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Africa ipsa parens: Racializing Representations of Sardinians in Cicero's Pro Scauro (54 B.C.E.) Africa ipsa parens:西塞罗的《Pro Scauro》(公元前 54 年)中对撒丁人的种族化描述
IF 0.4 1区 历史学 0 CLASSICS Pub Date : 2024-04-26 DOI: 10.1353/apa.2024.a925497
Hannah Čulík-Baird, Mathias Hanses

summary:

Following recent developments in the scholarship on premodern racial formation, the present article examines Cicero's racializing representations of Sardinian provincials in the Pro Scauro (54 b.c.e.). In this speech, Cicero defends Marcus Aemilius Scaurus, former governor of Sardinia, against charges of provincial mismanagement. In order to secure Scaurus's acquittal, Cicero portrays the Sardi as a distinct and "deficient" genus, characterized by innate and homogenous somatic, cognitive, and "genetic" qualities. At the same time, Cicero also disparages the Sardinians as a "mixture" of the Africans and the Carthaginians who occupied Sardinia prior to Roman conquest. The result is a juxtaposition between racialized Sardinians and "pure" Romans that is designed to convince the jurors to side with Scaurus, whose participation in the provincials' dehumanization, murder, and exploitation Cicero presents as morally unproblematic.

摘要:根据前现代种族形成研究的最新进展,本文研究了西塞罗在《Pro Scauro》(公元前 54 年)中对撒丁岛外省人的种族化描述。在这篇演讲中,西塞罗为撒丁岛前总督 Marcus Aemilius Scaurus 辩护,指控他管理不善。为了确保斯考鲁斯无罪释放,西塞罗将撒丁人描绘成一个独特而 "有缺陷 "的种属,其特点是与生俱来的同质躯体、认知和 "遗传 "素质。同时,西塞罗也贬低撒丁人,认为他们是非洲人和迦太基人的 "混血",而迦太基人在罗马征服撒丁岛之前曾占领过撒丁岛。结果是将种族化的撒丁人与 "纯粹的 "罗马人并置,旨在说服陪审员站在斯考鲁斯一边,而斯考鲁斯参与了外省人的非人化、谋杀和剥削,西塞罗认为这在道德上是没有问题的。
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引用次数: 0
Antiquity, Tradition, and Anti-Blackness in Hannah Arendt's Public Sphere 汉娜-阿伦特《公共领域》中的古代、传统与反黑人精神
IF 0.4 1区 历史学 0 CLASSICS Pub Date : 2024-04-26 DOI: 10.1353/apa.2024.a925504
Harriet Fertik

summary:

Scholarship on Hannah Arendt's receptions of Greco-Roman antiquity has largely neglected debates about anti-Blackness in her writing. To begin to fill this gap, this article focuses on Arendt's concept of the public (The Human Condition) and her condemnations of Black student movements (On Violence). Her account of how texts confer immortality on people in the public sphere clarifies the connections between an exclusive ideal of the public, an exclusive textual tradition, and an exclusive view of humanity. Arendt's work raises a challenge for classicists: can commitment to the immortality of a textual tradition be disentangled from anti-Blackness?

