Cavafy's Sensual City: A Question

Abstract

In his perceptive book, Cavafy's Alexandria (Cambridge, Mass., 1976), Edmund Keeley describes how Cavafy's major poetic preoccupation during the years 1911 to 1921 was the delineation of a mythical city called Alexandria and of the Greek, or Hellenic, way oflife it represents. An essential element in this way of life is its erotic style, which is explicitly homosexual; and it is through his poems on erotic themes that Cavafy slowly and deliberately builds his image of Alexandria as the Sensual City. His method of doing this is particular. In depicting other features of his mythical city Cavafy locates his poems in that ancient Hellenistic world of which Alexandria was the centre. Most of his erotic poetry, on the other hand, speaks of episodes and relationships in contemporary Alexandria, the city in which Cavafy actually lived. Indeed, all the poetry which Cavafy wrote that is located in contemporary Alexandria deals with erotic themes to the exclusion of all others. And it is with the help of this poetry that Cavafy builds up his image.     

‘New Art History’ vs. ‘Old History’: writing art history

Abstract

The three strange poems in English which constitute the section ‘Foreign Language Verse’ in Cavafy's Unpublished Poems present problems of authorship, interpretation and preservation. Who wrote them? What are they about? Why did Cavafy, who destroyed so much, trouble to keep them? The purpose of the present note is to provide plausible, if not definitive, answers to these three questions. The poems under discussion are, ‘Leaving Therápia’, ‘Darkness and Shadows’ and the untitled poem that begins, ‘More happy thou, performing Member’.     

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.     

Book reviews

Abstract

On 29 April 1933 Cavafy died in Alexandria, the city in which he was born. There is some reason for satisfaction in this. Visitors to his apartment on the second floor of 10 Rue Lepsius knew how self-contained Cavafy's small and familiar world in Alexandria was. Rue Lepsius was home for the last twenty-six years of Cavafy's life: ‘Below, the brothel caters for the flesh. And there is the church [St. Savvas's] which forgives sin. And there is the hospital where we die.’ The first floor of 10 Rue Lepsius never catered to Cavafy's flesh, but the church forgave his sins, and he died in the hospital. He could have died in an hospital in Athens where he had gone the year before for treatment of cancer of the throat. He stayed there for a time at the Hûtel Cosmopolite, and from Kifissiá he found the sight of Hymettos and the mountains to the north ‘boring’. He returned home to die, ‘an Alexandrian of the Alexandrians’, an epitaph he very nearly composed for himself.     

Cavafy in Poland

Abstract

Despite the diversity of Modern Greek poetry available in Polish translation, Cavafy's work has eclipsed the achievements of other poets, just as the shadow of his lifelong translator, Zygmunt Kubiak, has inhibited other attempts only starting to surface in the twenty-first century. While external factors have determined Modern Greek anthologies in Poland, Cavafy translation has been mostly driven by personal passion. Apart from translation, this article reflects on various reasons why the Alexandrian's work should be so attractive to the Polish literary scene. Cavafy's seminal place within Polish literature stimulates further reflection on rewriting Cavafy in Poland.     

Days of those made like me: retrospective pleasure,sexual knowledge,and C. P. Cavafy's homobiographics

Abstract

This article begins with a comparison between the anonymous Roman d'un inverti (1894/5) and Cavafy's poem ‘Να με?νει’, and then proceeds to read Cavafy's private notes and key erotic poems in the context of late nineteenth- and twentieth-century discourses about non-normative sexuality. During that period, and in a discursive domain dominated by sexological case studies, the deviant sexual life story was published in order to titillate, check, control and medicalize. In Cavafy's texts we see, instead, a network of homosexual life stories proposed as a platform for the conceptualization of novel sexual, aesthetic and social technologies, as well as a new ethics of contact.     

The Language of Irony (Towards a Definition of the Poetry of Cavafy)

Abstract

The first time André Gide heard the name of Cavafy was during his visit to Greece, in April 1939. He was talking to Dimaras, Theotokas and Seferis when the conversation turned to the poet of Alexandria. Gide asked what kind of poetry Cavafy wrote. ‘Lyrique’, Dimaras replied. ‘Didactique’, corrected Seferis. Later on Dimaras read ‘The City’ to the group. After the end of the reading Gide turned to Seferis and said: ‘Je comprends maintenant ce que vous vouliez dire par le mot didactique … ’.     

