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Questions of the Foreigner: Metoikia and Democracy in Aeschylus’ Suppliants 外国人的问题:埃斯库罗斯补给品中的梅托伊基亚与民主
IF 0.5 2区 历史学 Q1 Arts and Humanities Pub Date : 2023-04-01 DOI: 10.1525/ca.2023.42.1.49
Carol Dougherty
The question of the foreigner, especially as elaborated by Jacques Derrida in the first of his two essays Of Hospitality, is at the heart of Aeschylus’ Suppliants, a play in which the fifty daughters of the Egyptian king Danaus appeal to the Argive king Pelasgus for asylum. Indeed, Aeschylus structures much of the initial encounter between the Danaids and Pelasgus in the interrogatory mode: as an exchange of questions to the foreigner, of the foreigner. Beginning with queries about identity, the play moves quickly to pose questions about authority, ultimately running aground upon Pelasgus’ inability to decide what to do about these Egyptian-Argive women whose demands for hospitality threaten his control over the city. Where previous scholarship on the play has focused on its representation of foreignness or its introduction of democratic rule, a close reading in light of Derrida’s work on hospitality elaborates the important relationship between hospitality and democratic sovereignty that the play develops. For the real question of the foreigner asks how the people can wield power in a city; in response, the play imagines the origins of democracy as an act of civic hospitality or metoikia.
外国人的问题,尤其是雅克·德里达在他的两篇文章《好客》的第一篇中所阐述的,是埃斯库罗斯的《Suppliants》的核心,在这部剧中,埃及国王达瑙斯的五十个女儿向阿吉夫国王佩拉斯格斯请求庇护。事实上,埃斯库罗斯以审问的方式构建了达乃狄和佩拉斯格斯之间最初的相遇:作为对外国人和外国人的问题交换。该剧从对身份的质疑开始,迅速提出了对权威的质疑,最终因佩拉斯格斯无法决定如何处理这些埃及阿吉夫女性而搁浅,这些女性对好客的要求威胁到了他对城市的控制。此前对该剧的研究主要集中在对异国情调的表现或对民主统治的引入上,仔细阅读德里达关于好客的作品,可以阐述该剧发展起来的好客与民主主权之间的重要关系。因为外国人的真正问题是,人们如何在城市中行使权力;作为回应,该剧将民主的起源想象成一种公民热情好客的行为。
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引用次数: 0
The Land of Milk and Honey: Goats, Bees, and the Poetic Identity of Virgil’s Eclogues 牛奶和蜂蜜之地:山羊、蜜蜂和维吉尔的诗歌身份
IF 0.5 2区 历史学 Q1 Arts and Humanities Pub Date : 2023-04-01 DOI: 10.1525/ca.2023.42.1.19
C. Campbell
This article offers a new perspective on the poetic concerns of the Eclogues by looking at goats as the programmatic poetic symbol of the collection. It shows how Virgil has adapted a new poetic identity for the goats of his pastoral world from the bucolic landscape of Theocritus’ Idylls by borrowing and transforming the established poetic identity of a different animal, the bee. In particular, it traces the significance and intricacies of etymological play and markers to deepen our understanding of the relationship Virgil creates between his work and that of Theocritus, and shows how this shift in poetic identity from bees to goats establishes a Virgilian conception of Roman pastoral. It gives especial consideration to Idyll 10 as a source text of inspiration for the Eclogues, with an eye to rehabilitating the importance of this poem to Virgil’s bucolic collection.
