However, precisely because Plato did not yet have at his disposition the constituted categories of representation (these appeared with Aristotle), he had to base his decision on a theory of Ideas. What appears then, in its purest state, before the logic of representation could be deployed, is a moral vision of the world. It is in the first instance for these moral reasons that simulacra must be exorcized and difference thereby subordinated to the same and the similar. For this reason, however, because Plato makes the decision, and because with him the victory is not assured as it will be in the established world of representation, the rumbling of the enemy can still be heard. Insinuated throughout the Platonic cosmos, difference resists its yoke. Heraclitus and the Sophists make an infernal racket. It is as though there were a strange double which dogs Socrates’ footsteps and haunts even Plato's style, inserting itself into the repetitions and variations of that style.
{"title":"CLASSICAL NOMADOLOGIES","authors":"K. Khellaf","doi":"10.1017/rmu.2020.3","DOIUrl":"https://doi.org/10.1017/rmu.2020.3","url":null,"abstract":"However, precisely because Plato did not yet have at his disposition the constituted categories of representation (these appeared with Aristotle), he had to base his decision on a theory of Ideas. What appears then, in its purest state, before the logic of representation could be deployed, is a moral vision of the world. It is in the first instance for these moral reasons that simulacra must be exorcized and difference thereby subordinated to the same and the similar. For this reason, however, because Plato makes the decision, and because with him the victory is not assured as it will be in the established world of representation, the rumbling of the enemy can still be heard. Insinuated throughout the Platonic cosmos, difference resists its yoke. Heraclitus and the Sophists make an infernal racket. It is as though there were a strange double which dogs Socrates’ footsteps and haunts even Plato's style, inserting itself into the repetitions and variations of that style.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"81 1","pages":"1 - 40"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80118466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gilles Deleuze's engagement with Heraclitus is long-standing, going back to his early work on Nietzsche, and persisting through the collaborative volumes produced with Félix Guattari in which Heraclitus becomes a key exemplar of their own philosophical method, whereby thought and nature are said to fold into one another in creative configurations. For Deleuze, as before him for Nietzsche, Heraclitus’ conception of universal becoming and of the constitutive flows across codes—be they ontological, epistemological, political, or ethical—demands a radical re-evaluation of the place of the human in time, and of the boundaries of subjectivity. Elsewhere, Deleuze states that the very meaning of philosophy is ‘to go beyond the human condition’ by opening us up to the other durations—inhuman and superhuman—with which, and by which, we are disclosed. A further key interlocutor here is Henri Bergson, whose work on time as duration, with psychological and ontological import, is central to the development of many of Deleuze's philosophical positions, including those subsequently nuanced by his work with Félix Guattari. Before attempting to map the plane of affiliations upon which these thinkers move, it is necessary to begin from Heraclitus’ own words on philosophical method and the opposition he draws between the correct, though elusive, practice of νόος (‘thought’, ‘understanding’) and the inadequate model of πολυμαθίη (‘much learning’) adopted by his intellectual predecessors.