摘要:关于汉娜-阿伦特对希腊罗马古代的接受的学术研究在很大程度上忽视了她的著作中关于反黑人的争论。为了填补这一空白,本文重点探讨了阿伦特的公共概念(《人的境况》)和她对黑人学生运动的谴责(《论暴力》)。她关于文本如何赋予公共领域中的人以不朽的论述,阐明了公共的排他性理想、排他性文本传统和排他性人性观之间的联系。阿伦特的著作为古典学家提出了一个挑战:对文本传统不朽的承诺能否与反黑人区分开来?
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引用次数: 0
"Icarus Wings 'n' Things": Michael Richards and Myth "伊卡洛斯之翼":迈克尔-理查兹与神话
IF 0.4 1区 历史学 0 CLASSICS Pub Date : 2024-04-26 DOI: 10.1353/apa.2024.a925503
Alex Fialho, Melissa Levin
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <ul> <li><!-- html_title --> "Icarus Wings 'n' Things":<span>Michael Richards and Myth<sup>*</sup></span> <!-- /html_title --></li> <li> Alex Fialho and Melissa Levin </li> </ul> <blockquote> <p>I think history has always been important to me because if you examine the past you can also read the symptoms of what is prevalent now in terms of racial associations and the relationships of power present in our society today. History is interesting in terms of how we mythologize it, how we accept history or interpretations of history as fact, and whose interpretation it is. In many ways my history is so different from the official white versions.<sup>1</sup></p> —Michael Richards, 1997 </blockquote> <p><small>spanning the decade between</small> 1990 <small>and</small> 2000, artist Michael Richards created a prolific body of work including sculpture, drawing, installation, and video.</p> <p>Integral to a generation of Black artists emerging in the 1990s, Richards—who was of Jamaican and Costa Rican lineage—engaged themes of flight, diaspora, Blackness, spirituality, police brutality, monuments, and more. Among the abundant references throughout his body of work, Richards frequently alluded to Greek mythology. Icarus looms largest, with evocations overt and subtle, thematic and visual, literal and metaphoric. Other related narratives, including those of Daedalus, Sisyphus, Medusa, and Hermes also appear. As scholar Patrice Rankine, who invited this contribution, wrote of Richards's engagement with Icarus, it illustrates "the movement of the symbolic <strong>[End Page 251]</strong></p> <br/> Click for larger view<br/> View full resolution Fig 1. <p>Michael Richards with <em>Tar Baby vs. St. Sebastian</em>, 1999. Photograph by Frank Stewart.</p> <p></p> <p>form, its adaptability to new contexts, and some possible affinities with Black vernacular traditions."<sup>2</sup> Indeed, Richards's work gestures toward both repression and reprieve from social injustices, and the simultaneous (Icarian) possibilities of uplift and downfall, often in the context of the historic and ongoing oppression of Black people.</p> <p>Though we are only aware of Richards explicitly naming Icarus once in an artwork, he makes his way to Icarian themes through images of flight and aviation. Many of Richards's works display flight's capacity for metaphor and contradiction; he wrote that he viewed "the concept of flight as both freedom <strong>[End Page 252]</strong> and surrender."<sup>3</sup> In this context, Richards's artist statement offers an exploration of dualities that can be related to Icarian complexities; the statement reads, in part: "By focusing on issues of identity and identification, I attempt to examine the feelings of doubt and discomfort which face blacks who wish to succeed in a system which is structured to deny them access. How do systems of representation, and the port
以下是内容的简要摘录,以代替摘要: "伊卡洛斯之翼":迈克尔-理查兹与神话* 亚历克斯-菲亚霍和梅丽莎-莱文 我认为历史对我来说一直很重要,因为如果你审视过去,你也能读出当今社会中普遍存在的种族关联和权力关系的症状。历史的有趣之处在于我们如何将其神话化,我们如何将历史或对历史的解释作为事实来接受,以及这是谁的解释。在许多方面,我的历史与官方的白人版本大相径庭。1 -迈克尔-理查兹,1997 年 在 1990 年至 2000 年的十年间,艺术家迈克尔-理查兹创作了大量作品,包括雕塑、绘画、装置和视频。理查兹是 20 世纪 90 年代涌现的一代黑人艺术家,他的作品涉及逃亡、散居地、黑人、灵性、警察暴力、纪念碑等主题。在他的作品中,理查兹经常提到希腊神话。伊卡洛斯(Icarus)的形象最为突出,其寓意既公开又隐晦,既是主题性的又是视觉性的,既是字面的又是隐喻的。其他相关叙事,包括代达罗斯、西西弗斯、美杜莎和赫耳墨斯的叙事也有出现。正如邀请我们提供这幅作品的学者帕特里斯-兰金(Patrice Rankine)在谈到理查兹与伊卡洛斯的合作时所说的那样,这幅作品展示了 "象征性的运动"。迈克尔-理查兹与焦油宝宝对圣塞巴斯蒂安》,1999 年。其形式、对新环境的适应性,以及与黑人乡土传统的一些可能的亲缘关系。"2 事实上,理查兹的作品往往在黑人遭受历史性和持续性压迫的背景下,对社会不公的压抑和缓和,以及同时存在的(伊卡里亚)提升和堕落的可能性做出了姿态。虽然我们只知道理查兹在一件作品中明确提到过伊卡洛斯一次,但他是通过飞行和航空的图像来表达 "伊卡洛斯 "主题的。理查兹的许多作品都展示了飞行的隐喻和矛盾能力;他写道,他认为 "飞行的概念既是自由 [第252页完] 也是屈服":"通过关注身份和认同问题,我试图审视黑人所面临的怀疑和不适感,他们希望在一个拒绝他们进入的系统中取得成功。代表制度和对成功的描绘是如何诱惑和排斥他们的?我主要是想表达希望与挫折、信念与失败,以及为了生存而必须协商妥协的心理空间。"4 重要的是,在他以飞行和翅膀为特色的多层面作品中,理查兹还引用了塔斯基吉飞行员、全球土著穿孔习俗、刚果 nkisi nkondi 权力人物、天主教以及非洲和非裔美国人的民间传说等参考资料。正如文化评论家格雷格-泰特(Greg Tate)在 1986 年为《乡村之声》(Village Voice)撰写的一篇颇具影响力的文章《Cult-Nats Meet Freaky-Deke》中所预言的那样:"虽然还没有人发出任何公告,但 80 年代正在见证一场后民族主义黑人艺术运动的成熟,这场运动比之前的任何运动都更具非洲中心主义和世界主义色彩......关键在于,这一代黑人艺术家正在交叉融合各种美学参照,甚至还没有人谈论过这一点。"5根据泰特的观察,理查兹在他的艺术作品中综合了这些参考资料,将精神和历史与流行文化结合起来,重新铸造和想象他的实践主题。本期杂志提出的意图是 "在希腊和罗马研究的所有方面,促进有关种族和种族主义现实的变革思想",并通过广泛征集回应来实现这一目标,这与理查兹的作品不谋而合。正如他的朋友兼工作室伙伴萨姆-西莱特(Sam Seawright)所回忆的那样:"我记得迈克尔经常会连续几天几夜呆在工作室里,狂热地为一个项目工作,铸造手、脚、脸和手臂......我记得我发现这些碎片散落在工作室的各个角落,就像古代先进文明留下的考古遗迹。
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引用次数: 0
The Nose at the Crossroads: An Intersectional Reading of the Pseudo-Vergilian Moretum 十字路口的鼻子伪维吉尔莫雷图姆的跨学科解读
IF 0.4 1区 历史学 0 CLASSICS Pub Date : 2024-04-26 DOI: 10.1353/apa.2024.a925502
Francesca Bellei

