Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.302
Phoebe Giannisi
This piece reproduces verbatim a performative talk on Anne Carson’s and Rosanna Bruno’s The Trojan Women: A Comic. The performance draws on my own poetry and installation-video art on the ancient Greek mythical figure Chimera, which I conceive as a composite being, a creature where different species meet inside one body as various bodily parts. I interlace commentary-poems, fragments, interviews, brief citations and personal notes. Each “speech-part” of this chimeric essay then explores scene-setting, the motif of absence; animal poetics, and linguistic expression in the comic play, while underscoring the potential of my approach to capture Carson and her own chimeric work. More ambitiously, the essay challenges fixed notions of how academic and creative ideas should be framed and uttered.
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.263
Patrice Rankine
This essay investigates the linguistic, artistic, and typographical dimensions of Anne Carson’s H of H Playbook and Trojan Women by Euripides: A Comedy. I argue that graphic design and design-thinking principles provide a useful and unexplored theoretical framework for deciphering these books, given the often-complex relationship in them between image and words, and sometimes even words presented in different typeface and handwriting. Carson worked in graphic design for a time, and as a poet, words – and metaphor, specifically – are her primary design tool. Language works in tandem with image and form to create broader artistic meaning.
这篇文章探讨了安妮-卡森（Anne Carson）的《H of H Playbook》和欧里庇得斯（Euripides）的《特洛伊妇女》在语言、艺术和排版方面的问题：喜剧》。我认为，平面设计和设计思维原则为解读这两本书提供了一个有用的、尚未被探索的理论框架，因为在这两本书中，图像和文字之间的关系往往很复杂，有时甚至是以不同字体和笔迹呈现的文字。卡森曾从事过一段时间的平面设计工作，作为一名诗人，文字--特别是隐喻--是她的主要设计工具。语言与图像和形式相互配合，创造出更广泛的艺术意义。
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.280
Mario Telò
This paper considers Carson’s rewriting of Heracles’ tragic madness— through the art of collage, an assembling and disassambling of textual fragments, scraps of papers, drawings, chromatic smears, and sketches—as an imagistic site for theorizing the anti-normative materiality, physical and metaphysical, of par-a-noia. I make a case for a materiality of par-a-noia by proposing a comparison with Alain Badiou’s Marxist political formalism. The distinctive formal trait of H of H, verbal and pictorial juxtaposition, invites us to think of par-a-noia as an aesthetico-political radicality located on the edge of a voiding of thought (noein), a radicality that, as I suggest at the end, can be aligned with modes of non-normate cognition, with neuroqueer countersociality.
本文认为，卡森通过拼贴艺术对赫拉克勒斯的疯狂悲剧进行重写，将文本片段、纸屑、图画、色彩涂抹和素描进行组合和拆解，以此作为一个想象的场所，来理论化par-a-noia的反规范物质性、物理性和形而上学性。通过与阿兰-巴迪欧（Alain Badiou）的马克思主义政治形式主义进行比较，我为 "准-厌 "的物质性提供了论据。H of H》的独特形式特征--语言与图像并置--让我们将par-a-noia视为一种美学政治激进主义，它位于思想空洞（noein）的边缘，正如我在最后所建议的那样，这种激进主义可以与非规范认知模式、与神经怪异者的反社会性相一致。
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.311
Sarah Nooter
This essay examines two distinct modes of sonic disjunction in Rosanna Bruno and Anne Carson’s The Trojan Women: A Comic and Carson’s H of H Playbook. The Trojan Women shows how noticing sounds that are dislocated from expectations exposes hard truths about reality. H of H interrogates our “regular” mode of hearing other people and implies that there is a gap in how we can know others and know ourselves. Thus, though both are graphic texts, their power and effect are nonetheless garnered also through the sounds they describe and conjure in the minds of their readers.
这篇文章探讨了罗珊娜-布鲁诺和安妮-卡森的《特洛伊妇女》中两种截然不同的声波分离模式：A Comic》和卡森的《H of H Playbook》中两种截然不同的声音分离模式。特洛伊妇女》展示了如何注意到与预期脱节的声音，从而揭露现实的真相。H of H》对我们聆听他人的 "常规 "模式提出了质疑，并暗示我们在如何认识他人和认识自己方面存在差距。因此，虽然这两部作品都是图画文本，但它们的力量和效果也是通过它们描述的声音和在读者脑海中浮现的声音获得的。
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.322
Gina Prat Lilly
In this interview-essay, artist Rosanna Bruno talks with the author about her illustrations of The Trojan Women, a comic-book made in collaboration with Anne Carson. Bruno’s illustrations offer the reader an oblique entry into a devastated Troy: they are translation “at a slant.” The artist speaks on going against what is visually expected or plausible, in her use of surprising imagery to convey and counterpoint suffering, and touches upon the use of humor to bring the tragedy into sharp focus. Bruno explains how the comic-book format can communicate radical ideas in the interdependence of word and image. She talks through creating the feeling of live theater and the emotional tenor brought about by an almost entirely non-human cast: dogs, cows, a huge wave, a turnip-like rootling, a pair of dungarees. The illustrator elucidates the collaborative process between herself and Carson, revealing the various iterations of characters before they settled on their final forms, and the materials and methodologies Bruno employed in its rendering.
