Exile and return in John Mauropous,Poem 47

Abstract

The author reads an epigram by John Mauropous as an engagement with epic and biblical traditions. Critical studies of exile and return from different eras of the Greek literary tradition by Émile Benveniste, Gregory Nagy and Nancy Sultan are used to provide a theoretical approach to the tradition with which Mauropous engages. It is suggested that Mauropous' wanderings in the territory of the xenos and return to the familiar world of the philos, and especially his personification of his home as a trophos (nurse), allude to Homer, and that epic language and motifs strengthen the poet's assertion of selfhood and make ancient literary themes relevant to Mauropous' life as a scholar and churchman.     

This Is Not an Improvisation: Letitia Landon and the Slipperiness of Taxonomy

ABSTRACT

Writing in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe (1928–29) and to Michel Foucault’s 1973 essay on that painting, and using as a test case The Improvisatrice (1825), the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” captured and rendered in printed words by Landon (who ventriloquizes that speech), can neither “be” nor even “represent” a work produced (“performed”) in visual art or vocal song. In her long poem Landon effectively creates a literary trompe l’oeil, an illusion that depends for its “completion” upon the reader’s implied participation in that performative act of completion. In the process, Landon’s poem reveals the fundamental incompatibility of improvisational literary production with the performative nature of improvisation.     

Dünya Giizeli: Cavafy's folkloric Odalisque

Abstract

Cavafy's overlooked poem ‘Dünya Güzeli’ reflects the seminal influence of folklore on the early writings of the poet, an influence which significantly shaped the contours of the Cavafy canon. The poem is a sophisticated attempt to synthesize the flourishing discourse of λαoγρα??α with the fashionable literary and painterly trends of Orientalism. It thus warrants a fuller appreciation as a complex text that documents Cavafy's emerging craft and anticipates his poetic hybridisation of East and West which finds its fullest expression in Cavafy's Orientalising Hellenism.     

Preliminary remarks on George Seferis' visual poetics

Abstract

This article makes some preliminary remarks on Seferis' photography, focusing mainly on its poetics as an act of seeing. The main intention is to highlight the direct relationship between Seferis' visual sensibility and his poetry. The article primarily discusses some technical features of Seferis' photography. It then examines his photography as a visual diary and draws attention to those cases where it is obvious that photographs hide behind specific poems. Finally, the article discusses the differences between photography and poetry regarding their relation to time. In this context, the poem 'M? τov τρóπo τov Γ.Σ.', which makes explicit reference to photography, is examined.     

Papadiamandis and Homer: A Note

Abstract

Meaningful allusion to the classics in Papadiamandis's work is not a matter of the text's being stuffed with overt classical references. In his early novels we find a large number of, as it were, classical one-liners: essentially undigested – or at best opportunistic – allusions. The technique is a less focused form of Roidis's in Pope Joan; perhaps a closer comparison is Kalligas's Thanos Vlekas, which is replete with Homeric allusions and puns, none of them integral to the narrative. Similarly, we find in early Papadiamandis a disorderly collection of allusions: Byron, Milton, Aesop, Sophocles, Juvenal, Homer et al.; and sometimes we see his allusiveness to be a mere tic of style rather than fully purposive. In other words, .it is as true here as elsewhere in Greek literary tradition that we need to sift meaningful from more or less chance allusion.     

Michael Choniates,poet of love and knowledge

Abstract

This article situates an epigram by Michael Choniates on medieval Athens in the broader context of European poetry by examining Michael's use of the 'lover as idolater' and 'looking for Rome in Rome' topoi in comparison with treatments of these themes in the Italian and medieval Latin traditions. It then discusses the poem in light of Michael's engagement with Byzantine romance and liturgical verse. The author attempts to show that this poem, commonly read for its 'O! tempora, O! mores' sentiment, is a subtle and rich text that creatively deals with some of the major themes of medieval literature.     

Doing the Doric: The institutionalization of regional language and culture in the north-east of Scotland

The focus of this paper is on the practices and processes of joint action and knowledge, the performativity of language and the tracing of how particular items of rhetoric move, solidify and change. The paper illustrates the contingent factors that give language and practice variable meanings through an examination of the Doric dialect and culture of north-eastern Scotland. Doric has, in recent years, been increasingly discussed and debated by the press and the academy. Here, it is argued that the continued reproduction of 'north-easterness' is related to the ways in which dialect and culture have been mobilized, politicized and legitimized through the erection and operation of an institutional framework. The role of 'expert' and enthusiast knowledges in the propagation of cultural trends is analysed, contrasting the existence of north-eastern tradition as an allegedly 'organic' culture, when dialect use and 'traditional' practices were unproblematic and everyday, with contemporary institutionalized 'north-easterness'. This is achieved through an exploration of the spectacularization of tradition, unpacking some of the tensions this creates with regard to the Bothy Ballad and literary traditions of the north-east.     