summary:

This article provides a new interpretation of the anonymous poem Moretum as erotic satire. Mindful of Shelley Haley's invitation to read it through a Black feminist lens, this article turns to recent Black feminist scholarship on pornography to argue that the presence of sex does not automatically negate the agency of Scybale, the African woman described in the poem as Simulus's custos. Further, I review the evidence for Simulus's own identity. Through a combination of Audre Lorde's Black queer lens and Paul Preciado's trans scholarship on the dildo, I further argue that by imagining Simulus as Black, queer, and/or trans, the power imbalance between Simulus and Scybale is greatly reduced. Lastly, I heed Haley's invitation to read Black protagonists of Latin poetry through Yoruba mythology, and turn to Henry Louis Gates Jr. to argue that Simulus's Blackness brings them closest to Esu, the genderqueer trickster god, which in turn helps us identify him with the author themselves.

摘要:本文对匿名诗歌《Moretum》进行了新的解读,将其视为色情讽刺诗。考虑到雪莱-海利(Shelley Haley)邀请我们从黑人女权主义者的视角来解读这首诗,本文参考了近期黑人女权主义者关于色情的学术研究,认为性的存在并不会自动否定诗中被描述为西穆卢斯的监护人的非洲女子西巴勒(Scybale)的能动性。此外,我还回顾了西穆卢斯自身身份的证据。通过结合奥德丽-罗德的黑人同性恋视角和保罗-普雷西亚多(Paul Preciado)关于假阳具的变性学术研究,我进一步论证,通过将西穆卢斯想象成黑人、同性恋者和/或变性人,西穆卢斯与西巴勒之间的权力失衡大大减少。最后,我听从海利的邀请,通过约鲁巴神话来解读拉丁诗歌中的黑人主角,并转向小亨利-路易斯-盖茨(Henry Louis Gates Jr.),论证西穆卢斯的黑人身份使他们最接近于伊苏(Esu)--性别怪异的诡计之神,这反过来又帮助我们将他与作者本人相提并论。
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引用次数: 0
Race, Data, and Classics 种族、数据和经典
IF 0.4 1区 历史学 0 CLASSICS Pub Date : 2024-04-26 DOI: 10.1353/apa.2024.a925495
Arum Park

summary:

The focus of this article is a 2019–2020 demographic data collection, visualization, and analysis project on race and Classics. Based on the findings of the project, this article advances arguments in favor of regular, frequent, and well-publicized demographic data gathering and visualization as practices crucial for effective, research-driven diversity and inclusion efforts in Classics. By fueling and bolstering these efforts, such practices have the potential to expand and reshape the boundaries of Classics as a discipline.