吉尔·德勒兹与赫拉克利特的合作由来已久，可以追溯到他早期对尼采的研究，并一直延续到他与faclix Guattari的合作，在其中赫拉克利特成为了他们自己的哲学方法的关键典范，思想和自然被认为是在创造性的配置中相互融合的。对德勒兹来说，就像在他之前对尼采一样，赫拉克利特关于普遍形成和跨越代码的构成流的概念——无论是本体论的、认识论的、政治的还是伦理的——要求对人类在时间中的位置和主体性的边界进行彻底的重新评估。在其他地方，德勒兹指出，哲学的真正意义是“超越人类的条件”，通过向我们开放其他的持续时间——非人的和超人的——我们被揭示出来。另一位重要的对话者是亨利·柏格森，他关于时间作为持续时间的研究，具有心理学和本体论的重要性，对德拉兹的许多哲学立场的发展至关重要，包括后来他与f利克斯·瓜塔里的研究中细微差别的那些观点。在试图描绘出这些思想家所处的关系之前，有必要从赫拉克利特自己关于哲学方法的话语开始，以及他在ν ο ος(“思想”、“理解”)的正确(虽然难以捉摸)实践与他的知识前辈所采用的πολ ο μαθ (“多学问”)的不充分模型之间所画出的对立。
{"title":"BEYOND THE HUMAN CONDITION: DURATION AND VIRTUALITY IN HERACLITUS","authors":"Richard Ellis","doi":"10.1017/rmu.2020.4","DOIUrl":"https://doi.org/10.1017/rmu.2020.4","url":null,"abstract":"Gilles Deleuze's engagement with Heraclitus is long-standing, going back to his early work on Nietzsche, and persisting through the collaborative volumes produced with Félix Guattari in which Heraclitus becomes a key exemplar of their own philosophical method, whereby thought and nature are said to fold into one another in creative configurations. For Deleuze, as before him for Nietzsche, Heraclitus’ conception of universal becoming and of the constitutive flows across codes—be they ontological, epistemological, political, or ethical—demands a radical re-evaluation of the place of the human in time, and of the boundaries of subjectivity. Elsewhere, Deleuze states that the very meaning of philosophy is ‘to go beyond the human condition’ by opening us up to the other durations—inhuman and superhuman—with which, and by which, we are disclosed. A further key interlocutor here is Henri Bergson, whose work on time as duration, with psychological and ontological import, is central to the development of many of Deleuze's philosophical positions, including those subsequently nuanced by his work with Félix Guattari. Before attempting to map the plane of affiliations upon which these thinkers move, it is necessary to begin from Heraclitus’ own words on philosophical method and the opposition he draws between the correct, though elusive, practice of νόος (‘thought’, ‘understanding’) and the inadequate model of πολυμαθίη (‘much learning’) adopted by his intellectual predecessors.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"3 1","pages":"41 - 69"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88079743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since Gilles Deleuze and Félix Guattari emerged into the realm of Continental philosophy in the late twentieth century, the pair have sustained a prominent and influential presence in the fields of cultural studies, politics and sociology, also literary, artistic and cinematic scholarship, spurred on by the appropriation of the arts in Deleuze and Guattari's own work. The contributions to this special edition bring to light how the rubble-strewn textual field of Classical antiquity also ineludibly invites a methodological framework informed by Deleuze and Guattari's philosophy. By its contemporary nature, the Classical ‘canon’ is a warzone of competing translations, fragments and fragmentary orders, de- and re-constructions, bearing a torrid resemblance to the flattened and interconnected plane of existence described in Deleuze and Guattari's work. The pair draw from multiple avenues of academic exploration and encourage the seed-like spread of their multifarious ideas. This article makes a case for employing one concept in particular as a practice for reading Classical texts: ‘multiplicity’.
{"title":"ONE OR MANY MILITES? MILITARY MULTIPLICITY IN LATIN EPIC","authors":"Hannah-Marie Chidwick","doi":"10.1017/rmu.2020.7","DOIUrl":"https://doi.org/10.1017/rmu.2020.7","url":null,"abstract":"Since Gilles Deleuze and Félix Guattari emerged into the realm of Continental philosophy in the late twentieth century, the pair have sustained a prominent and influential presence in the fields of cultural studies, politics and sociology, also literary, artistic and cinematic scholarship, spurred on by the appropriation of the arts in Deleuze and Guattari's own work. The contributions to this special edition bring to light how the rubble-strewn textual field of Classical antiquity also ineludibly invites a methodological framework informed by Deleuze and Guattari's philosophy. By its contemporary nature, the Classical ‘canon’ is a warzone of competing translations, fragments and fragmentary orders, de- and re-constructions, bearing a torrid resemblance to the flattened and interconnected plane of existence described in Deleuze and Guattari's work. The pair draw from multiple avenues of academic exploration and encourage the seed-like spread of their multifarious ideas. This article makes a case for employing one concept in particular as a practice for reading Classical texts: ‘multiplicity’.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"77 1","pages":"111 - 132"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86930926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The work of Gilles Deleuze is populated by literary and artistic figures who become stuck, confined, and exhausted: he has written about the characters of Samuel Beckett, for instance, who are incapacitated by a compulsion to count and sort; Sacher-Masoch's protagonists, who share their author's eponymous desire to defer endlessly the sexual act; and the notorious figures in the paintings of Francis Bacon, determined but unable to escape the confines of their own bodies. What accounts for Deleuze's interest in scenes of stasis and immobility? These figures, and others like them, seem to appeal to Deleuze precisely because their corporeal limitations coincide with intense and inscrutable affects, as if Spinoza's maxim, ‘we do not even know what the body can do’, is true especially when the body's capacities appear most restricted. This is an aspect of Deleuze's thought that complicates his reputation as a philosopher of limitless becoming, movement, and synthesis.