本文通过将山羊视为该集的纲领性诗歌象征,对《神曲》的诗歌关注提供了一个新的视角。它展示了维吉尔如何通过借用和转换另一种动物蜜蜂的既定诗歌身份,从Theocritus’Idylls的田园景观中为他的田园世界中的山羊改编出一种新的诗歌身份。特别是,它追溯了词源游戏和标记的意义和复杂性,以加深我们对维吉尔在他的作品和提奥克里特的作品之间建立的关系的理解,并展示了这种从蜜蜂到山羊的诗歌身份转变是如何建立起维吉尔的罗马田园概念的。它特别考虑将《Idyll 10》作为《Eclogues》的灵感来源,以期恢复这首诗对维吉尔田园诗收藏的重要性。
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引用次数: 0
“You Fell into Milk”: Symbols and Narratives of Kinship in Bacchic Mysteries “你掉进了牛奶里”:酒神之谜中亲属关系的象征与叙事
IF 0.5 2区 历史学 Q1 Arts and Humanities Pub Date : 2023-04-01 DOI: 10.1525/ca.2023.42.1.121
Mark F. McClay
This article argues that claims of divine kinship play a central role in the Bacchic gold tablets of the late classical period. While many scholars have interpreted these tablets in reference to the Orphic Zagreus myth, I contend that key details of their texts are better understood as assertions of a familial link with the gods that assured postmortem happiness. The tablets develop the Hesiodic idea of human-divine fellowship, expanding this theme to include claims of identity or kinship with the gods through a variety of narrative strategies. This aspect of the tablets finds a parallel in Empedocles, who (under Orphic-Pythagorean influence) elaborates traditional human-divine fellowship into a claim that humans are exiled gods who can hope to rejoin divine society. Following this interpretive approach, I suggest that the puzzling expression “I/you fell into milk” in some tablets expresses a symbolic relation to the gods via divine breast milk.
本文认为,神圣亲属关系的主张在古典晚期的巴契克石碑中起着核心作用。虽然许多学者将这些石碑解读为奥菲奇·扎格鲁斯神话,但我认为,他们文本中的关键细节被更好地理解为与神的家族联系的断言,从而确保了死后的幸福。这些石碑发展了赫斯蒂克关于人与神的友谊的思想,通过各种叙事策略将这一主题扩展到包括与神的身份或亲属关系的主张。这些石碑的这一方面在恩培多克勒斯身上也有相似之处,他(在毕达哥拉斯的影响下)将传统的人与神的友谊阐述为一种说法,即人类是流亡的神,可以希望重新加入神的社会。根据这种解释方法,我认为一些石碑中令人困惑的表达“我/你掉进了牛奶里”通过神圣的母乳表达了与众神的象征关系。
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引用次数: 0
Glimpses of Gesture: Refusing and Recovering Loss in Honig and Euripides 姿态的一瞥:霍尼格与欧里庇德斯的拒绝与挽回损失
IF 0.5 2区 历史学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1525/ca.2022.41.2.16
A. Shirazi
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引用次数: 0
Migrant Refusals: The Inoperativity of the Asian Bacchae in Euripides 移民的拒绝:《欧里庇得斯》中亚洲酒神的不操作性
IF 0.5 2区 历史学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1525/ca.2022.40.2.4
L. Battezzato
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引用次数: 0
A Method in the Madness: After AFTR, in Grateful Reply 疯狂中的方法:After tr之后,感恩的回复
IF 0.5 2区 历史学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1525/ca.2022.41.2.34
B. Honig
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引用次数: 0
Bonnie Honig’s A Feminist Theory of Refusal with Kehinde Wiley’s After John Raphael Smith’s “A Bacchante (after Sir Joshua Reynolds)” Bonnie Honig的女权主义拒绝理论与Kehinde Wiley的《继John Raphael Smith之后的酒神曲》(继Joshua Reynolds爵士之后)
IF 0.5 2区 历史学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1525/ca.2022.41.2.25
H. Morales
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引用次数: 0
Honig’s Bacchae / Euripides’ Theory of Refusal 霍尼格的Bacchae/Euripides的拒绝理论
IF 0.5 2区 历史学 Q1 Arts and Humanities Pub Date : 2022-10-01 DOI: 10.1525/ca.2022.41.2.1
C. Conybeare
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引用次数: 0
Embracing Thetis in Euripides’ Andromache 在欧里庇得斯的《安德罗马赫》中拥抱忒提斯
IF 0.5 2区 历史学 Q1 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1525/ca.2022.41.1.67
Sarah Olsen
At a crucial moment in Euripides’ Andromache, the title character throws her hands (περὶ χεῖρε βαλοῦσα, 115) around a statue of the goddess Thetis and laments the losses that have brought her to a point of desperation and despair. When Thetis appears at the end of the play, she answers Andromache’s pleas and grants her a renewed life of marriage and motherhood. Yet in her embrace of the statue, Andromache momentarily embodies an alternative impulse: a longing to merge with the stony form of the goddess and to cease from the patterns of nuptial mobility and sexual reproduction that have defined her life thus far. In this article, I argue that we should understand this embrace as “queer”—as a moment of intimate contact between mortal woman and immortal goddess that deeply unsettles the models of sexual and reproductive order that dominate Greek art and literature. While the play ends by redirecting Andromache toward the propagation of the Trojan line, the queer potential of that crucial embrace is taken up by Thetis herself, who re-scripts her own marriage to Peleus in a way that both inverts gendered patterns of movement and rejects the valorization of female fertility. Euripides’ Andromache thus concludes with the restoration of mortal sexual and reproductive order, yet through Andromache’s encounter with Thetis, it also gestures to the queer and startling freedom of a barren future.