摘要:本文的重点是关于种族与古典文学的 2019-2020 年人口数据收集、可视化和分析项目。基于该项目的研究结果,本文提出了支持定期、频繁和广为宣传的人口数据收集和可视化的论点,认为这些做法对古典文学领域有效的、研究驱动的多样性和包容性工作至关重要。通过促进和支持这些努力,这些做法有可能扩大和重塑古典文学作为一门学科的界限。
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引用次数: 0
"But They Were a Race of Whites": Race and the Making of Ancient Slavery in the Anglophone World, 1785–1980 "但他们是白人种族":种族与 1785-1980 年英语世界古代奴隶制的形成
IF 0.4 1区 历史学 0 CLASSICS Pub Date : 2024-04-26 DOI: 10.1353/apa.2024.a925505
Christopher S. Parmenter

summary:

Today, few ancient historians believe that Greek and Roman slavery had anything to do with race or racism. But when histories of ancient slavery were first written in the 1780s, the connection was assumed. This article explores how and why race and racism persisted in Anglophone historiography on ancient slavery into the twentieth century, only disappearing in the 1950s. I argue that it might be time to reopen the book on whether ancient slavery was a racialized institution. Adopting insights from premodern critical race studies (PCRS), I argue that the real differences between ancient and Atlantic-world slaveries should not be seen in terms of discontinuity and rupture. Rather, I see the question through what Margo Hendricks calls a "bidirectional gaze," by which social arrangements of the past few centuries might bear uncanny resemblance to institutions of the ancient past.

