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The Tower of the Past in Polybius, Bede, and Fanon 波利比乌斯、比德和法农的过去之塔
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2022-12-01 DOI: 10.1353/ajp.2022.0025
A. Lecznar
Abstract:Frantz Fanon uses the metaphor of the Tower of the Past in his conclusion to Peau noire, masques blancs (Black Skin, White Masks) to argue that racialized historical narratives alienate and imprison their readers. In the first part of this article I read excerpts from Polybius and Bede to isolate the metaphors that both authors use to describe and explain the phenomenon of empire and its impact on historical understanding. In the second part I return to Fanon, and particularly his discussion of the phrase "Our ancestors, the Gauls," to trace his critique of discourses of ancient history in the context of French colonialism.
摘要:弗朗茨·法农在《黑皮肤,白面具》一书的结束语中以“过去之塔”为隐喻,论证了种族化的历史叙事疏离和禁锢了读者。在本文的第一部分,我阅读了波利比乌斯和比德的节选,以分离两位作者用来描述和解释帝国现象及其对历史理解的影响的隐喻。在第二部分中,我将回到法农,特别是他对“我们的祖先,高卢人”这一短语的讨论,以追溯他在法国殖民主义背景下对古代历史话语的批评。
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引用次数: 0
African American Travelers Encounter Greece, ca. 1850–1900 非裔美国旅行者邂逅希腊,约1850-1900年
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2022-12-01 DOI: 10.1353/ajp.2022.0026
John W.I. Lee
Abstract:This essay examines the experiences of three 19th-century African American travelers to Greece—David Dorr (1852), Frederick Douglass (1887), and John Wesley Gilbert (1890–1)—using evidence from their letters, diaries, and published writings. The essay shows that although each traveler's unique personal perspective shaped his response to seeing the ancient sites and monuments of Greece, all three men responded most deeply to a site connected with Greece's Christian heritage: the Areopagus or Mars Hill, where according to 19th-century understanding the Apostle Paul had spoken the words recorded in the Book of Acts.
摘要:本文考察了三位19世纪非裔美国人——大卫·多尔(1852年)、弗雷德里克·道格拉斯(1887年)和约翰·韦斯利·吉尔伯特(1890-1年)——前往希腊的经历,使用了他们的信件、日记和出版作品的证据。这篇文章表明,虽然每个旅行者都有自己独特的个人视角,决定了他们对希腊古代遗址和纪念碑的反应,但这三个人对一个与希腊基督教遗产有关的遗址的反应最为深刻:亚略巴古或玛斯山,根据19世纪的理解,使徒保罗曾在那里说过使徒行传中记录的话。
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引用次数: 0
Metal and Mettle: Odyssean Elements of the Racialized Body and Oddsee's Hybridity in Suzan-Lori Parks' Father Comes Home from the Wars (Parts 1, 2 & 3) (2015) 金属与勇气:苏珊-洛丽·帕克斯《父亲归来》中种族化身体的奥德赛元素和奥德赛的混杂(第1、2、3部分)(2015)
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2022-12-01 DOI: 10.1353/ajp.2022.0023
Sasha-Mae Eccleston
Abstract:This article compares the idealism underwriting both the survival of Odysseus' family in Homer's Odyssey and hybridity in Suzan-Lori Parks' Father Comes Home from the Wars (2015). Building upon an instance of indirect transmission from Homer to Fagles to Parks, it argues that Parks' creation of a hybrid human canine figure not only queries hybridity's role as the telos of Black liberation and racial justice but also sheds new light on the role of Argos and Telemachus for the idealized image that concludes the Odyssey. Reflecting on Parks' nuanced rejection of the idea that Father Comes Home from the Wars is an adaptation of the Odyssey, this article closes by explaining the urgency of directly addressing the challenges of being a racialized teacher in the Classics classroom rather than idealizing those teachers as the self-evident resolution of the racism in the field.
