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Double vision : Plautus's Menaechmi and Rome's nascent empire -- Wayward sons and wandering Bacchic revels : Terence's Heautontimorumenos -- Wandering atoms, Roman error, and poetic tradition in Lucretius -- Catullan wanderings : traversing the empire, traversing the self -- Caesar's mistakes and Horace's errores : publicizing Octavian's authority in satires, book 1 -- Epilogue: The Aeneid's reorientations.
Disorienting Empire is the first book to examine Republican Latin poetry's recurring interest in characters who become lost. Basil Dufallo explains the prevalence of this theme with reference to the rapid expansion of Rome's empire in the Middle and Late Republic. It was both a threatening and an enticing prospect, Dufallo argues, to imagine the ever-widening spaces of Roman power as a place where one could become disoriented, both in terms of geographical wandering and in a more abstract sense connected with identity and identification, especially as it concerned gender and sexuality. Plautus, Terence, Lucretius, and Catullus, as well as the "triumviral" Horace of Satires, book 1, all reveal an interest in such experiences, particularly in relation to journeys into the Greek world from which these writers drew their source material. Fragmentary authors such as Naevius, Ennius, and Lucilius, as well as prose historians including Polybius and Livy, add depth and context to the discussion. Setting the Republican poets in dialogue with queer theory and postcolonial theory, Dufallo brings to light both anxieties latent in the theme and the exuberance it suggests over new creative possibilities opened up by reorienting oneself toward new horizons, new identifications-by discovering with pleasure that one could be other than one thought. Further, in showing that the Republican poets had been experimenting with such techniques for generations before the Augustan Age, Disorienting Empire offers its close readings as a means of interpreting afresh Aeneas' wandering journey in Vergil's Aeneid.
This study considers the relationship between geography and power in the Roman world, most particularly the visualisation of geographical knowledge in myriad forms of geography products: geographical treatises, histories, poems, personifications, landscape representations, images of barbarian peoples, maps, itineraries, and imported foodstuffs.
Between 2009 and 2012, the Gordon Institute for the Performing and Creative Arts in Cape Town held the Great Texts/Big Questions public lecture series which became a celebrated part of Cape Town’s cultural landscape, demonstrating current intellectual and creative thinking in South Africa. These lectures gave audiences a chance to engage with transformative texts and questions, to hear thought leaders speak on the ideas, the books, the art, and the films that matter to them and to us. Relocations: Reading Culture in South Africa brings together a selection of these lectures by world-renowned artists, writers and thinkers in the form of essays, for the benefit of a wider readership, with a contemporary design which plays with words. The authors range from novelists André Brink and Imraan Coovadia (one of the collection’s editors), to poets Gabeba Baderoon and Rustum Kozain, to artist William Kentridge and social activist Zackie Achmat. The topics are as wide as Don Quixote, Marx and Lincoln, trout fishing, Hamlet, the 19th-century Russian writer Gogol and Nabokov’s novel Lolita. Today’s readers are increasingly interested in finding new ways to understand and live with great texts and the world of ideas. Books like this demonstrate that thinking about these texts does not have to be an inaccessibly academic pursuit.
The white man's burden, darkest Africa, the seduction of the primitive: such phrases were widespread in the language Western empires used to talk about their colonial enterprises. How this language itself served imperial purposes--and how it survives today in writing about the Third World--are the subject of David Spurr's book, a revealing account of the rhetorical strategies that have defined Western thinking about the non-Western world.Despite historical differences among British, French, and American versions of colonialism, their rhetoric had much in common. The Rhetoric of Empire identifies these shared features--images, figures of speech, and characteristic lines of argument--and explores them in a wide variety of sources. A former correspondent for the United Press International, the author is equally at home with journalism or critical theory, travel writing or official documents, and his discussion is remarkably comprehensive. Ranging from T. E. Lawrence and Isak Dineson to Hemingway and Naipaul, from Time and the New Yorker to the National Geographic and Le Monde, from journalists such as Didion and Sontag to colonial administrators such as Frederick Lugard and Albert Sarraut, this analysis suggests the degree to which certain rhetorical tactics penetrate the popular as well as official colonial and postcolonial discourse.Finally, Spurr considers the question: Can the language itself--and with it, Western forms of interpretation--be freed of the exercise of colonial power? This ambitious book is an answer of sorts. By exposing the rhetoric of empire, Spurr begins to loosen its hold over discourse about--and between--different cultures.
Sodomscapes presents a fresh approach to the story of Lot’s wife, as it’s been read across cultures and generations. In the process, it reinterprets foundational concepts of ethics, representation, and the body. While the sudden mutation of Lot’s wife in the flight from Sodom is often read to confirm our antiscopic bias, a rival tradition emphasizes the counterintuitive optics required to nurture sustainable habitations for life in view of its unforeseeable contingency. Whether in medieval exegesis, Russian avant-garde art, Renaissance painting, or today’s Dead Sea health care tourism industry, the repeated desire to reclaim Lot’s wife turns the cautionary emblem of the mutating woman into a figural laboratory for testing the ethical bounds of hospitality. Sodomscape—the book’s name for this gesture—revisits touchstone moments in the history of figural thinking and places them in conversation with key thinkers of hospitality. The book’s cumulative perspective identifies Lot’s wife as the resilient figure of vigilant dwelling, whose in-betweenness discloses counterintuitive ways of understanding what counts as a life amid divergent claims of being-with and being-for.
A new take on the Aeneid, drawing previously unexplored connections between Vergil's fictional world and its political context
The story of Roman Hellenism—defined as the imitation or adoption of something Greek by those subject to or operating under Roman power—begins not with Roman incursions into the Greek mainland, but in Italy, where our most plentiful and spectacular surviving evidence is concentrated. Think of the architecture of the Roman capital, the Campanian towns of Pompeii and Herculaneum buried by Vesuvius, and the Hellenic culture of the Etruscans. Perhaps “everybody knows” that Rome adapted Greek culture in a steadily more “sophisticated” way as its prosperity and might increased. This volume, however, argues that the assumption of smooth continuity, let alone steady “improvement,” in any aspect of Roman Hellenism can blind us to important aspects of what Roman Hellenism really is and how it functions in a given context. As the first book to focus on the comparison of Roman Hellenisms per se, Comparing Roman Hellenisms in Italy shows that such comparison is especially valuable in revealing how any singular instance of the phenomenon is situated and specific, and has its own life, trajectory, circumstances, and afterlife. Roman Hellenism is always a work in progress, is often strategic, often falls prey to being forgotten, decontextualized, or reread in later periods, and thus is in important senses contingent. Further, what we may broadly identify as a Roman Hellenism need not imply Rome as the only center of influence. Roman Hellenism is often decentralized, and depends strongly on local agents, aesthetics, and materials. With this in mind, the essays concentrate geographically on Italy to lend both focus and breadth to our topic, as well as to emphasize the complex interrelation of Hellenism at Rome with Rome’s surroundings. Because Hellenism, whether as practiced by Romans or Rome’s subjects, is in fact widely diffused across far-flung geographical regions, the final part of the collection gestures to this broader context.
Examines disorientation and confusion, and their theoretical implications, in contemporary narrative film.