摘要:今天,很少有古代历史学家认为希腊和罗马的奴隶制与种族或种族主义有关。但在 17 世纪 80 年代首次撰写古代奴隶制史时,人们却认为两者之间存在联系。本文探讨了种族和种族主义如何以及为何在英语国家的古代奴隶制史学中一直持续到二十世纪,直到二十世纪五十年代才消失。我认为,也许是时候重新讨论古代奴隶制是否是一种种族化的制度了。我采纳了前现代批判种族研究(PCRS)的观点,认为古代奴隶制与大西洋世界奴隶制之间的真正差异不应被视为不连续性和断裂。相反,我通过马戈-亨德里克斯(Margo Hendricks)所说的 "双向凝视 "来看待这个问题,通过这种凝视,过去几个世纪的社会安排可能与古代的制度有着惊人的相似之处。
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引用次数: 0
Racializing Antiquity, Post-Diversity 古代种族化,后多样性
IF 0.4 1区 历史学 0 CLASSICS Pub Date : 2024-04-26 DOI: 10.1353/apa.2024.a925494
Patrice Rankine
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <ul> <li><!-- html_title --> Racializing Antiquity, Post-Diversity <!-- /html_title --></li> <li> Patrice Rankine </li> </ul> <p><small>at cambridge university in</small> 1965, James Baldwin debated William F. Buckley Jr. whether "The American Dream Is at the Expense of the American Negro."<sup>1</sup> These men could not have been further apart on the matter and took positions already weatherworn by the mid-twentieth century.<sup>2</sup> Whereas Baldwin had become a well-known and outspoken advocate for the civil rights movement in the United States, Buckley opposed what he saw as federal imposition on Southern states in such legislation as the forced integration of public schools (e.g., <em>Brown v. Board of Education</em> [1954]). Baldwin, who was raised in poverty in Harlem and educated only as far as high school, understood his unlikely status as a sought-after public intellectual. Buckley (although also born in New York) came from a wealthy and established Southern family and held a Yale University degree. The aspiration of the Cambridge Debates had been to highlight just such divergent perspectives, with the aim of getting at the truth or at least opening minds to viewpoints they might not have considered before. Realizing his native disadvantage, Baldwin fashioned his argument for the majority culture, the European descendants who primarily filled his audience at Cambridge and would listen across the airwaves, especially in the United States. He takes an ethical position in his appeal, stating that "it is a terrible thing for an entire population to surrender to the notion that one-ninth of its population is beneath them."<sup>3</sup> Grounding his argument <strong>[End Page 1]</strong> in lineage, he offers that his ancestors, although the minority, were also (like the Founding Fathers) "trying to forge a new identity for which we need each other" (Baldwin and Buckley 1965). Baldwin, it might be said, was a "race man," a person whose words and actions would advance the cause of Black Americans.<sup>4</sup> He understood his own truth as tied to the question that the debate posed. Buckley saw himself as an individual speaking on his own behalf.</p> <p>The subject of race (and racism) permeates this special issue, which is unusual for a journal dedicated to the philological study of Greek and Roman antiquity. As such, the Baldwinian heuristic is a useful countermove to the status quo, a tool that can serve readers seeking truth and understanding as opposed to simply reenforcing disciplinary commonplaces, in at least three ways: it can help surface our positionality, center race as a spectacular secret, and consider the evidence of this proposition in good faith.</p> <p>Regarding the first countermove, Baldwin offers that positionality contributes to shaping worldviews. By contrast, Buckley hardly mentions his own background or upbringing when adva
