José Fuentes Mares’ La joven Antígona se va a la guerra (‘Young Antigone Goes to War’) is a Mexican adaptation of Sophocles’ Antigone written and first performed in 1968. The play, full of unique accomplishments, demonstrates a deep engagement with the Sophoclean original and has a complex original performance context. It premiered a week after the biggest student massacre in Mexican history, the Tlatelolco Massacre of 2 October 1968. In this article, I bring attention to Fuentes Mares’ work as an exceptional contribution to the Latin American reception of Sophocles’ Antigone. I detail the play’s explicit invitations to be read against Sophocles’ original and highlight the playwright’s choices to reframe Antigone’s resistance by reworking long-standing dualisms. I argue that Fuentes Mares’ adaptation of Antigone advises introspection, compassion, and endurance in the face of violent oppression. This function differs from other Latin American adaptations of Antigone, which tend to give a voice to the marginalized with calls for organized social action or pleas for the acknowledgment of ongoing abuses. This analysis should help expand our understanding of the reception of Sophocles’ Antigone as a multifaceted instrument varying in its response to oppressions throughout Latin America.
JoséFuentes Mares的《年轻的Antigone去打仗》（La joven Antígona se va a La guerra）是一部墨西哥改编自Sophocles的《Antigone》的作品，于1968年创作并首次演出。该剧充满了独特的成就，展现了对Sophoclean原作的深度参与，并有着复杂的原创表演背景。它在墨西哥历史上最大的学生大屠杀——1968年10月2日特拉特洛尔科大屠杀——一周后首播。在这篇文章中，我提请大家注意富恩特斯·马雷斯的作品，这是他对索福克勒斯的《安提戈涅》在拉丁美洲受到欢迎的杰出贡献。我详细介绍了该剧明确邀请读者对照索福克勒斯的原作阅读，并强调了剧作家选择通过重新塑造长期存在的双重性来重塑安提戈涅的抵抗。我认为富恩特斯·马雷斯对《安提戈涅》的改编建议在面对暴力压迫时反省、同情和忍耐。这一功能不同于拉丁美洲改编的《Antigone》，后者倾向于通过呼吁有组织的社会行动或呼吁承认正在发生的虐待行为来为边缘化群体发声。这一分析应有助于扩大我们对索福克勒斯的《安提戈涅》的理解，将其视为一种多方面的工具，在应对整个拉丁美洲的压迫时有所不同。
{"title":"Humanity and revolution in José Fuentes Mares’ ‘La joven Antígona se va a la guerra’","authors":"Andrés A Carrete","doi":"10.1093/CRJ/CLAA036","DOIUrl":"https://doi.org/10.1093/CRJ/CLAA036","url":null,"abstract":"\u0000 José Fuentes Mares’ La joven Antígona se va a la guerra (‘Young Antigone Goes to War’) is a Mexican adaptation of Sophocles’ Antigone written and first performed in 1968. The play, full of unique accomplishments, demonstrates a deep engagement with the Sophoclean original and has a complex original performance context. It premiered a week after the biggest student massacre in Mexican history, the Tlatelolco Massacre of 2 October 1968. In this article, I bring attention to Fuentes Mares’ work as an exceptional contribution to the Latin American reception of Sophocles’ Antigone. I detail the play’s explicit invitations to be read against Sophocles’ original and highlight the playwright’s choices to reframe Antigone’s resistance by reworking long-standing dualisms. I argue that Fuentes Mares’ adaptation of Antigone advises introspection, compassion, and endurance in the face of violent oppression. This function differs from other Latin American adaptations of Antigone, which tend to give a voice to the marginalized with calls for organized social action or pleas for the acknowledgment of ongoing abuses. This analysis should help expand our understanding of the reception of Sophocles’ Antigone as a multifaceted instrument varying in its response to oppressions throughout Latin America.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/CRJ/CLAA036","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46413667","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}
Organized by a private association with the support of the French Protectorate, the 1906 and 1907 pageants or fêtes de Carthage, held at a recently excavated Roman theatre at an important site of ancient colonization, celebrated the achievements and the promise of archaeology in Tunisia. Inspired by open-air theatricals in the ancient theatres of Orange and Béziers, the elaborate stagings involved hundreds of actors, large volunteer crews, and sumptuous period costumes. After a program of excerpts from neoclassical drama and opera in 1906, the 1907 pageant featured two specially commissioned plays, one of them an encounter between a modern-day poet and a Carthaginian priestess on the very archaeological site where her tomb is discovered. The pageants drew on both specific archaeological findings and a pervasive visual culture that depicted French colonizers as preservers of the ancient culture of which they had found traces in North Africa. The violence of colonization was thus consigned to the realm of performance and archaeology cast as a valuable source of knowledge. Although the pageants operated in a nostalgic mode, they ultimately served a more historicist sense of time in which archaeology as an emerging science helped to police the boundary between past and present.