{"title":"BECOMING DOMESTIC IN HESIOD'S WORKS AND DAYS","authors":"Ben Radcliffe","doi":"10.1017/rmu.2020.6","DOIUrl":"https://doi.org/10.1017/rmu.2020.6","url":null,"abstract":"The work of Gilles Deleuze is populated by literary and artistic figures who become stuck, confined, and exhausted: he has written about the characters of Samuel Beckett, for instance, who are incapacitated by a compulsion to count and sort; Sacher-Masoch's protagonists, who share their author's eponymous desire to defer endlessly the sexual act; and the notorious figures in the paintings of Francis Bacon, determined but unable to escape the confines of their own bodies. What accounts for Deleuze's interest in scenes of stasis and immobility? These figures, and others like them, seem to appeal to Deleuze precisely because their corporeal limitations coincide with intense and inscrutable affects, as if Spinoza's maxim, ‘we do not even know what the body can do’, is true especially when the body's capacities appear most restricted. This is an aspect of Deleuze's thought that complicates his reputation as a philosopher of limitless becoming, movement, and synthesis.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"41 1","pages":"89 - 110"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89816146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Lucretius is the first classical author to have written a history of animal resistance. In a fifty-line passage from Book Five of De rerum natura, the ‘animal revolt’ (5.1297–349), Lucretius describes the rise of empire and its instrumentalization of animals for war. When the animals are led onto the battlefield, however, they swerve against their ‘armed teachers and savage masters’ (1311). The linear rise of empire, built on the abuse of animals’ bodies, is deterritorialized by those same animal bodies in a chaotic scene that takes place on what Monica Gale has called a ‘cosmic battlefield’. This paper follows Lucretius’ account in Book Five of De rerum natura of the linear rise of empire, its increasing capture of animal life, and the rupture of empire's linear trajectory by a clinamen, or ‘swerve’, of rebel animals. I compare Lucretius’ account of the rise of empire to what Deleuze and Guattari call a ‘molar line’, and the swerve of rebel animals to Deleuze and Guattari's notion of the ‘line of flight’.
卢克莱修是第一个写动物抵抗史的古典作家。卢克莱修在《论自然》(De rerum natura, 1297 - 349)第五卷中的一段50行文字中描述了帝国的崛起及其将动物作为战争工具的过程。然而，当这些动物被带到战场上时，它们会转向对抗“武装的老师和野蛮的主人”(1311年)。帝国的线性崛起，建立在虐待动物身体的基础上，在莫妮卡·盖尔所谓的“宇宙战场”上发生的混乱场景中，同样的动物身体被去领土化了。本文遵循卢克莱修在《论自然》第五卷中对帝国线性崛起的描述，它对动物生活的日益捕获，以及帝国线性轨迹的断裂，由于反叛动物的“转向”。我将卢克莱修对帝国崛起的描述与德勒兹和瓜塔里所说的“摩尔线”进行了比较，将反叛动物的转向与德勒兹和瓜塔里所说的“逃跑线”进行了比较。
{"title":"ANIMAL REVOLT AND LINES OF FLIGHT IN LUCRETIUS, BOOK FIVE","authors":"R. Hutchins","doi":"10.1017/rmu.2020.8","DOIUrl":"https://doi.org/10.1017/rmu.2020.8","url":null,"abstract":"Lucretius is the first classical author to have written a history of animal resistance. In a fifty-line passage from Book Five of De rerum natura, the ‘animal revolt’ (5.1297–349), Lucretius describes the rise of empire and its instrumentalization of animals for war. When the animals are led onto the battlefield, however, they swerve against their ‘armed teachers and savage masters’ (1311). The linear rise of empire, built on the abuse of animals’ bodies, is deterritorialized by those same animal bodies in a chaotic scene that takes place on what Monica Gale has called a ‘cosmic battlefield’. This paper follows Lucretius’ account in Book Five of De rerum natura of the linear rise of empire, its increasing capture of animal life, and the rupture of empire's linear trajectory by a clinamen, or ‘swerve’, of rebel animals. I compare Lucretius’ account of the rise of empire to what Deleuze and Guattari call a ‘molar line’, and the swerve of rebel animals to Deleuze and Guattari's notion of the ‘line of flight’.