Agamben and the Migrations of Glory

Abstract

In the American political imagination, there is a longstanding and wide-ranging discussion about the separation of church and state. Though Americans argue about whether it should be a ‘‘high wall,’’ or whether certain ‘‘breaches’’ in it might be desirable, they all take ‘‘separation’’ to describe an institutional arrangement. From Giorgio Agamben's perspective, however, ‘‘separation’’ is an image that conceals much more than it reveals about the religious character of the state and the global economy. Agamben traces ‘‘the migrations of glory’’ from church, to state, to global capitalism. For part of this task, Agamben accepts Michel Foucault's diagnostic approach to power. By one reading, certainly, governmentality has us in its grip. But now government itself is overshadowed by the power of global capitalism. While Foucault sought only to make us ‘‘a little less governed,’’ Agamben is interested in a deeper iconoclasm and a greater emancipation. According to Agamben, our less-than-free condition can be illuminated by reflection on: (1) the state of exception and the camp, which are only made possible by a form of idolatry in which the sovereign assumes to themself a power that they should not have; (2) On another of the ‘‘maps’’ drawn by Agamben, however, there is a further ‘‘migration of glory,’’ away from national sovereignty, toward postmodern global capitalism; (3) The Coming Community provides the barest sketch of Agamben's hope for a remedy, while his reading of Paul's Letter to the Romans in The Time that Remains brings a more visible kind of messianic expectation or vocation back into the discussion of political life. A concluding section discusses five sorts of questions that might be put to Agamben about the overall shape of his project.     

'Missing dates': the 'Mϵρϵς' poems of C. P. Cavafy

Abstract

In this article, the five poems with the word 'M?ρ??' in their titles are discussed, and possible explanations for the dates in the titles suggested. The poems were written and revised between 1909 and 1932, but it is argued here that their initial composition dates are closer together than previously thought. The article examines revisions to the five poems; their positions, where applicable, in Cavafy's thematic collections, and the dates in their titles in relation to events in the poet's life and other writings from the same period. A history of composition and publication, including an account of all extant published revisions, is provided and the implications of this kind of bibliographical and biographical approach are discussed.     

'[…;] all poetry is difficult […]: the limitations of Seferis' modernist poetics

Abstract

In Greece, as in several other countries in the period between the two World Wars, one of the serious charges frequently made against Modernism was that it was impossibly bad mannered towards the reader – that it made no effort at all to communicate and that modernist poetry was ‘difficult’ or ‘obscure’. For example, as early as 1931, Kostis Palamas – the poet who had had an enormous impact on Greek literary affairs in the first half of this century – in a charming if not somewhat condescending letter addressed to George Seferis, noted that the poems of <inline-graphic href="splitsection4_in1.tif"/>were ‘cryptographic’ and stated that he was personally unable to find the ‘key’ that was needed for deciphering such difficult poetry (Palamas 1931). A few years earlier, Seferis himself had noted in his journals that whenever he tried to read Valery's poems to Palamas and his circle, they had reacted by saying that they did not have time to solve ‘puzzles’ (1975: 62).     

Symbolism and Irony in Three Novels by Kosmas Politis

Abstract

In a recent book, Mario Vitti has described Kosmas Politis as ‘emotionally the most highly charged novelist’ of the Generation of 1930. Vitti also points out that Eroica is ‘compositely organized down to the minutest detail’, despite the author's assertion that he wrote each instalment ‘on the presses’. In an attempt to account for the ‘magical’, ‘Poetic' quality of Politis’ writing as pointed out by Greek critics, Vitti investigates Politis' use of irony and of the interior monologue. My purpose in this article is to examine further Politis' ironical approach and to make some preliminary remarks about his use of symbols and imagery (a subject on which far more work has to be done), in the hope that, in so doing, I shall shed some light on the ‘emotionally charged’ and ‘highly organized’ nature of Politis' writing. For reasons of space and time I must confine myself to his first three novels, Lemonodasos (1930), Hekate (1933) and Eroica (1937).     