摘要:本文比较了荷马史诗《奥德赛》中奥德修斯家族生存的理想主义与苏珊-洛莉·帕克斯《父亲从战场归来》(2015)中混杂的理想主义。以荷马、法格尔斯和帕克斯的间接传播为基础,它认为帕克斯创造的混血儿人类犬形形象不仅质疑混血儿作为黑人解放和种族正义的终极目标的作用,而且还揭示了阿尔戈斯和忒勒马科斯在《奥德赛》结尾的理想化形象中的作用。帕克斯对《父亲从战争中归来》改编自《奥德赛》的观点提出了微妙的反对意见,这篇文章最后解释了在古典文学课堂上直接解决种族化教师所面临的挑战的紧迫性,而不是将这些教师理想化,将其视为该领域种族主义的不言而喻的解决方案。
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引用次数: 0
Felling the Canon: Classical Roots and Anti-Genealogies in Monica Youn's Blackacre 堕落正典:Monica Youn的《布莱克克》中的古典根源与反系谱
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2022-12-01 DOI: 10.1353/ajp.2022.0027
Erynn Kim
Abstract:This article analyzes the use of classical references in Monica Youn's collection Blackacre. Inspired by rhizomatic models of classical reception studies, my reading focuses on the relationship between classical references in the body of the poems, on the one hand, and classical references in the paratexts on the other hand. I argue that Youn's oblique engagement with classical material exposes the limitations of an arborescent or genealogical model of reception and, on a related note, the constraints imposed by the construct of the canon as Youn leverages the heterogeneity of Asian American literature to resist the idea of a simple, hierarchical, one-way classical canon.
摘要:本文分析了Monica Youn的文集《Blackacre》中经典典籍的运用。受古典接受研究的根状模型的启发,我的阅读重点是诗歌主体中的经典参考与文本中的经典参考之间的关系。我认为,杨对古典材料的间接接触暴露了树木式或谱系式接受模式的局限性,以及与此相关的,当杨利用亚裔美国文学的异质性来抵制简单,分层,单向的经典经典时,正典结构所施加的约束。
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引用次数: 0
Comic Echopoetics in Aristophanes' Thesmophoriazousai 阿里斯托芬论文中的喜剧回声诗学
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2022-09-01 DOI: 10.1353/ajp.2022.0016
A. Melzer
Abstract:The Thesmophoriazousai brims with themes of imitation, from its broader tragic parodies to its finer sonic textures. This study uncovers the functions and effects of imitation on the dramatically crucial (but often neglected) verbal level by means of Echo—a bizarre metatheatrical character who embodies the dynamics of mimicking speech and parody. The aural echo is provided as a conceptual frame, illustrating how verbal mimicry functions to both degrade and bolster identity and status in Echo's scene and elsewhere in the play. Echo's speech patterns ultimately serve to perform, manipulate, and expand forms of mimicry in Old Comedy.
摘要:《Thesmophoriazousai》充满了模仿的主题,从更广泛的悲剧戏仿到更精细的声音纹理。这项研究通过Echo揭示了模仿在极其关键(但经常被忽视)的言语层面上的功能和效果。Echo是一个奇异的元戏剧角色,体现了模仿言语和戏仿的动态。听觉回声是作为一个概念框架提供的,说明了言语模仿如何在回声的场景和剧中其他地方降低和增强身份和地位。Echo的言语模式最终用于表演、操纵和扩展《老喜剧》中的模仿形式。
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引用次数: 0
Senecan Trimeter and Humanist Tragedy 塞内坎·特里米特与人文悲剧
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2022-09-01 DOI: 10.1353/ajp.2022.0019
Aleksandr Fedchin, P. Burns, Pramit Chaudhuri, J. P. Dexter
Abstract:The lack of extant contemporary comparanda obscures the workings of iambic trimeter in Senecan tragedy. This article offers a quantitative analysis of the reception of Senecan trimeter in four early works of Italian Humanist Tragedy, which illuminates the creative possibilities afforded by the basic structure of the meter and identifies specific features important to questions of style and semantics. Our analysis demonstrates, among other things, that both Seneca and the Humanist tragedians use clusters of resolution in conjunction with antilabe as a literary device to convey high emotion.