Maurofilia y maurofobia en el Libro del conde de Castilla

The Poema de Fernán González (or Libro del conde de Castilla) is not a crusade song, nor is it an epic poem or a historical account commemorating the foundation of San Pedro de Arlanza Monastery. It is rather a hybrid text that employs all the literary and historical resources available around the middle of the thirteenth century to an educated poet who was intent on transmitting to future generations the memory of the Count who made possible the independence of Castile. All episodes in the poem point to Castile's unique place in history, describing through the protagonist's bellicose deeds its hegemonic ascendency as the most important kingdom of the Iberian peninsula. Its destiny is determined by the hero's combative character against all enemies, whether Christians or Moors, and more specifically by confronting the powerful kings of neighboring states León and Navarre.     

Lucretius on Religion

Abstract

A number of Enlightenment thinkers of questionable piety drew inspiration from Lucretius's philosophic poem On the Nature of Things. Contemporary atheists, in their renewed vigor, have continued the Enlightenment attack on faith. Our atheists have sought to create a tradition for themselves by claiming Lucretius as an ancient exemplar of their own impious forthrightness. This study argues that Lucretius was more fully appreciative of the necessary and salutary relationship between religion and politics and would not appreciate being co-opted by either group. A return to Lucretius may be useful in understanding the foundation of the early modern project and revealing the imprudence of modern atheism.     

‘Come Buy,Come Buy’: Christina Rossetti's ‘Goblin Market’ and the Cries of London

Placing Christina Rossetti's ‘Goblin Market’ (1862) within the rich context of children's London guidebooks establishes a literary tradition in which readers are counseled to be wise urban consumers. During this period of rapid industrialization, exotic foods appeared on English tables amid public fears about food adulteration. Rossetti's poem and contemporary guidebooks transmit the anxiety surrounding food selection and consumption. From Aunt Busy-Bee's New London Cries (1852) to Aunt Louisa's London Alphabet (1872), London is depicted as an urban sounding board for commercial opportunities and moral choices. Removed from agrarian sites of production, urban readers are urged to select food according to the moral character of the vendor. In Rossetti's famous poem, Lizzie's and Laura's choices are immediately relevant to readers who hearkened to similar cries shouted daily in their neighborhoods. Rossetti herself would have heard them growing up in London, and these traditional cries bear semantic and metaphoric similarities to the goblins' cries. Apart from serving as inspirations for Rossetti's work, guides to the cries are also important documents in their own right, part of the corpus of near-forgotten work penned for children to amuse them in their idle hours as well as to instruct them in proper practices of commercial enterprise and moral consumption. The child reader is invited to know London and to absorb lessons by piecing together the letters and sounds of the metropolis.     

Was Digenes Akrites an Oral Poem?

Abstract

It is often suggested that Digenes is in some way connected with oral poetry, whether the oral folk poetry of the modern ‘acritic’ ballads or the type of oral epic tradition identified by Milman Parry and A. B. Lord in the Homeric poems and in modern Yugoslavia. Some clarification of the possible role of oral tradition in the composition and transmission of Digenes now seems overdue, and in this paper I propose to examine the texts of the poem in the light of recent work on ‘oral literature’, so as to define more precisely in what sense any of these can be described as ‘oral’, and then, more tentatively, to suggest a possible framework for the growth and transmission of the poem which might account for these results.     

Marie Corelli and the Value of Literary Self-Consciouness: The Sorrows of Satan,Popular Fiction,and the Fin-de-Siècle Canon

Marie Corelli's The Sorrows of Satan (1895) presents a paradoxical test case for the practice of academic literary criticism. The best-selling work of fiction of the nineteenth century, the book was demeaned by Victorian critics and has been long ignored by criticism since. In spite of Corelli's recent mini-revival, the formally self-conscious properties of this work deserve further examination: the text insistently foregrounds the act of literary criticism and demands that the reader's attention is focussed on not only the content of the narrative but also the nature of the procedure of reading. Such a strategy allows Corelli's romance to participate safely in the kinds of literary transgressions enacted in the work of her since-canonized contemporaries such as Thomas Hardy and Oscar Wilde. The narrative mode warns against the production of the wrong kinds of readings of the narrative, inoculating its consumer against the corruption suffered by many of Sorrows's characters – and by the readers of the kinds of contemporary fiction Corelli seeks to warn against. As a consequence, The Sorrows of Satan, while exiled from the canon, shows itself to be surprisingly representative of the image of fin-de-siècle literary culture constructed by its afterlife. Like so many 1890s fictions, it is a work of art about the work of art, and dramatizes such by now familiar late-Victorian tropes as: decadence, moral relativism, debates over literary taste, realism, post-Ibsen drama, the sexual double standard, the marriage market, the New Woman, motherhood, hysteria and female pathologies, degeneration anxiety, mesmerism. The Sorrows of Satan's status as forgotten best-seller, a ‘great bad book’, asks difficult questions about the relationship between literary criticism and literary pleasure.     