在欧里庇得斯的《安德罗马赫》中的一个关键时刻,主人公举起了她的手(περὶ χεῖρεβαλῦσα,115),并哀叹那些让她陷入绝望和绝望的损失。当Thetis出现在剧中的结尾时,她回应了Andromache的请求,并让她重新过上了婚姻和母亲的生活。然而,在她对雕像的拥抱中,安德罗马赫瞬间体现了另一种冲动:渴望与女神的石头形状融合,并停止迄今为止定义她的生活的婚姻流动和性繁殖模式。在这篇文章中,我认为我们应该把这种拥抱理解为“酷儿”——一种凡人女性和不朽女神之间的亲密接触时刻,它深深地扰乱了主导希腊艺术和文学的性秩序和生殖秩序模式。虽然这部剧的结尾是将安德罗马赫转向特洛伊木马的传播,但这一关键拥抱的奇怪潜力被特提斯本人所占据,她重新描述了自己与佩利厄斯的婚姻,既颠覆了性别化的运动模式,又拒绝了女性生育能力的价值化。因此,欧里庇得斯的《安德罗马赫》以恢复致命的性和生殖秩序为结尾,但通过安德罗马赫与特提斯的相遇,它也预示着贫瘠未来的怪异和惊人的自由。
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引用次数: 0
Speaking Wit to Power 用智慧说话
IF 0.5 2区 历史学 Q1 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1525/ca.2022.41.1.129
Johannes Wietzke
Archimedes’ Sand-Reckoner presents a system for naming extraordinarily large numbers, larger than the number of grains of sand that would fill the cosmos. Curiously, Archimedes addresses the treatise not to another specialist but to King Gelon II of Syracuse. While the treatise has thus been seen as evidence for the dynamics of patronage, difficulties in both Archimedes’ treatment of Gelon and his discussion of astronomical models make it fit incongruously within contemporary court and scientific contexts. This article offers a new reading of the Sand-Reckoner based on a reconsideration of the relationship between author and addressee: deferring assumptions about the historicity of that relationship, it analyzes Gelon’s role in the treatise with respect to both the stylistic features of Archimedes’ prose and a broader tradition of narratives about a variety of cultural actors who engage with kings, speaking not so much truth as wit to power. Such a reading resolves the social and scientific difficulties of the treatise, and develops the literary-experimental qualities of Hellenistic science. In turn, the article proposes a revised approach, sensitive to broader patterns of authorship, to understanding ancient scientific authors’ relationship to royal authority. It concludes, finally, that the royal patronage seemingly exemplified by the Sand-Reckoner had greater significance as a cultural trope than as a social institution.
阿基米德的沙子计算器提出了一个命名非常大的数字的系统,这个数字比填充宇宙的沙子颗粒的数量还要大。奇怪的是,阿基米德并没有把这篇论文交给另一位专家,而是交给了锡拉丘兹国王盖隆二世。尽管这篇论文因此被视为赞助动力学的证据,但阿基米德对盖隆的处理和他对天文模型的讨论都存在困难,这使得它与当代宫廷和科学背景不协调。本文在重新考虑作者和收件人之间关系的基础上,对《沙计》进行了新的解读:推迟了对这种关系的历史性的假设,它从阿基米德散文的风格特征和更广泛的叙事传统两个方面分析了盖隆在这篇论文中的作用,这些叙事传统讲述了各种与国王打交道的文化行动者,与其说是真理,不如说是智慧与权力。这样的阅读解决了论文的社会和科学困难,并发展了希腊化科学的文学实验品质。反过来,这篇文章提出了一种修正的方法,对更广泛的作者模式敏感,以理解古代科学作者与王室权威的关系。最后,它得出结论,似乎以《沙清算者》为例的王室赞助作为一种文化比喻比作为一种社会制度具有更大的意义。
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