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"32 1","pages":"133 - 154"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81976713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The allegory of the Cave in Republic 514a–18d is one of the most memorable Platonic images. The depiction of chained humans in a cavernous dwelling looking at shadows of objects cast on a parapet in front of them but unable to locate the objects themselves until one of them is freed, turns around to see the objects, and finally leaves the cave has haunted and inspired readers throughout the centuries. The prisoners are said to be ‘like us’ (515a), which is taken to refer either to human life in general or to human life in corrupt political environments. Plato's core metaphysical and epistemological doctrines are thought to inhere in the Cave, his belief that the sensible world, represented by the cave, holds people captive to defective and erroneous appearances, and that only philosophy can free and enlighten them, leading them out of the cave to the intelligible realm of the eternal Forms. The cave then houses captives since childhood who believe that shadows of artifacts exhaust reality, and captors who project images of artifacts on the wall and thereby manipulate what the captives see and hear.
{"title":"GILLES DELEUZE AND BERNARDO BERTOLUCCI ON PLATO'S CAVE","authors":"Z. Giannopoulou","doi":"10.1017/rmu.2020.5","DOIUrl":"https://doi.org/10.1017/rmu.2020.5","url":null,"abstract":"The allegory of the Cave in Republic 514a–18d is one of the most memorable Platonic images. The depiction of chained humans in a cavernous dwelling looking at shadows of objects cast on a parapet in front of them but unable to locate the objects themselves until one of them is freed, turns around to see the objects, and finally leaves the cave has haunted and inspired readers throughout the centuries. The prisoners are said to be ‘like us’ (515a), which is taken to refer either to human life in general or to human life in corrupt political environments. Plato's core metaphysical and epistemological doctrines are thought to inhere in the Cave, his belief that the sensible world, represented by the cave, holds people captive to defective and erroneous appearances, and that only philosophy can free and enlighten them, leading them out of the cave to the intelligible realm of the eternal Forms. The cave then houses captives since childhood who believe that shadows of artifacts exhaust reality, and captors who project images of artifacts on the wall and thereby manipulate what the captives see and hear.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"38 1","pages":"70 - 88"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91216998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"RMU volume 49 issue 1-2 Cover and Back matter","authors":"","doi":"10.1017/rmu.2020.16","DOIUrl":"https://doi.org/10.1017/rmu.2020.16","url":null,"abstract":"","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"116 1","pages":"b1 - b2"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rmu.2020.16","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72528580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The reception of Circe's island in and through Classical Antiquity has largely focused on the enigmatic sorceress herself. The long literary chain of interpretive topoi—Circe the witch, the whore, the temptress—stretches from Apollonius, Virgil, Ovid, and Dio Chrysostom to Spenser, Calderón, Joyce, Margaret Atwood, and Madeline Miller. Her role as Odysseus’ benefactor, so unmistakable in Homer, is soon forgotten; to Virgil, she is above all dea saeva, (‘the savage goddess’, Aen. 7.19). One distinguishing feature of Circe and her reception is the focus on representation: the enchantment of Circe, as Greta Hawes puts it, is above all a study in allegory. From the moment Circe put a spell on Odysseus’ companions, transforming them into animals in Book 10 of the Odyssey, Circe has invited analogical reasoning, centered on what the transformation from one being into another represents. More often than not, this transformation is interpreted according to a dualist thinking about humans and animals: subjects are transformed from one being into another being, thus representing some moral or physical degradation. This article, by contrast, concentrates on Circe's island through the lens of becoming-animal, the concept developed by Gilles Deleuze and Félix Guattari in the tenth plateau of A Thousand Plateaus, ‘1730: Becoming-Intense, Becoming-Animal, Becoming-Imperceptible…’. I explicate the concept of becoming-animal by applying it to a Deleuzian encounter with Circe's island, both in its ancient articulations and in its various receptions, including H.G. Wells's science fiction novel The Island of Dr. Moreau.