以下是内容的简要摘录,以代替摘要: 1965年,詹姆斯-鲍德温(James Baldwin)在剑桥大学与小威廉-巴克利(William F. Buckley Jr.鲍德温已成为美国著名的、直言不讳的民权运动倡导者,而巴克利则反对联邦强加给南方各州的立法,如强制公立学校一体化(如布朗诉教育委员会案[1954])。鲍德温在哈莱姆区的贫困家庭长大,只读到高中,他明白自己不可能成为受人追捧的公共知识分子。巴克利(虽然也出生在纽约)出身于一个富有的南方世家,拥有耶鲁大学学位。剑桥辩论会的愿望就是突出这种不同的观点,目的是了解真相,或者至少让人们了解他们以前可能没有考虑过的观点。鲍德温意识到自己在本土的劣势,他的论点是针对大多数文化的,这些文化主要是欧洲后裔,他们是他在剑桥的主要听众,也是电波中的听众,尤其是在美国。他在呼吁中表明了自己的道德立场,指出 "整个民族屈服于九分之一的人低人一等的观念是一件可怕的事情"。3 他将自己的论点[第1页完]建立在血统的基础上,他说自己的祖先虽然是少数派,但他们也(像开国元勋们一样)"试图建立一个新的身份,为此我们需要彼此"(鲍德温和巴克利,1965 年)。可以说,鲍德温是一个 "种族人",他的言行将推动美国黑人的事业。巴克利将自己视为代表自己发言的个人。种族(和种族主义)话题贯穿了本期特刊,这对于一份致力于希腊和罗马古代语言学研究的期刊来说并不寻常。因此,"鲍德温启发式"(Baldwinian heuristic)是对现状的一种有用的反击,是一种可以为寻求真理和理解的读者服务的工具,而不是简单地强化学科常识,至少有三种方式:它可以帮助浮现我们的立场,将种族作为一个惊人的秘密,并真诚地考虑这一命题的证据。关于第一种反击方式,鲍德温提出,立场有助于塑造世界观。相比之下,巴克利在提出自己的观点时几乎没有提及自己的背景或成长经历(Buccola 2019)。尽管立场本身并不是故事的终结,但它会影响研究人员提出的问题,甚至是提出的答案。无论是在当代环境中,还是在涉及古代的情况下,立场都会影响研究人员如何处理种族问题。我在这些文章的引言中采用了鲍德温式的反击方式,即强调立场性,我在引言中使用了个人的声音、"我",并清晰地阐明了我自己与这些问题的关系。此外,我还假定了一些集体:一方面是各种可能与我有类似经历、观点或世界观的个人(在某些情况下,他们是少数种族);另一方面是《塔帕》的广大读者,他们接受过古典研究专业学科的培训,在工作中并不以种族为中心。这些群体很少重叠,即使重叠,由于我们的视角不同,我们的观点也往往不尽相同。关于更广泛的古典学家群体,我明确指出了数据告诉我们的东西,正如本卷中阿鲁姆-帕克(Arum Park)的文章所剖析的那样:即尽管我们共享一个职业,但绝大多数古典学家并不认同--也不会被一眼认出--是少数种族(请参阅在线的《TAPA》卷,查看帕克翔实的彩色图表)。尽管我们接受的培训告诉我们,种族称谓与古典研究毫无关系,但本卷中的文章有条不紊、一丝不苟地 [尾页 2]揭示了一个 "惊人的秘密",杰奎琳-戈德斯比曾用这个词来描述最黑暗的事实之一...
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引用次数: 0
On Yearning, from the Spectacular to the Speculative 关于渴望,从壮观到投机
IF 0.4 1区 历史学 0 CLASSICS Pub Date : 2024-04-26 DOI: 10.1353/apa.2024.a925506
Sasha-Mae Eccleston
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <ul> <li><!-- html_title --> On Yearning, from the Spectacular to the Speculative <!-- /html_title --></li> <li> Sasha-Mae Eccleston </li> </ul> <p><small>it is difficult to survey a field accurately</small> from a single vantage point. Likewise, reflecting on one issue of one journal, I cannot accurately survey the entirety of ancient Greek and Roman studies or even the branch of it represented by <em>TAPA</em>'s readership.</p> <p>However, Patrice Rankine and I have spent considerable time over the last few years in the company of the articles that constitute this special issue. Editing has required that we revisit these pieces of scholarship repeatedly and sustain dialogue with both their authors and their reviewers.<sup>1</sup> As a result, these articles have frequently come to mind as I read research across this field and others. Their interpretations of passages have already influenced how I review applications, teach, mentor students, or edit other people's work. I appreciated the variety of methods these authors use and their arguments from early on in the editorial process. Having to focus on their individual nuances while keeping an eye on how they drift together or apart from one another has brought a deferred reward: I now especially value the matters this issue's articles bring to the fore but do not resolve. Those moments of irresolution have highlighted the parameters of what contributors have been habituated to consider the limits of the field, what it prioritizes and what it considers transgressive. They direct my attention toward what lies just outside the field's ken and toward what we need to do as practitioners of various kinds in order to grasp it.