An Essay on the Context and Formation of Wilhelm von Humboldt's Linguistic Thought

SUMMARY

This essay combines the study of Humboldt's sources with a critique of the treatment of this subject in most studies of Humboldt and his linguistic thought. One crucial issue is the date of his early ‘Über Denken und Sprechen’, which is our first evidence of his mature thinking about language. This text is conventionally dated 1795, thus ruling out that Humboldt might be indebted to the anthropo-linguistic philosophy that he explored in Paris a few years later. But a host of facts make the date untenable and the debt unquestionable, including incontrovertible evidence that ‘Über Denken und Sprechen’ relies on Condillac's argument for the anti-idealist principle that the distinction between subject and object is the absolute precondition for self-awareness and reflection, and thus, by the same token, for the concept of Weltansicht. ‘Über Denken und Sprechen’ also shows that Humboldt was inspired to choose Condillac's and Destutt de Tracy's argument over that of Fichte for what Berkeley disapprovingly called ‘outness’. This analysis exemplifies the critique that is advanced in this essay.     

Cool nothing: Dom Sylvester Houédard’s coexistentialist concrete poetics

ABSTRACT

This article concerns the concrete poetics of Dom Sylvester Houédard, which I define using a term from his 1963 article ‘Concrete Poetry & Ian Hamilton Finlay’, ‘coexistentialist’. Houédard's concrete poetry has sometimes been criticized for an anachronistic avant-garde quality, because of its non-semantic use of written language, and its associated air of intermedia experiment. But the term ‘coexistentialist’ has various connotations which allow us to interpret Houédard's work as highly responsive to its cultural moment, and to the unique theological tradition from which it emerged. These connotations include: the relationship between early and mid-twentieth-century modern art and literature; existentialist philosophy, especially the writing of Jean-Paul Sartre; Marshall McLuhan's theories on modern communication and ecumenical dialogue within the Catholic Church during the Second Vatican Council. After presenting an outline of Houédard's poetics related to these themes, I analyse some of his concrete poems or ‘typestracts’, produced between 1967 and 1972.     

Thinking Technologies: Poetry and Collage as Practice-Based Research

Abstract

The author’s book of poems Nitrate is evaluated as a model for a poetry that is a medium of research. The collection is positioned within Rachel Blau DuPlessis’ understanding of the essay form as involving ‘the play of speculation’ borne from curiosity and need — the need to examine opinions and contradictions and to interrogate cultural materials’. Nitrate explores the birth of cinema as a by-product of scientific exploration into the problem of understanding motion, and the specific significance of the French physiologist E. J. Marey and his chronophotography. The title reflects the importance of cellulose nitrate, introduced in 1889 and used until the 1950s as the — frighteningly flammable — basis of film stock. There is also discussion, accompanied by illustrations, of the visual collages produced in dialogue with the poems as part of the understanding of practice-based research.     

Rousseau’s reception as an Epicurean: from atheism to aesthetics

ABSTRACT

What did Rousseau's readers mean when they called him an ‘Epicurean’? A seemingly simple question with complex implications. This article attempts to answer it by reconstructing Rousseau's contemporary reception as an Epicurean thinker. First, it surveys the earliest and most widely read critics of the second Discourse: Prussian Astronomer Royal Jean de Castillon, Jesuit priest Louis Bertrand Castel, and Hanoverian biblical scholar Hermann Samuel Reimarus. These readers branded Rousseau an Epicurean primarily to highlight his atheism, his anti-providential and materialist natural philosophy. Then, it discusses Genevan pastor Jacob Vernet's positive assessment of Rousseau as a critic of ‘fashionable’ Epicureanism, before reconstructing Rousseau's critique of the reception of Alexander Pope's Essay on Man as an Epicurean text. These sources elucidate Rousseau's engagement with a range of ideas and argumentative positions that would inform his later self-identification as a ‘refined’ Epicurean. In particular, they highlight his interest in how a sentimental awareness of beauty might mitigate the potentially vicious effects of hedonism. The article concludes with novelist Mme. de Genlis’ critique of Rousseau's Wise Materialism, using his thoughts on the imagination to suggest some of the ways the neglected aesthetic dimensions of Rousseau's reception of Epicureanism might be developed.     

Pocock,Machiavelli and Political Contingency in Foreign Affairs: Republican Existentialism Outside (and Within) the City

SUMMARY

In this essay, inspired by J.G.A. Pocock's appropriation of Machiavelli's theory of political contingency, and building upon my previous engagements with Pocock's ‘republican existentialism’, I focus on the role played by ‘accidents’ in Machiavelli's analysis of war and foreign affairs within The Prince and the Discourses. In so doing, I consider the following issues: the ways through which a potential imperial hegemon might consolidate control over nearby lesser powers—and, conversely, how such less powerful polities might resist imperial encroachments on their autonomy; the contrasting military modes and orders characteristic of ancient and modern republics; and the extent to which Machiavelli actually thought that accidents in foreign affairs were ever truly ‘accidental’ in light of his determinations concerning well- versus badly ordered domestic institutions.     

