Böcker i Classical Memories/Modern Identitie-serien

Postmodern Spiritual Practices: The Construction of the Subject and the Reception of Plato in Lacan, Derrida, and Foucault, by Paul Allen Miller, argues that a key element of postmodern French intellectual life has been the reception of Plato. This fact has gone underappreciated in the Anglophone world due to a fundamental division in culture. Until very recently, the concerns of academic philosophy and philology have had little in common. On the one hand, this is due to analytic philosophy's self-confinement to questions of epistemology, speech act theory, and philosophy of science. As such, it has had little to say about the relation between antique and contemporary modes of thought.On the other hand, blindness to the merits of postmodern thought is also due to Anglo-American philology's own parochial instincts. Ensconced within a nineteenth-century model of Alterumswissenschaft, only a minority of classicists have made forays into philosophical, psychoanalytic, and other speculative modes of inquiry. The result has been that postmodern French thought has largely been the province of scholars of modern languages. A situation thus emerges in which most classicists do not know theory, and so cannot appreciate the scope of these thinkers' contribution to our understanding of the genealogy of Western thought, while most theorists do not know the Platonic texts and their contexts that ground them. This book bridges this gap, offering detailed and theoretically informed readings of French postmodernism's chief thinkers' debts to Plato and the ancient world.

Tragic Effects: Ethics and Tragedy in the Age of Translation confronts the peculiar fascination with Greek tragedy as it shapes the German intellectual tradition, with particular focus on the often controversial practice of translating the Greeks. Whereas the tradition of emulating classical ideals in German intellectual life has generally emerged from the impulse to identify with models, the challenge of translating the Greeks underscores the linguistic and historical discontinuities inherent in the recourse to ancient material and inscribes that experience of disruption as fundamental to modernity.Friedrich Hölderlin's translations are a case in point. Regarded in his own time as the work of a madman, his renditions of Sophoclean tragedy intensify dramatic effect with the unsettling experience of familiar language slipping its moorings. His attention to marking the distances between ancient source text and modern translation has granted his Oedipus and Antigone a distinct longevity as objects of discussion, adaptation, and even retranslation. Cited by Walter Benjamin, Martin Heidegger, Bertolt Brecht, and others, Hölderlin's Sophocles project follows a path both marked by various contexts and tinged by persistent quandaries of untranslatability.Tragedy has long functioned as a cornerstone for questions about ethical life. By placing emphasis on processes of translation and adaptation, however, Tragic Effects approaches the question of ethics from a perspective informed by recent discourse in translation studies. Reconstructing an ancient text in this context requires negotiating the difficult tension between comprehending the distant past and preserving its radical singularity.

There has never been any shortage of interest in philology, its status, its history, or its origins. Today, after more than twenty years of serial "returns to philology" under the banner of deconstruction, the new medieval studies, critical bibliography, and a particular kind of globally aware activist criticism, philology has again become available as a respectable posture for contemporary literary scholars. But what is "philology," and how can we attend to it, either as a contemporary practice or as an age-old object of endorsement and critique? In this volume, edited by Sean Gurd, noted scholars discuss the history of philology from antiquity to the present. This book addresses a wide variety of authors, documents, and movements, among them Greek papyri, Latin textual traditions, the Renaissance, eighteenth-century antiquarianism, and deconstruction. It is too easy to see philology as the bearer of an antiquated but forceful authority. When philologists take up the tools of textual criticism, they contribute to the very form of texts; seeking to articulate the protocols of correct interpretation, they aspire to be the legislators of reading practice. Nonetheless, Philology and Its Histories argues that philology is not a conservative or ideologically loaded master-discourse, but a tradition of searching, fundamentally ungrounded, dealing with the insecurity of questions rather than the safety of answers. For good or ill, philology is where literature happens; we do well to pay heed to it and to its changes over the course of millennia.

Michelle Zerba's Modern Odysseys explores three major writers in global modernism from the Mediterranean, Anglo-European Britain, and the Caribbean whose groundbreaking literary works have never been studied together before. Using language as an instrument of revolution and social change, C. P. Cavafy, Virginia Woolf, and Aimé Césaire gave expression to the forms of human experience we now associate with modernity: homoeroticism, transsexuality, and racial consciousness. More specifically, Zerba argues that Odyssean tropes of diffusion, isolation, passage, and return give form to works by these writers but in ways that invite us to reconsider and revise the basic premises of reception studies and intellectual history. Combining close readings of literary texts with the study of interviews, essays, diaries, and letters, Zerba advances a revisionary account of how to approach relationships between antiquity and modernity. Instead of frontal encounters with the Odyssey, Cavafy, Woolf, and Césaire indirectly-but no less significantly-engage with Homer's epic poem. In demonstrating how such encounters operate, Modern Odysseys explores issues of race and sexuality that connect antiquity with the modern period.

To refer to Enlightenment tragedy is to teeter on the brink of paradox. The eighteenth century is famous for its celebration and deployment of ideals such as optimism, reason, and human progress-ideals seemingly contradicted by the pessimism and passion of much classical tragedy. Moreover, tragedy in the Enlightenment is also often overlooked in favor of its illustrious seventeenth-century predecessors. In Shadows of the Enlightenment, an assemblage of respected experts specializing in classical, eighteenth-century, comparative, and modernist literary traditions offer a corrective analysis, proving that the Enlightenment was a critical period for tragic drama, during which the signature classical influences of the era coexisted with an emerging modern identity. By analyzing a highly diverse set of works-from Johann Christoph Gottsched to Voltaire to Joanna Baillie-with a rare pan-European scope, the contributors excavate the dynamic, and indeed paradoxical, entanglement of antiquity and modernity encapsulated by Enlightenment tragedy. Contributors: Joshua Billings, Logan J. Connors, Adrian Daub, Cécile Dudouyt, James Harriman-Smith, Joseph Harris, Alex Eric Hernandez, Blair Hoxby, Russ Leo, Larry F. Norman, Stefan Tilg