在法国保护国的支持下，由一个私人协会组织的1906年和1907年的迦太基庆典（fêtes de Carthage）在一个古代殖民地的重要遗址最近挖掘的罗马剧院举行，庆祝突尼斯考古的成就和前景。受Orange和Béziers古老剧院露天剧场的启发，数百名演员、大批志愿者和华丽的时代服装参与了精心制作的舞台表演。在1906年的一系列新古典主义戏剧和歌剧节选之后，1907年的选美比赛有两部特别委托的戏剧，其中一部是一位现代诗人和一位迦太基女祭司在发现她的坟墓的考古遗址上的相遇。这些选美比赛既借鉴了具体的考古发现，也借鉴了一种普遍的视觉文化，这种文化将法国殖民者描绘成他们在北非发现痕迹的古代文化的保存者。因此，殖民化的暴力行为被归入表演领域，考古学被视为宝贵的知识来源。尽管选美比赛是以怀旧的模式进行的，但它们最终提供了一种更具历史主义意义的时间感，在这种时间感中，考古学作为一门新兴科学，有助于监督过去和现在之间的界限。
{"title":"Staging Archaeology: Empire as Reality Effect at the 1906–07 fêtes de Carthage","authors":"Daniel J. Sherman","doi":"10.1093/CRJ/CLAA024","DOIUrl":"https://doi.org/10.1093/CRJ/CLAA024","url":null,"abstract":"\u0000 Organized by a private association with the support of the French Protectorate, the 1906 and 1907 pageants or fêtes de Carthage, held at a recently excavated Roman theatre at an important site of ancient colonization, celebrated the achievements and the promise of archaeology in Tunisia. Inspired by open-air theatricals in the ancient theatres of Orange and Béziers, the elaborate stagings involved hundreds of actors, large volunteer crews, and sumptuous period costumes. After a program of excerpts from neoclassical drama and opera in 1906, the 1907 pageant featured two specially commissioned plays, one of them an encounter between a modern-day poet and a Carthaginian priestess on the very archaeological site where her tomb is discovered. The pageants drew on both specific archaeological findings and a pervasive visual culture that depicted French colonizers as preservers of the ancient culture of which they had found traces in North Africa. The violence of colonization was thus consigned to the realm of performance and archaeology cast as a valuable source of knowledge. Although the pageants operated in a nostalgic mode, they ultimately served a more historicist sense of time in which archaeology as an emerging science helped to police the boundary between past and present.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43943756","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 focuses on selected complete Russian verse translations of Homer’s Iliad and Odyssey and of Vergil’s Aeneid produced over a period of nearly two centuries. By focusing on translation approach and goals, historical and cultural circumstances, and the literary talent of the translators, the authors explore the reasons for a particular translation’s success or failure. Further, they address the question of how Russian translators achieved canonical, or generally accepted, translations of the Homeric epics, while translations of Vergil’s epic found no such success.
{"title":"Epic Victories and Failures: Homer and Vergil in Russia","authors":"Judith E. Kalb, Z. Torlone","doi":"10.1093/CRJ/CLAA023","DOIUrl":"https://doi.org/10.1093/CRJ/CLAA023","url":null,"abstract":"\u0000 This article focuses on selected complete Russian verse translations of Homer’s Iliad and Odyssey and of Vergil’s Aeneid produced over a period of nearly two centuries. By focusing on translation approach and goals, historical and cultural circumstances, and the literary talent of the translators, the authors explore the reasons for a particular translation’s success or failure. Further, they address the question of how Russian translators achieved canonical, or generally accepted, translations of the Homeric epics, while translations of Vergil’s epic found no such success.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/CRJ/CLAA023","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46470608","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}
Throughout its history, New York has received several archaeological objects as gifts, including a mid-fourth-century BCE Greek funerary stele. Dr John Huston Finley, the third president of City College, saw a stele when he was in Greece and asked the Greek Government to gift the stele to the college. The stele, dubbed the ‘Marathon Stone’ by Finley, was dedicated and proudly displayed at City College, now of the City University of New York. This article explores the gift’s context by drawing on contemporary newspaper reports, Finley’s tenuous association of the stele with the battle of Marathon, and the gifting of an archaeological object as a means for promoting ties between City College and Greece. The article then examines the context for the stele’s display, the Neo-Antique Lewisohn Stadium, and argues that the display of the stele and erection of Lewisohn Stadium both embodied Finley’s aspirations for City College to rival Columbia and New York Universities. The demise of the stadium in 1973 and the removal of the stele to a basement signaled a major shift in the significance of the classics, classical art, and Neo-Antique architecture at City College, as well as the changing priorities of the institution.