{"title":"BACK ON CIRCE'S ISLAND","authors":"M. Van Veldhuizen","doi":"10.1017/rmu.2020.12","DOIUrl":"https://doi.org/10.1017/rmu.2020.12","url":null,"abstract":"The reception of Circe's island in and through Classical Antiquity has largely focused on the enigmatic sorceress herself. The long literary chain of interpretive topoi—Circe the witch, the whore, the temptress—stretches from Apollonius, Virgil, Ovid, and Dio Chrysostom to Spenser, Calderón, Joyce, Margaret Atwood, and Madeline Miller. Her role as Odysseus’ benefactor, so unmistakable in Homer, is soon forgotten; to Virgil, she is above all dea saeva, (‘the savage goddess’, Aen. 7.19). One distinguishing feature of Circe and her reception is the focus on representation: the enchantment of Circe, as Greta Hawes puts it, is above all a study in allegory. From the moment Circe put a spell on Odysseus’ companions, transforming them into animals in Book 10 of the Odyssey, Circe has invited analogical reasoning, centered on what the transformation from one being into another represents. More often than not, this transformation is interpreted according to a dualist thinking about humans and animals: subjects are transformed from one being into another being, thus representing some moral or physical degradation. This article, by contrast, concentrates on Circe's island through the lens of becoming-animal, the concept developed by Gilles Deleuze and Félix Guattari in the tenth plateau of A Thousand Plateaus, ‘1730: Becoming-Intense, Becoming-Animal, Becoming-Imperceptible…’. I explicate the concept of becoming-animal by applying it to a Deleuzian encounter with Circe's island, both in its ancient articulations and in its various receptions, including H.G. Wells's science fiction novel The Island of Dr. Moreau.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"29 1","pages":"213 - 235"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79174540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"RMU volume 49 issue 1-2 Cover and Front matter","authors":"","doi":"10.1017/rmu.2020.15","DOIUrl":"https://doi.org/10.1017/rmu.2020.15","url":null,"abstract":"","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"8 1","pages":"f1 - f5"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87151496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the final scene of Quentin Tarantino's The Hateful Eight (2015), Daisy Domergue, the sole female character among the titled eight, hangs suspended from the ceiling of the cabin in which they all have fought an operatically violent battle to the death. From her cuffed hand a chain dangles, at the other end of which is another cuffed hand, minus the rest of the body to which it had belonged. Its owner was her bounty hunter, who spent most of his time onscreen physically abusing her, including struggling with her over the control of weapons (e.g., machete and gun). We meet her with a black eye, to which are soon added a broken nose and teeth and a face repeatedly doused in her own blood and that of others. Two equally bloody antagonists string her up, pitting their injuries against her near-dead weight, so that for a time her body is triangulated by her attachment to them as well as to the remaining bit of the bounty hunter.
{"title":"EURIPIDEAN ASSEMBLAGES","authors":"N. Worman","doi":"10.1017/rmu.2020.10","DOIUrl":"https://doi.org/10.1017/rmu.2020.10","url":null,"abstract":"In the final scene of Quentin Tarantino's The Hateful Eight (2015), Daisy Domergue, the sole female character among the titled eight, hangs suspended from the ceiling of the cabin in which they all have fought an operatically violent battle to the death. From her cuffed hand a chain dangles, at the other end of which is another cuffed hand, minus the rest of the body to which it had belonged. Its owner was her bounty hunter, who spent most of his time onscreen physically abusing her, including struggling with her over the control of weapons (e.g., machete and gun). We meet her with a black eye, to which are soon added a broken nose and teeth and a face repeatedly doused in her own blood and that of others. Two equally bloody antagonists string her up, pitting their injuries against her near-dead weight, so that for a time her body is triangulated by her attachment to them as well as to the remaining bit of the bounty hunter.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"79 1","pages":"174 - 190"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75369517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：