</p> <p>When Patrice and I began to brainstorm this issue's call for papers (CfP), the spectacular emerged as an important prism for seeing race in classical scholarship otherwise, echoing Emily Greenwood's own citation of Rachel Blau DuPlessis, and for intervening meaningfully in the development of these <strong>[End Page 331]</strong> areas of research that the field has only recently sanctioned.<sup>2</sup> My interest in this prism responded to Patrice's description of the field's propensity to ignore White supremacy as a bedrock of American society as "Oedipal zeal," but it had longer-term origins in three areas of concern.<sup>3</sup></p> <p>First, I acknowledge how pointing out the presence of X people in or influencing ancient Greek–speaking communities, in the ancient Greek or Roman imagination, or as subjects of the Roman Empire seeks to combat centuries of historical erasure that credits European(ized) civilizations with many or all of the greatest human achievements and associates non-Europeans with a passivity that renders them appropriate objects of domination. For those less attuned to racism's nuances and the politics of presence <em>as well as</em> erasure, this quest to
以下是内容的简要摘录,以代替摘要: 关于渴望,从壮观到推测 萨沙-梅-埃克莱斯顿 很难从单一的视角对一个领域进行准确的调查。同样,仅从一期期刊的角度来看,我也无法对整个古希腊与古罗马研究,甚至是《塔斯马尼亚戏剧学院学报》读者群所代表的这一分支进行准确的调查。然而,帕特里斯-兰金(Patrice Rankine)和我在过去几年中花了大量时间与构成本特刊的文章为伴。编辑工作要求我们反复阅读这些学术文章,并与作者和审稿人保持对话1。1 因此,我在阅读本领域及其他领域的研究时,经常会想起这些文章。他们对段落的解释已经影响了我审查申请、教学、指导学生或编辑他人作品的方式。在编辑过程的早期,我就对这些作者所使用的各种方法和他们的论点表示赞赏。既要关注他们各自的细微差别,又要留意他们是如何相互融合或分离的,这给我带来了延后的收获:我现在特别看重本期文章所提出但并未解决的问题。这些无法解决的问题凸显了撰稿人习惯性地认为这一领域的界限、优先考虑的问题和认为具有跨时代意义的问题的参数。它们将我的注意力引向了领域之外的东西,以及作为各类实践者,我们需要做些什么来把握这些东西。当帕特里斯和我开始为本期的论文征集(CfP)集思广益时,"壮观 "成为一个重要的多棱镜,让我们以另一种眼光看待古典学术中的种族问题,这与艾米莉-格林伍德(Emily Greenwood)对雷切尔-布劳-杜普莱西斯(Rachel Blau DuPlessis)的引述不谋而合,也让我们有意义地介入这些 [尾页 331]研究领域的发展,而这些领域最近才得到认可2。帕特里斯将该领域忽视作为美国社会基石的白人至上主义的倾向描述为 "恋母狂热",而我对这一棱镜的兴趣正是对帕特里斯这一描述的回应,但我对这一棱镜的兴趣更长期地源于三个关切领域3。首先,我承认,指出 X 族人在古希腊语社区、古希腊或古罗马想象中的存在或影响,或作为罗马帝国的臣民,是为了反对几个世纪以来对历史的抹杀,这种抹杀将许多或所有最伟大的人类成就归功于欧洲(化)文明,并将非欧洲人与消极被动联系在一起,使他们成为合适的统治对象。对于那些不太了解种族主义的细微差别以及存在和抹杀政治的人来说,这种在古代地中海地区识别X人的探索可能会进一步将种族作为自然有意义的躯体差异,并因此作为一种稳定的跨历史和跨文化现象。然而,正如杰拉尔丁-亨(Geraldine Heng)所总结的那样,种族批判理论之所以重要,正是因为 "种族没有单一或稳定的所指"。这种形式既不代表种族主义的唯一形式,也不代表值得质疑的唯一形式,更不用说否定了。我们既要注意解析那些使现实差异和所谓差异具有意义的逻辑,也要注意寻找这些逻辑所产生的种族的代表。对种族主义的研究,无论其表达方式如何,都要追踪权力关系的变化,以取代不加批判地追求种族似乎能提供的跨历史和跨文化意义。其次,知识的探索和经验的积累使我敏感地认识到,上述对种族的重新定义倾向于将黑人身体和与他们近似的人与种族的 "问题 "联系在一起,肤色盲、后种族和新自由主义意识形态将这些问题归咎于个人缺陷和文化优先权(或不当行为),而不是权力和系统性缺陷。在过去十年中,媒体对该领域发生的惊人事件的报道 [尾页 332]都是按照我们熟悉的剧本进行的,将黑人学者描绘成扰乱了古典文学的纯净水域及其选择的水源(语言学),同时将意志薄弱者或其他种族的无辜者引入歧途。
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引用次数: 0
Romanità and Race in Italy (and Beyond) 意大利(及其他地区)的罗马人与种族
IF 0.4 1区 历史学 0 CLASSICS Pub Date : 2024-04-26 DOI: 10.1353/apa.2024.a925498
Beatrice Falcucci