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Pub Date : 2023-04-01DOI: 10.1525/ca.2023.42.1.159
Dan-el Padilla Peralta
This article reinterprets an incident that Livy (8.18.4–11) and derivative later sources place in the year 331 BCE: a wave of poisonings whose perpetrators are brought to light after an enslaved woman contacts a Roman magistrate. Its main objectives are to show that the incident is best understood in connection with the transmission of novel—or perceived as novel—pharmacological knowledge, and in conjunction with shifts in the institution of slavery at Rome that were set in motion by the Republic’s expansion; that a key figure in the mythological encoding of this transmission was the legendary Circe; and that moving away from previous scholarship’s concern with the matronae alleged to have carried out the poisonings and focusing instead on “la servant délatrice” (Jean-Marie Pailler) opens up new corridors into the cultural history of this period.
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{"title":"Fury and Justice in the Humanities","authors":"J. Butler","doi":"10.1525/ca.2023.42.1.1","DOIUrl":"https://doi.org/10.1525/ca.2023.42.1.1","url":null,"abstract":"","PeriodicalId":45164,"journal":{"name":"CLASSICAL ANTIQUITY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42785270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1525/ca.2023.42.1.195
R. Stewart
The portrayal of the enslaved woman Fotis in Apuleius’ Metamorphoses exposes the intersection of gender, sexuality, and slavery. Apuleius’ novel allows a window into interactions beyond the relationship of slaveholder and the enslaved person over whom s/he claimed dominium. Centering Fotis in Apuleius’ narrative shows how a discourse of slavery worked: an enslaved woman is made present as a body that may be sexualized and surrounded with fantasies of sex and violence. The sexual episodes of Lucius and Fotis reveal an aesthetic, facilitated by the system of slavery, of consuming bodies, watching bodies consumed by violence, and framing effacement and degradation as romance, an operation of power at the core of chattel slavery.
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On some accounts, Sophocles’ Philoctetes is most notable for what it lacks: alone among the extant Attic tragedies, there are no women in the dramatis personae; alone among the extant plays of Sophocles, no characters die; and the chorus plays a relatively diminished role, adhering most closely to Aristotle’s injunction in the Poetics that a chorus should take on the role of an actor. But when viewed through the lens of ecocritical feminism and vibrant materialism, notably the work of Donna Haraway, Mel Chen, Jane Bennett, and Anna Tsing, the play’s landscape, the island of Lemnos, comes to life; and it teems with feminine energies as well as compromised and complicated animacies, while the chorus serves as an empathic focalizer and world-builder. This paper argues that in addition to animating the island’s material ecosystem, Sophocles conjures Lemnos’ mythic ecosystem, most notably the tale of the notorious, murderous, and malodorous Lemnian Women. All of these elements cohere to characterize Philoctetes as an abject, sterile menstruator. Furthermore, the chorus’s brief, strange Hymn to Gaia encapsulates the play’s tension between a masculine, heroic, teleological narrative and the feminine, primordial, bestial world of Lemnos. These dynamics are further considered through the lens of fifth-century Athenian colonization, the story of the indigenous Lemnian Pelasgians, and a colonial reading of the Odyssey’s Cyclopeia. Finally, the paper explores the close, mutually constitutive relationship between text, landscape, and body via the popularity, in later antiquity, of pharmacological applications of Lemnian Earth, used to treat, among other ailments, snakebites and menstruation.
从某些方面来说，索福克勒斯的《菲罗克忒忒》最引人注目的是它所缺乏的东西:在现存的阿提卡悲剧中，唯独没有女性的人物形象;在索福克勒斯现存的戏剧中，唯独没有人物死亡;而合唱的作用则相对减弱，这与亚里士多德在《诗学》中提出的合唱应该扮演演员角色的要求最为一致。但是，从生态批评女性主义和充满活力的物质主义的角度来看，尤其是唐娜·哈拉威、陈美尔、简·班尼特和安娜·青的作品，这部戏剧的景观——利姆诺斯岛——变得栩栩如生;它充满了女性的能量，以及妥协和复杂的动物，而合唱则是一个移情的焦点和世界的建设者。本文认为，除了赋予岛上的物质生态系统以活力之外，索福克勒斯还赋予了利姆诺斯的神话生态系统以活力，其中最著名的是臭名昭著的、凶残的、散发恶臭的利姆尼亚女人的故事。所有这些因素结合在一起，把菲罗克忒忒斯描绘成一个卑贱、不育的月经者。此外，副歌部分简短而奇特的《盖娅赞美诗》(Hymn to Gaia)概括了全剧在男性化、英雄化、目的论叙事与女性化、原始化、兽性的利姆诺斯世界之间的张力。这些动态通过五世纪的雅典殖民，土著Lemnian Pelasgians的故事，以及对奥德赛的Cyclopeia的殖民阅读的镜头进一步考虑。最后，本文探讨了文本、景观和身体之间密切的、相互构成的关系，通过在古代晚期流行的莱姆尼安大地的药理应用，用于治疗其他疾病，包括蛇咬伤和月经。
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