摘要:塞内坎悲剧中,现存的现代比较法的缺失掩盖了抑扬格三聚体的作用。本文定量分析了意大利人文主义悲剧早期四部作品中对塞内坎三聚体的接受,阐明了韵律的基本结构所提供的创造性可能性,并确定了对风格和语义问题重要的具体特征。我们的分析表明,除其他外,塞涅卡和人文主义悲剧作家都将分辨率集群与反标签结合起来,作为一种传达高度情感的文学手段。
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引用次数: 1
Global Empires and The Roman Imperium 全球帝国和罗马帝国
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2022-09-01 DOI: 10.1353/ajp.2022.0020
B. Shaw
The volumes under review are an impressive if unequal diptych. The first, the slimmer of the two, entitled “The Imperial Experience,” comprises a series of analytical studies on the creation, management, and ideologies of empires, and forms of resistance to them. The second, “The History of Empires,” is a forbidding tome of forty-four specific studies of individual empires and imperial ventures, from Ur III and Middle Kingdom Egypt to the Mongols and the British, ending, naturally, with America’s “global imperium.” In the analytics, the usual suspects, including Michael Doyle, Frederick Cooper and Jane Burbank, are on display; and the conceptual approaches of Michael Mann and Ernest Gellner are favorite points d’appui. For premodern empires, the ideas of the Maghribi thinker Ibn Khaldūn provide a different focus, so it is heartening to see Bang and others applying them more consistently (e.g., 1:13, 40, 326–9; 2:162, 246–8, 253). Especially for premodern empires, these volumes can be seen as an extension of earlier handbooks devoted to the state, one devoted to the ancient Near Eastern and Mediterranean state and another on ancient empires.1 As an aspect of world history, the endeavor is the culmination of a decades-long project on the history of empires fronted by Peter Bang.2 He has usefully produced detailed historical introductions not only to both volumes, but also to the subsections in each of them. Perhaps not surprisingly, empire turns out to be a virile enterprise. As Ian Morris notes, “the story of empire . . . is so strongly gendered that it
所审查的数量是一个令人印象深刻的,但不平等的双重性。第一本书是两本书中较薄的一本,题为《帝国经验》,包括一系列关于帝国的创建、管理、意识形态以及对帝国的抵抗形式的分析研究。第二本《帝国史》是一本令人生畏的大部头书,共有四十四本关于各个帝国和帝国企业的具体研究,从乌尔三世和中王国埃及到蒙古人和英国人,自然以美国的“全球帝国”告终。在分析中,常见的嫌疑人,包括迈克尔·道尔、弗雷德里克·库珀和简·伯班克,都在展出;迈克尔·曼和欧内斯特·盖尔纳的概念方法是达皮最喜欢的观点。对于前现代帝国来说,马格里比思想家伊本·哈立德的思想提供了一个不同的焦点,因此看到邦和其他人更一致地应用这些思想是令人振奋的(例如,1:13,40226-9;2:162464-85253)。特别是对于前现代帝国,这些卷可以被视为早期国家手册的延伸,其中一本专门介绍古代近东和地中海国家,另一本介绍古代帝国。1作为世界历史的一个方面,这一努力是彼得·邦领导的一个长达数十年的帝国史项目的高潮。2他不仅对这两卷书,而且对每一卷的小节都做了详细的历史介绍。也许并不奇怪,帝国是一个充满活力的企业。正如伊恩·莫里斯所指出的,“帝国的故事……是如此强烈的性别化,以至于它
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引用次数: 0
Lucian's Fatherland Encomium and the Meaning of Samosata 卢西安的祖国赞歌与萨莫萨塔的意义
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2022-09-01 DOI: 10.1353/ajp.2022.0018
Stephen E. Kidd
Abstract:Lucian's Fatherland Encomium is thought to have been delivered at Samosata, Lucian's hometown. Although he never mentions "Samosata" in this speech, he repeatedly toys with the "name of the fatherland" as the speech's theme. But what is the name of his native city? The Greeks called it "Samosata" but this is clearly a transliteration. I consider the Aramaic, Persian, and Armenian versions of the name, and notice that the Aramaic "Shemshat" has a number of resonances in Lucian's speech, not least the set theme of the speech itself "the name of (shem) the fatherland."
摘要:卢锡安的祖国安可姆被认为是在卢锡安的家乡萨莫萨塔交付的。尽管他在这次演讲中从未提及“萨摩萨塔”,但他一再以“祖国的名字”作为演讲的主题。但是他的家乡叫什么名字?希腊人称之为“Samosata”,但这显然是音译。我考虑了这个名字的阿拉姆语、波斯语和亚美尼亚语版本,并注意到阿拉姆语“Shemshat”在卢锡安的演讲中有很多共鸣,尤其是演讲本身的主题“祖国的名字”
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引用次数: 0
Harshing Zeus' Μέλω: Reassessing The Sympathy of Zeus at Iliad 20.21 严厉的宙斯Μέλω:重新评估《伊利亚特》20.21中宙斯的同情
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2022-09-01 DOI: 10.1353/ajp.2022.0015
B. Beck, A. Melzer, J. Ulrich, Stephen E. Kidd, Aleksandr Fedchin, Patrick J. Burns, Pramit Chaudhuri, J. P. Dexter, B. Shaw, Emily P. Austin, William M. Breichner
Abstract:The dominant interpretation of Zeus' words at Iliad 20.21, which regards μέλουσί μοι ὀλλύμενοί περ as an expression of sympathy for dying warriors, poses a number of serious contextual and lexical problems. This article argues that Il. 20.21 is not an expression of compassion, but attention. Zeus is not concerned for dying warriors, but attentive to them, as indeed his deadly βουλή (Il. 20.20) requires him to be. The interpretation of Il. 20.21 has relevance to questions of great significance for the interpretation of the Iliad, including Zeus' relationship to humans and the meaning of the Διὸς βουλή.
