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International Journal of the Classical Tradition

, Volume 10, Issue 1, pp 103–166 | Cite as

Book reviews

  • Ahuvia Kahane
  • A. A. Donohue
  • Dimitrios Yatromanolakis
  • Dianna Rhyan Kardulias
  • Astrid Voigt
  • Jonathan Barnes
  • Daniel Ogden
  • Norma Thompson
  • Scott R. Hemmenway
  • Judith A. Swanson
  • Louis H. Feldman
  • Ann Vasaly
  • Yann Le Bohec
  • Barbara K. Gold
  • Burton L. Visotzky
  • Robert W. Gaston
  • Catherine Conybeare
  • Thomas Kuehn
  • Andreas Rhoby
  • Kenneth Lloyd-Jones
  • Mario Carpo
  • Carl J. Richard
  • R. J. Schork
Article
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References

  1. 1.
    P.O. Kristeller, “The Modern System of the Arts: A Study in the History of Aesthetics (I),”Journal of the History of Ideas 12 (1951) 506.Google Scholar
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    See, e.g., D. Lodge,The Modes of Modern Writing: Metaphor, Metonymy, and the Typology of Modern Literature (Ithaca, NY, 1977) 73–124, especially for the importance of context in attempts to apply Jakobson’s theory.Google Scholar
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    See J.L. Benson, “The Central Group of the Corfu Pediment,” inGestalt und Geschichte. Festschrift Karl Schefold (ed. M. Rohde-Liegle et al.),Antike Kunst Beiheft 4 (Bern, 1967) 48–60.Google Scholar
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    A.A. Donohue, “The Greek Images of the Gods,”Hephaistos 15 (1997) 31–45.Google Scholar
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    B.S. Ridgway, “An Issue of Methodology: Anakreon, Perikles, Xanthippos,”American Journal of Archaeology 102 (1998) 717–738.CrossRefGoogle Scholar
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    In C.J. Eiseman and B.S. Ridgway,The Porticello Shipwreck: A Mediterranean Merchant Vessel of 415–385 B.C. (College Station, 1987) 100–106.Google Scholar
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    B.C. Madigan,The Temple of Apollo Bassitas (ed.F.A. Cooper) II.The Sculpture (Princeton, 1992), 80–81.Google Scholar
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    An exception is J.M. Hurwit, “The Words in the Image: Orality, Literacy, and Early Greek Art,”Word and Image 6.2 (1990) 180–197, in which sociable contexts are explored. See also T.J. Rusnak, “The Active Spectator: Art and the Viewer in Ancient Greece” (diss. Bryn Mawr College, 2001), emphasizing the social and collective contexts of the ancient interpretation of art.Google Scholar
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    E.R. Curtius,Europäische Literatur und lateinisches Mittelalter (Bern, 1948) 23; tr. W.R. Trask,European Literature and the Latin Middle Ages (New York, 1953) 15: “To understand Pindar’s poems requires severe mental effort—to understand the Parthenon Frieze does not.”Google Scholar
  10. 1.
    J. Derrida,La dissémination, Paris 1972, p. 230 (also quoted by Gumpert, p. xiv).Google Scholar
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    Cf. Robert E. Meagher’sHelen: Myth, Legend, and the Culture of Misogyny, New York 1995. See also N. Worman, “The Body as Argument: Helen in Four Greek Texts,”Classical Antiquity 16 (1997), pp. 151–203.Google Scholar
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    InLa dissémination, Paris 1972.Google Scholar
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    “But any... subjectivistic-perspectivistic procedure, creating a foreground and background, resulting in the present lying open to the depths of the past, is entirely foreign to the Homeric style; the Homeric style knows only a foreground, only a uniformly illuminated, uniformly objective present,” E. Auerbach,Mimesis: The Representation of Reality in Western Literature, trans. W. R. Trask, Princeton, NJ 1953, p. 7.Google Scholar
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    “Travesties of Gender and Genre in Aristophanes’Thesmophoriazousae,” in ead.,Playing the Other: Gender and Society in Classical Greek Literature, Chicago 1996, pp. 375–416.Google Scholar
  15. 6.
    I should note that this well-produced book has a few minor misprints, mostly in ancient Greek texts.Google Scholar
  16. 1.
    Joseph Cropsey,Plato’s World: Man’s Place in the Cosmos (Chicago: The University of Chicago Press, 1995), p. 26.Google Scholar
  17. 2.
    Plato,The Republic, trans. Allan Bloom (New York: Basic Books, 1968): 450b.Google Scholar
  18. 3.
    John R. Wallach,The Platonic Political Art: A Study of Critical Reason and Democrancy (University Park Pennsylvania: The Pennsylvania State University Press, 2001), p. 10.Google Scholar
  19. 4.
    See my chapter “Plato’s Socrates” inThe Ship of State: Statecraft and Politics from Ancient Greece to Democratic America (New Haven: Yale University Press, 2001), pp. 52–70.Google Scholar
  20. 1.
    [Cf. the review by Loren J. Samons III in this journal,IJCT 7 (2000/2001), pp. 265–266.—W.H.]Google Scholar
  21. 1.