{"title":"Respice, Adspice, Prospice: The ‘Marathon Stone’, Lewisohn Stadium, and the changing reception of the classics at City College in the twentieth century","authors":"E. Macaulay-Lewis, M. Reilly","doi":"10.1093/CRJ/CLAA031","DOIUrl":"https://doi.org/10.1093/CRJ/CLAA031","url":null,"abstract":"\u0000 Throughout its history, New York has received several archaeological objects as gifts, including a mid-fourth-century BCE Greek funerary stele. Dr John Huston Finley, the third president of City College, saw a stele when he was in Greece and asked the Greek Government to gift the stele to the college. The stele, dubbed the ‘Marathon Stone’ by Finley, was dedicated and proudly displayed at City College, now of the City University of New York. This article explores the gift’s context by drawing on contemporary newspaper reports, Finley’s tenuous association of the stele with the battle of Marathon, and the gifting of an archaeological object as a means for promoting ties between City College and Greece. The article then examines the context for the stele’s display, the Neo-Antique Lewisohn Stadium, and argues that the display of the stele and erection of Lewisohn Stadium both embodied Finley’s aspirations for City College to rival Columbia and New York Universities. The demise of the stadium in 1973 and the removal of the stele to a basement signaled a major shift in the significance of the classics, classical art, and Neo-Antique architecture at City College, as well as the changing priorities of the institution.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/CRJ/CLAA031","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42308602","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 tropological use of the Latin language to evoke the diabolical in supernatural horror cinema. When Latin is intoned in a suitably Gothic context, horror-savvy audiences have every reason to foresee the Devil and his minions arriving in short order, and are rarely disappointed. This article examines the genealogy of this trope, modelling the prolegomena to an intellectual history of cinematic Satanic Latin. The first part of the analysis traces the development of the trope through literature via the European and American Gothic traditions, the writings of the Decadents, and supernatural horror literature. The analysis then broadens to encompass Occultism, the occult, and ‘occulture’ more generally as important aspects of the discourse-community within which Satanic Latin functions. Finally, the scholarly concept of ‘re-enchantment’ from the history of religions is brought to bear on the semiotic role of Satanic Latin in its performative cinematic context.
{"title":"Do Not Read the Latin: Latin as Satanic Signifier in Supernatural Horror Cinema","authors":"Nicholas Banner","doi":"10.1093/CRJ/CLAA033","DOIUrl":"https://doi.org/10.1093/CRJ/CLAA033","url":null,"abstract":"\u0000 This article examines the tropological use of the Latin language to evoke the diabolical in supernatural horror cinema. When Latin is intoned in a suitably Gothic context, horror-savvy audiences have every reason to foresee the Devil and his minions arriving in short order, and are rarely disappointed. This article examines the genealogy of this trope, modelling the prolegomena to an intellectual history of cinematic Satanic Latin. The first part of the analysis traces the development of the trope through literature via the European and American Gothic traditions, the writings of the Decadents, and supernatural horror literature. The analysis then broadens to encompass Occultism, the occult, and ‘occulture’ more generally as important aspects of the discourse-community within which Satanic Latin functions. Finally, the scholarly concept of ‘re-enchantment’ from the history of religions is brought to bear on the semiotic role of Satanic Latin in its performative cinematic context.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/CRJ/CLAA033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43946707","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 this article I argue that a gaze-oriented analysis of the representations of the protagonists Caesar and Pompey in Lucan’s epic The Civil War (written 62–65 ce) and in the recent television series Rome (broadcast by HBO, BBC Two and Rai 2 between 2005 and 2007) opens new opportunities both for interpreting Lucan’s text and for comprehending its reception in the television series. Lucan deliberately employs intensive vocabulary and narrative of vision and visuality when his protagonists appear. In Lucan, Caesar and Pompey are represented, zoomed in upon, and put into action in a cinematic way. The manner in which they see and are seen is crucial for their distinctiveness and determine their function in epic. In the television series, these patterns are taken over and reused within the new technical medium.
{"title":"Cinematizing the Epic Gaze: Julius Caesar and Pompey in Lucan and in the HBO/BBC Television Series Rome1","authors":"A. Novokhatko","doi":"10.1093/CRJ/CLAA035","DOIUrl":"https://doi.org/10.1093/CRJ/CLAA035","url":null,"abstract":"\u0000 In this article I argue that a gaze-oriented analysis of the representations of the protagonists Caesar and Pompey in Lucan’s epic The Civil War (written 62–65 ce) and in the recent television series Rome (broadcast by HBO, BBC Two and Rai 2 between 2005 and 2007) opens new opportunities both for interpreting Lucan’s text and for comprehending its reception in the television series. Lucan deliberately employs intensive vocabulary and narrative of vision and visuality when his protagonists appear. In Lucan, Caesar and Pompey are represented, zoomed in upon, and put into action in a cinematic way. The manner in which they see and are seen is crucial for their distinctiveness and determine their function in epic. In the television series, these patterns are taken over and reused within the new technical medium.","PeriodicalId":42730,"journal":{"name":"Classical Receptions Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/CRJ/CLAA035","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42965375","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}
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