summary:

A century ago, in Fascist Italy, archaeological evidence was used to demonstrate the racial superiority of ancient Roman civilization. This article analyzes a particular moment in the construction of the Fascist empire, namely its colonial, exploitative relationships with the ancient Roman past both in Italy and in Libya and with the people living there. The article will focus on the link between racism and Roman antiquity and how it was reinforced by disciplines such as archaeology, museology, and anthropology.

摘要:一个世纪前,在法西斯意大利,考古证据被用来证明古罗马文明的种族优越性。本文分析了法西斯帝国构建过程中的一个特殊时刻,即法西斯帝国与意大利和利比亚的古罗马历史以及生活在那里的人们之间的殖民剥削关系。文章将重点关注种族主义与古罗马之间的联系,以及考古学、博物馆学和人类学等学科是如何加强这种联系的。
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引用次数: 0
Myths & Migrations 神话与迁徙
IF 0.4 1区 历史学 0 CLASSICS Pub Date : 2024-04-26 DOI: 10.1353/apa.2024.a925500
Leronn P. Brooks, William Villalongo
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <ul> <li><!-- html_title --> Myths & Migrations <!-- /html_title --></li> <li> Leronn P. Brooks and William Villalongo </li> </ul> <blockquote> <p><em>This conversation was held in preparation for the artist's solo exhibition</em> Myths & Migrations, <em>opening at Grinnell Museum in January 2024</em>.</p> </blockquote> WV: <p><small>this is an image of my sculpture</small> <em>Beacon</em> installed at Villa Romana for Black History Month Florence.</p> <p>I expanded on the central hanging piece that has gourds, seashells, and mineral stones on gold chains. I was trying to take advantage of the full space of this glass pavilion. In this iteration, the piece has sound. I collaborated with another fellow at the American Academy in Rome, Igor Santos. He pulls in sounds from all types of places to make his compositions. We got to talking about the idea of the nocturne after I explained to him that I think about the drinking gourd as a kind of way finder and its connection to the Big Dipper constellation through American folk song. The components of the piece are covered with black velvet to conjure the feeling of looking at the night sky. He started talking, explaining the nocturnes genre in classical music, which I didn't know much about. So he gave me a few things to listen to. Then we recorded some sounds in a park at dusk. He had all these high-powered mics, mics that can pick up vibrations and subtle things. Like the crunching of leaves under your feet. Some could record underwater. He mixed the sounds we found, and eventually I outfitted one of the gourds with a speaker that plays a conch call. Igor's mix of our found sounds come through two speakers at either side of the space. It's like an invocation of night. So the idea is to be immersed in sound from this beacon. A beacon for the diaspora. The object <strong>[End Page 177]</strong></p> <br/> Click for larger view<br/> View full resolution Fig 1. <p>William Villalongo, <em>Beacon</em>, 2022. Velvet flocking, gold chains, drinking gourds, Testa di Moro, artificial basil, obsidian, quartz, hematite, sea shells, and coral. 96 × 24 × 24 in. Copyright: the artist. Photograph courtesy of Villa Romana in Florence, Italy and ©Villalongo Studio LLC.</p> <p></p> <p><strong>[End Page 178]</strong> evokes that folk song "Follow the Drinking Gourd." I also used a kitsch <em>testa di moro</em>, which is a folk craft in Sicily. It hangs upside down with a basil plant. I don't know if you've seen these …</p> LB: <p>Um, the Blackamoor?</p> WV: <p>Well, similar. <em>Testa di moro</em> is just a head and it's a planter vase. Traditionally it's a white female or a Black male.</p> LB: <p>Oh! Yes, yes.</p> WV: <p>The whole story is eleventh century. The Moors have conquered Italy and Sicily. A Moorish prince catches the eye of a Sicilian woman, they fall in love, and long story short, she finds out that he has a
以下是对话内容的简要摘录,以代替摘要: 神话与迁徙 Leronn P. Brooks 和 William Villalongo 这次对话是为艺术家的个展 "神话与迁徙"(Myths & Migrations)做准备,展览将于 2024 年 1 月在格林奈尔博物馆开幕。 WV:这是我为佛罗伦萨黑人历史月在罗马纳别墅(Villa Romana)安装的雕塑《灯塔》(Beacon)的图片。我对中央悬挂的作品进行了扩充,作品中的葫芦、贝壳和矿物石都被挂在金链上。我试图充分利用这个玻璃亭子的全部空间。在这次迭代中,这件作品有了声音。我与罗马美国学院的另一位研究员伊戈尔-桑托斯合作。他从各个地方收集声音来创作作品。我向他解释说,我认为酒葫芦是一种寻路器,并通过美国民歌将其与北斗星座联系起来,之后我们就开始讨论夜曲的构思。作品的各个部分都用黑色天鹅绒覆盖,让人联想到仰望夜空的感觉。他开始滔滔不绝地解释古典音乐中的夜曲流派,而我对此并不了解。于是他给了我一些东西让我听。然后我们在黄昏的公园里录制了一些声音。他有很多大功率的麦克风,可以捕捉震动和细微的声音。比如脚下树叶的嘎吱声有些还能记录水下的声音他把我们找到的声音混合在一起 最后我给其中一个葫芦装上了扬声器,可以播放海螺的叫声。伊戈尔将我们找到的声音混合在一起,通过空间两侧的两个扬声器播放。这就像是对夜晚的召唤。因此,我们的想法是沉浸在这座灯塔发出的声音中。一个散居地的灯塔。物体 [第 177 页末] 点击放大 查看完整分辨率 图 1.威廉-维拉隆戈,《灯塔》,2022 年。天鹅绒植绒、金链、酒葫芦、Testa di Moro、人造罗勒、黑曜石、石英、赤铁矿、海贝和珊瑚。96 × 24 × 24 英寸。版权:艺术家。照片由意大利佛罗伦萨罗马别墅和 ©Villalongo Studio LLC 提供。 [尾页 178]让人想起那首民谣 "跟着喝水的葫芦"。我还使用了西西里岛的一种民间手工艺品--"testa di moro"。它倒挂着一株罗勒。我不知道你是否见过这些...... LB:嗯,Blackamoor?WV:嗯,类似。Testa di moro 只是一个头,是一个花瓶。传统上是一个白人女性或黑人男性。雷:哦!是的,是的。WV:整个故事发生在十一世纪。摩尔人征服了意大利和西西里岛。一个摩尔人王子吸引了一个西西里女人的注意,他们相爱了,长话短说,她发现他有妻子和孩子,他需要回家。在他们做爱的最后一晚,她砍下了他的头,并在里面种上了罗勒。奇怪的是,大家都觉得引人注目的是罗勒,而不是断头。罗勒长得非常好,于是就有了在阳台上摆放摩尔人头以种植罗勒的习俗。西西里岛的摩尔人头像蕴含着令人难以置信的暴力和血腥,从视觉上让人对摩尔人头像工艺产生认同感。随处可见!雷布:是的,这就像人们用想象力为现实播种的方式。为什么这里会有这么多罗勒?这是从一个黑人的脑袋里长出来的--这是魔幻现实主义。事实和虚构之间并没有突然的分离。在十一世纪,这两个人坠入爱河,这整个起源的想法都很神奇。这几乎就是圣经之类的东西。这与你创造的魔幻催生交织在一起,(如果我可以这么说的话)是你作品中的生成元素。WV:嗯,我想在罗马工作的原因之一,是想更深入地了解时间与黑人存在的关系,以及学者们是如何处理时间跨度的。我从古典和中世纪学者那里...
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引用次数: 0
期刊
Transactions of the American Philological Association
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