    Hannes Heer, “The Difficulty of Ending a War: Reactions to the Exhibition ‘War of Extermination: Crimes of the Wehrmacht 1941 to 1944,’” trans. Jane Caplan,History Workshop Journal 46 (1998) 187–203.Google Scholar
  22. 2.
    Among these one might mention David B. Morris,The Culture of Pain, Berkeley Los Angeles/London, 1991; Roselyne Rey,The History of Pain, trans. L. E. Wallace, J. A. Cadden, S. W. Cadden, Cambridge MA/London, 1993 (French orig.:Histoire de la douleur, Paris, 1993); Susan D. Moeller,Compassion Fatigue. How the media sell disease, famine, war and death, New York/London, 1999; Lawrence A. Tritle,From Melos to My Lai: War and Survival, (London & New York, 2000 (cf. the review by Simon Goldhill in this journal,IJCT 9 [2002/03] 132–135); William M. Reddy,The Navigation of Feeling: A Framework for the History of Emotions, Cambridge, 2001; Martha C. Nussbaum,Upheavals of Thought. The Intelligence of Emotions, Cambridge, 2001; Keith Tester,Compassion, Morality and the Media, Buckingham/Philadelphia, 2001; Terry Eagleton,Sweet Violence. The Idea of the Tragic, Oxford, 2003; Susan Sontag,Regarding the Pain of Others, New York, 2003; James Tatum,The Mourner’s Song: War and Remembrance from the Iliad to Vietnam, Chicago, 2003; Daniel Baraz,Medieval Cruelty. Changing Perceptions, Late Antiquity to the Early Modern Period, Ithaca, 2003; James A. Steintrager,Cruel Delight. Enlightenment Culture and the Inhuman, Bloomington, 2003. (I am grateful to Wolfgang Haase for his advice in augmenting this list.)Google Scholar
  23. 1.
    Numbers in brackets refer to page numbers in this work, not to line numbers in the poem.Google Scholar
  24. 2.
    G.W. Most, ed.,Commentaries/Kommentare, Aporemata 4, Göttingen 1999; R.K. Gibson and C.S. Kraus, eds.,The Classical Commentary: Histories, Practices, Theory, Mnemosyne Supplementum 232, Leiden & Boston, 2002.Google Scholar
  25. 1.
    Neither claim is as off-the-wall as many conclusions in another recent examination ofUlysses as biblical allegory: e.g., Plumtree’s Potted Meat as a caricature of the Incarnation and Eucharist, “meat in a can for the Catholic community in an era of mass media” (Giuseppe Martella,Ulisse: Parallelo biblico e modernità [Bologna: CLUEB, 1997=Testi e Discorsi 16], 164–65.Google Scholar
  26. 2.
    In the most impressive examples of this multiple-level allegory, the second stage (incarnational/mystery) is linked to the first-levelhistorical event in the Old Testament by distinct similarities: as Joseph is sold by his brothers for twenty pieces of silver (Genesis 38:28), so too is Jesus betrayed by an apostle for thirty pieces of silver (Matthew 26:16). This providential congruity of scriptural detail is “typology,” an inter-covenant figure of exegesis frequently used by the Church fathers even when no additional allegorical senses (moral, eschatological) were derived from a passage. (For the principles of typological exegesis see, e.g., G.W.H. Lampe and K.J. Woolcombe,Essays on Typology [London: Allenson, 1957=Studies in Biblical Theology 22].)Google Scholar
  27. 3.
    Sicari does not cite Hélène Cixous’ two applications of Dante’s prefatory epistle to Can Grande to Joycean criticism. In a rare instance of interpretive caution, Cixous hesitated to claim an analogy—much less a modernist allegory—between theCommedia andA Portrait of the Artist as a Young Man; her brief discussion of Psalm 113 inUlysses is contextually confused and inferentially vapid (The Exile of James Joyce, translated by Sally A. J. Purcell [New York: David Lewis, 1972], 638–40, 730–31; French orig.L’Exil de James Joyce ou l’Art du remplacement [Paris: B. Grasset, 1968=Publications de la Faculté des lettres et sciences humaines de Paris-Sorbonne. Série “Recherches” t. 46], 724–26, 824–25).Google Scholar
  28. 4.
    Sicari states that “it is no coincidence that ‘Eccles’ is the root for the Greek word we translate as ‘church’,ecclesia” (183); from an analogous perspective, why not add apocalyptic numerology to fortuitous etymology by linking Bloom’s address to the “seven churches of Asia” (Revelation 1:4)?Google Scholar
  29. 5.
    In my judgment, it is far from self-evident that “[n]othing could be less poetic than ‘Ithaca’, written in plainest style imaginable” (xiv) or that its style “presumes a vantage point on the action of the world that is as close to the eternal as humanity can achieve” (173). In fact, at the opening of the episode, “Bloom dissented tacitly from Stephen’s views on the eternal affirmation of the spirit of man in literature” (U.17.29–30).Google Scholar
  30. 6.
    Sicari does not mention two other recent works (both quite bizarre) that propose scriptural allegory as the overriding principle of design and detail in Joyce’s major works: forUlysses, Martella’s monograph (see note 1) Plumtree’s Potted Meat as a caricature of the Incarnation and Eucharist, “meat in a can for the Catholic community in an era of mass media” (Giuseppe Martella,Ulisse: Parallelo biblico e modernità [Bologna: CLUEB, 1997=Testi e Discorsi 16], 164–65); for theWake, Harry Burrell,Narrative Design in “Finnegans Wakes”: The “Wake” Lock Picked (Gainesville: University of Florida Press, 1996).Google Scholar

