of it, addressing the themes of irony, queer ‘authenticity’, acting, and mothering through the framing of the ‘glitchy counterfactual’ — a conceit we borrow from Legacy Russell’s manifesto for a new Black cyberfeminism to approach the most blatant innovation in Ijames’s version, the unfulfilled infanticide. This astonishing change in the script, which tightly connects Medea with her onomastic negativity and queer unbecoming, urges us to reflect upon survival and survivance in an anti-Black world; it might yield a reckoning in line with Kevin Quashie’s notion of ‘subjunctivity’, Black ‘aliveness’.
{"title":"Medea/Media: a glitchy counterfactual","authors":"Mario Telò, Catherine Conybeare","doi":"10.1093/crj/clad019","DOIUrl":"https://doi.org/10.1093/crj/clad019","url":null,"abstract":"James Ijames, the winner of a 2022 Pulitzer prize for Fat Ham, loosely based on Hamlet, has just presented a new realization of Medea, Media/Medea, which had its world premiere at Bryn Mawr College and the Community College of Philadelphia in April 2023. This article provides a reading of it, addressing the themes of irony, queer ‘authenticity’, acting, and mothering through the framing of the ‘glitchy counterfactual’ — a conceit we borrow from Legacy Russell’s manifesto for a new Black cyberfeminism to approach the most blatant innovation in Ijames’s version, the unfulfilled infanticide. This astonishing change in the script, which tightly connects Medea with her onomastic negativity and queer unbecoming, urges us to reflect upon survival and survivance in an anti-Black world; it might yield a reckoning in line with Kevin Quashie’s notion of ‘subjunctivity’, Black ‘aliveness’.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138530342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Les Chansons de Bilitis (‘The Songs of Bilitis’, 1894), Pierre Louÿs purports to have translated into French for the first time the long-lost Greek poems of Bilitis, a contemporary of Sappho. Classicists have often heralded Bilitis as a watershed moment for reclaiming the lesbian Sappho from the clutches of homophobic, misogynist philologists. This paper complicates this narrative by reframing Bilitis as an object that participates in a broader cultural — and potentially queer — history of forgery. Rather than categorizing Bilitis as a forgery per se, I use forgery (and related textual practices) as a lens for illuminating how Louÿs ‘plays’ the forger and how this performance relates to readers’ divergent desires and reactions. This lens also brings into focus the queer dynamics and effects of this text in relation to Sappho’s corpus. At the same time, following Kadji Amin’s cue to ‘deidealize queerness’ (2017), I show how such queer dynamics are inextricable from colonialist and patriarchal relations of power, in particular an Orientalizing tradition of forgeries by white European and American men. This framework illuminates the affective and political ramifications of forging queer narratives and identifications through the medium of this curious artefact.
在《比利提斯之歌》(Les Chansons de Bilitis, 1894)一书中，皮埃尔Louÿs声称首次将比利提斯(与萨福同时代的人)失传已久的希腊诗歌翻译成法语。古典主义者经常将《胆汁炎》视为一个分水岭，将女同性恋萨福从憎恶同性恋、厌恶女性的语言学家手中夺回。这篇论文通过将Bilitis重新定义为一个参与更广泛的文化——而且可能是奇怪的——伪造历史的对象，使这种叙述变得复杂。我没有将Bilitis本身归类为伪造，而是使用伪造(以及相关的文本实践)作为一个镜头，来阐明Louÿs如何“扮演”伪造者，以及这种表现如何与读者的不同欲望和反应相关联。这一镜头也聚焦了这篇文章与萨福语料库的关系的酷儿动态和影响。同时，根据Kadji Amin关于“去理想化酷儿”(deidealize queerness, 2017)的提示，我展示了这种酷儿动态是如何与殖民主义和父权制的权力关系密不可分的，特别是欧洲和美国白人男性伪造的东方化传统。这个框架阐明了通过这个奇怪的人工制品媒介锻造酷儿叙事和身份的情感和政治后果。
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