‘The Island Blazed’: A Blinding Light and Tiepolo's Hound

This essay is primarily a study of Derek Walcott's Tiepolo's Hound as an affirmation of Caribbean, tropical, blinding light through an engagement with the life and work of Camille Pissarro. Conceived as such, the poem, I argue, proposes an “adamic” vision and imagination attuned with “Time” rather than “History” (the concepts are Walcott's), as well as an intensification of sensory-perception beyond vision. In order to better appreciate the historical and contextual relevance of Tiepolo's Hound, the essay provides first a general introduction to: (1) a nuanced understanding of light and its “otherness” emerging from modern physics; (2) some of the ways in which western capitalism and Cartesian perspectivism, as a hegemonic aesthetic and philosophical tradition in the West, have attempted to capture and control light and its “otherness;” and (3) the blinding quality of light in the tropical context, which repositions light as a force against any and all exploitative capitalist desires.     

The Poeta Saxo at Paderborn: episcopal authority and Carolingian rule in late ninth‐century Saxony

This paper argues that the Poeta Saxo's epic poem about Charlemagne was composed at the bishopric of Paderborn as part of a wider literary programme that included both the Translatio sancti Liborii and the Vita sancti Liborii. Near the close of the ninth century, when Paderborn's renown and resources were at their lowest ebb, these three works articulated an image of episcopal authority, touted the pre‐eminence of Paderborn, and made a bid for royal patronage.     

One problem involved in translating to meaning: An example of acknowledging time and tradition

Abstract

The translation to meaning of Psalm 82 changed through time and tradition. The polytheistic world of the author of the poem was not the accepted context for understanding the psalm when it was considered as part of the Bible. Jewish and Christian readings of the same text have traditionally been quite different. Examples of various understandings of the psalm from the author's to the Reformation's are presented to demonstrate that the official meaning of the biblical text actually has been different according to the tradition in which it has been read.     

The playful mode of writing in Psycharis's To Tαξíδι μoυ (1888)

Abstract

The aim of this paper is to discuss the literary qualities of Psycharis's To Tαξíδι μoυ, in particular, to analyse specific examples that demonstrate its playful mode of writing. Firstly, it will attempt to place the text in the literary context of its period by discussing its conception and significance for Modern Greek literature. Secondly, it will focus on the element of humour in the text, which can best be described as a playful mode of writing. The playfulness can be explained as raising false expectations in readers in a way that does not become obtrusive or unpleasant, but aims to entertain through the effects of surprise. This mode of writing is created mainly through intertextual allusions, incongruous juxtapositions, and comical, satirical or parodic undertones.     

The Presidency and the News Media

Abstract

Leo Strauss, often considered a critic of modernity, is famous for his claim that Machiavelli, in turning away from the classical tradition, is its originator. Yet his “Restatement on Xenophon's Hiero” presents a concise indictment of that tradition and a remarkably sympathetic account of the political and philosophic motives that led to the rupture. In light of this tension, Strauss's interest in Xenophon appears as a useful counterweight to both.     

LIVING IN A TIME OF MADNESS: LAST DAYS OF JAVA'S LAST PROPHETIC POET

Shortly before his death in December 1873, the renowned Javanese court poet R. Ng. Ronggawarsita composed a short work of social criticism and Islamic ethics that is among the most celebrated of Javanese literary texts. Serat Kalatidha (The Time of Darkness) reflects upon the avenues that remain open to the ethical subject in what Ronggawarsita calls the “time of madness,” the time of darkness and error that marked his dismal present in high colonial Java. Most celebrated as a prophecy, the poem is, in part, a critical reworking of an early nineteenth‐century prophetic reflection on the Javanese past. My article explores the troubled context in which the author wrote this twelve‐stanza (108‐line) poem and how its text forms both a critical commentary on the state of the poet's current‐day society and a pensive reflection on the ethical imperatives of Islam. In the course of this exploration, I reveal how Ronggawarsita's poem forms a prophecy, not as a foretelling of an already determined future, but rather as a work that moves along prophetic time to provoke in his readers a productive intimacy with both pasts and futures.     

The voice of the dead king Chindasuinth: poetry,politics, and the discourse of penance in Visigothic Spain

Around ad 653, Eugenius II, bishop of Toledo, composed a first‐person poetic epitaph for the deceased Visigothic king Chindasuinth (r. 642–53) in which the monarch is made to speak with self‐deprecating candour. This paper offers a reassessment of the poem's language and rhetorical strategy by situating it within contemporary discourses surrounding royal admonition and penance. Rather than interpreting Eugenius's composition as an act of defamation, as the majority of critics have done, it reads the poem as a dignifying literary expression of atonement. This reading corresponds with other specimens of Eugenius's poetry and evidence from a developing literary culture at Chindasuinth's court.