Copyright information

© Springer 2004

Authors and Affiliations

  • Ahuvia Kahane
    • 1
  • A. A. Donohue
    • 2
  • Dimitrios Yatromanolakis
    • 3
  • Dianna Rhyan Kardulias
    • 4
  • Astrid Voigt
    • 5
  • Jonathan Barnes
    • 6
  • Daniel Ogden
    • 7
  • Norma Thompson
    • 8
  • Scott R. Hemmenway
    • 9
  • Judith A. Swanson
    • 10
  • Louis H. Feldman
    • 11
  • Ann Vasaly
    • 12
  • Yann Le Bohec
    • 13
  • Barbara K. Gold
    • 14
  • Burton L. Visotzky
    • 15
  • Robert W. Gaston
    • 16
  • Catherine Conybeare
    • 17
  • Thomas Kuehn
    • 18
  • Andreas Rhoby
    • 19
  • Kenneth Lloyd-Jones
    • 20
  • Mario Carpo
    • 21
  • Carl J. Richard
    • 22
  • R. J. Schork
    • 23
  1. 1.Department of ClassicsNorthwestern UniversityNoRthwesternUSA
  2. 2.Department of Classical and Near Eastern ArchaeologyBryn Mawr CollegeUSA
  3. 3.Society of FellowsHarvard UniversityUSA
  4. 4.Department of Classical StudiesThe College of WoosterUSA
  5. 5.Somerville CollegeOxford
  6. 6.CeaulmontFrance
  7. 7.Department of Classics and Ancient HistoryUniversity of ExeterUK
  8. 8.Whitney Humanities CenterYale UniversityNew HavenUSA
  9. 9.Department of PhilosophyEureka CollegeEurekaUSA
  10. 10.Department of Political ScienceBoston UniversityBostonUK
  11. 11.Department of ClassicsYeshiva UniversityNew YorkUSA
  12. 12.Department of Classical StudiesBoston UniversityBostonUK
  13. 13.UFR d’HistoireUniversité de Paris Sorbonne-Paris IVParis IVFrance
  14. 14.Department of ClassicsHamilton CollegeClintonUSA
  15. 15.Jewish Theological SeminaryNew York
  16. 16.Department of Art HistoryLa Trobe UniversityAustraylia
  17. 17.Department of Greek, Latin, and Classical StudiesBryn Mawr CollegeBryn MawrUSA
  18. 18.Department of HistoryClemson UniversityClemsonUSA
  19. 19.Wien Kommission für ByzantinistikÖsterreichische Akademie der WissenschaftenWienÖsterreich
  20. 20.Department of Modern Languages and LiteratureTrinity CollegeHartford
  21. 21.Study CentreCentre Canadien d’ArchitectureMontrealCanada
  22. 22.Department of HistoryUniversity of Louisiana at LafayetteLafayetteUSA
  23. 23.Department of Classics (Emeritus)University of Massachusetts-BostonUSA

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