The temptations of William Pascoe Crook: An experience of cultural difference in the Marquesas, 1797—1798

Abstract

The missionary William Pascoe Crook was the first European to make an extended residence in the Marquesas. He failed to make a single convert in the two years he was there but instead risked a ‘conversion’ of sorts in everyday compromises between fitting in with, and preserving his independence from, a way of life he found to be abhorrent. This paper reconstructs the quality of Crook's experience during his sojourn in the Marquesas and reflects on the ethnographic ‘Account of the Marquesas Islands’ compiled on his return to London in 1799. It emphasises the processes by which Crook came to a partial understanding of tapu and the role of mimicry in his adaptation to lapu as a force that will make sense of him, but that he himself does not comprehend. The paper relates Crook's experience of cultural difference to problems in the anthropological concept of culture.     

Displacing Barthes: Self,Other and the Anxiety of Theory

This article explores the relationship between the other and the writing self in three of Barthes's works and shows how the anxious and changeable state of the ‘je’ unsettles conceptions of ‘theory’ and its analytical object. Barthes attempts to conceptualise cultural otherness in Mythologies, L'Empire des signes and Incidents, and, on one level, his fantasies of encounter serve to displace or unground the writing ‘self’. On another level, however, the theorist's persona in these works turns out to be disorientated and unnerved by these displacements, and he couples his jubilant self-dissolution with a longing for a sense of origin or ground. Barthes as a result remains undecided about his positioning within his own discourse, and his works demonstrate the necessary interpenetration of theories of alterity with the contradictory subjective and affective desires of the writing self. The aim of the piece is ultimately to argue that, for its very flaws and inconsistencies, Barthes's writing about otherness may help us to understand the challenges and deficiencies of postcolonial conceptions of cultural difference.     

Uncomfortable proximity. Literary technique,authorial provocations and dog whistles in Michel Houellebecq’s fiction

ABSTRACT

In 2002, following an interview with the magazine Lire where he described Islam as ‘la religion la plus con’, Michel Houellebecq was prosecuted, and eventually acquitted, for ‘injure raciale et incitation à la haine religieuse’. In discussions of Houellebecq’s case, supporters were quick to invoke the ‘special value’ of the literary space for the free discussion of ideas, however provocative or unpalatable. Houellebecq’s acquittal, and support from figures such as Salman Rushdie, have afforded the writer an unprecedented degree of literary freedom. Subsequent novels such as La Possibilité d’une île (2005) and Soumission (2015) show the author fully inhabiting this freedom in order to undertake a provocative critique of Islam. This article explores how both literary technique and authorial presence endorses the controversial ideas of his texts within Houellebecq’s writing and demonstrates how a movement from ambiguously undermining towards reinforcing those ideas can be observed. In particular, the framing of provocative ideas and assertions expounded in his fiction has become less robust throughout his career. This leads to, I suggest, a greater porosity between Houellebecq’s fiction and that of contemporary right-wing essayists such as Alain Finkielkraut and Renaud Camus.     

Stewart,Kant, and the Reworking of Common Sense

Summary

Dugald Stewart was the first metaphysician of any significance in Britain who attempted to take account of Kantian philosophy, although his analysis appears generally dismissive. Traditionally this has been imputed to Stewart's poor understanding of Kant and to his efforts to defend the orthodoxy of common sense. This paper argues that, notwithstanding Stewart's reading, Kant's philosophy helped him in a reconsideration and reassessment of common sense philosophy. In his mature works—the Philosophical Essays (1810), the second volume of the Elements of the Philosophy of the Human Mind (1814), and the second part of his historical ‘Dissertation? (1815–1821)—Stewart's analysis of Kantian philosophy is far from being uniform. In the first two works, he takes a cautious approach to transcendentalism, showing some interest in the challenge it might represent for common sense; in the last, he turns to rash criticism. This change may appear confusing and inconsistent unless considered in the light of a precise ‘nationalistic’ strategy. In fact, once Stewart had taken from Kantian philosophy what he deemed useful for his own aims, he eventually dismissed it in order to show that his reworked version of common sense was the most original and most consistent outcome of the whole Anglo-Scottish philosophical tradition.