摘要:对宙斯在《伊利亚特》20.21中所说的话的主要解释是ὀ作为对垂死战士的同情表达,λλί。这篇文章认为,第20.21号不是同情的表达,而是关注。宙斯并不关心垂死的战士,而是关注他们,正如他致命的βιυλι(Il.20.20)所要求的那样。对Il.2021的解释与解释《伊利亚特》具有重要意义的问题有关,包括宙斯与人类的关系和Δι的意义ὸς。
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引用次数: 0
The AJP Best Article Prize Winner AJP最佳文章奖得主
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2022-09-01 DOI: 10.1353/ajp.2022.0022
William M. Breichner
for her contribution to scholarship in “Dissecting a Forgery,” AJP 142.3 (Fall 2021): 493–533. Valdivieso conclusively demonstrates that Exsul Immeritus, a letter in an Italian collection attributed to the mestizo Jesuit Blas Valera and dated by some to the 17th century, is a forgery written in the second half of the 20th century. Using philological tools—close linguistic analysis and source criticism—Valdivieso makes a decisive contribution to the field of colonial Latin American history. Yet the article is irresistible for scholars of classical antiquity as well, engaging as it does with ungrammatical Latin, Italianisms, and a patchwork of citations from Roman authors, the Vulgate, and the Latin works of Dante, Ficino, and Politian. Valdivieso shows that the letter depends on critical editions and compilations that were not available until much later, establishing a terminus post quem of 1952. The article raises tantalizing questions about the provenance and validation of the whole collection. Although Valdivieso is not the first scholar to claim that the letter is a forgery, she is the first to pay close attention to the Latin. If authentic, the letter would provide otherwise unattested information about the textual transmission of Petronius and Dante as well as Valera’s life and works. The letter also makes claims that subordinate indigenous accounts to Valera’s own and alter what we know about the Incas and the Spanish conquest of Peru. Valdivieso demonstrates masterful control of different fields of study while captivating and educating the reader at every stage. With its acute and highly engaging philological detective work, clarity, and critical service to other disciplines, Valdivieso’s article is a prime example of the vitality of new directions in classical philology. Rigorous and compelling, the article not only definitively settles an ongoing debate but also brings excitement and distinction to known methods.
感谢她在《剖析伪造品》一书中对学术的贡献,AJP 142.3(2021年秋季):493–533。Valdivieso确凿地证明,意大利收藏的一封信Exsul Immeritus是20世纪下半叶的伪造品,这封信被认为是梅斯提索耶稣会士Blas Valera的,一些人认为可以追溯到17世纪。巴尔迪维索运用语言学工具——密切的语言学分析和来源批评——对拉丁美洲殖民历史领域做出了决定性的贡献。然而,这篇文章对古代学者来说也是不可抗拒的,它涉及不符合语法的拉丁语、意大利主义,以及罗马作家、Vulgate以及但丁、菲奇诺和政客的拉丁语作品的拼凑引用。Valdivieso表明,这封信依赖于直到很久以后才有的批评性版本和汇编,建立了1952年后女王时代的终点。这篇文章对整个藏品的出处和有效性提出了诱人的问题。尽管瓦尔迪维索不是第一个声称这封信是伪造的学者,但她是第一个密切关注拉丁语的学者。如果这封信是真实的,它将提供关于彼得罗纽斯和但丁以及瓦莱拉的生活和作品的文本传递的未经测试的信息。这封信还声称,土著人的账户属于瓦莱拉自己的账户,并改变了我们对印加人和西班牙征服秘鲁的了解。Valdivieso展示了对不同研究领域的熟练控制,同时在每个阶段都吸引和教育读者。瓦尔迪维索的文章以其敏锐而引人入胜的语文学侦探工作、清晰和对其他学科的批判性服务,是古典语文学新方向活力的一个典型例子。这篇文章严谨而引人注目,不仅明确地解决了正在进行的辩论,而且为已知的方法带来了兴奋和区别。
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引用次数: 0
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AMERICAN JOURNAL OF PHILOLOGY
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