Niobes: Antiquity, Modernity, Critical Theory: Classical Memories/Modern Identities
Editat de Mario Telò, Andrew Benjaminen Limba Engleză Hardback – 26 feb 2024
A marginalized but persistent figure of Greek tragedy, Niobe, whose many children were killed by Apollo and Artemis, embodies yet problematizes the philosophically charged dialectics between life and death, mourning and melancholy, animation and inanimation, silence and logos. The essays in Niobes present her as a set of complex figurations, an elusive mythical character but also an overdetermined figure who has long exerted a profound influence on various modes of modern thought, especially in the domains of aesthetics, ethics, psychoanalysis, and politics. As a symbol of both exclusion and resistance, Niobe calls for critical attention at a time of global crisis. Reconstructing the dialogues of Phillis Wheatley, G. W. F. Hegel, Walter Benjamin, Aby Warburg, and others with Niobe as she appears in Aeschylus, Sophocles, Ovid, and the visual arts, a collective of major thinkers—classicists, art historians, and critical theorists—reflect on the space that she can occupy in the humanities today. Inspiring new ways of connecting the classical tradition and ancient tragic discourse with crises and political questions relating to gender, race, and social justice, Niobe insists on living on. Contributors: Barbara Baert, Andrew Benjamin, drea brown, Adriana Cavarero, Rebecca Comay, Mildred Galland-Szymkowiak, John T. Hamilton, Paul A. Kottman, Jacques Lezra, Andres Matlock, Ben Radcliffe, Victoria Rimell, Mario Telò, Mathura Umachandran, Daniel Villegas Vélez
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Specificații
ISBN-13: 9780814215630
ISBN-10: 0814215637
Pagini: 286
Ilustrații: 9 b&w images
Dimensiuni: 152 x 229 x 26 mm
Greutate: 0.54 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Classical Memories/Modern Identities
ISBN-10: 0814215637
Pagini: 286
Ilustrații: 9 b&w images
Dimensiuni: 152 x 229 x 26 mm
Greutate: 0.54 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Classical Memories/Modern Identities
Recenzii
“Niobes repeatedly stopped me in my tracks, to think, to re-read, and even to mourn. Each essay is beautiful and devastating. For thoughtful classicists and comparatists, this collection offers a new model of what the study of myth and its reception can achieve.” —Shane Butler, author of The Passions of John Addington Symonds
“This brilliant book establishes Niobe as a decisive figure for understanding the historical, philosophical, ethical, and ecological relation of human precarity to divine cruelty. Highly recommended for its transdisciplinary and fearless approaches to Greek myth and its afterlives.” —Karen Bassi, author of Traces of the Past: Classics Between History and Archaeology
Notă biografică
Mario Telò is Professor in the Departments of Rhetoric, Comparative Literature, and Ancient Greek and Roman Studies at the University of California, Berkeley. He is the author, most recently, of Archive Feelings: A Theory of Greek Tragedy; Greek Tragedy in a Global Crisis: Reading through Pandemic Times; and Resistant Form: Aristophanes and the Comedy of Crisis. Andrew Benjamin is Honorary Professorial Fellow in the Faculty of Arts at the University of Melbourne and Emeritus Professor of Philosophy at Monash University. He is the author of numerous monographs, including The Plural Event: Descartes, Hegel, Heidegger; Present Hope: Philosophy, Architecture, Judaism; Virtue in Being: Towards an Ethics of the Unconditioned; and Art, Mimesis and the Avant-Garde.
Extras
Despite Niobe’s numerous epiphanies, her ancient and modern appearances-in-disappearance in Homer, Sappho, Aeschylus, and Ovid, as well as Hegel, Phillis Wheatley, and Walter Benjamin, not to mention visual artists, named or anonymous, there has yet to be a sustained engagement—intensely, creatively, rapturously interpretive—with this hauntological presence that has shaped art, literature, and critical theory. The goal of this collection is not to provide a history of Niobe’s reception, but to offer insights and impressions, suggestions for encountering and affectively bonding with her diachronic persistence, which is troped by her becoming stone. Niobe’s human and posthuman living in and beyond time also amounts to a vital yet exhausting synchronicity after a serial (re)production of filial losses, wounds that solidify her melancholic immortality. The material insistence, liquid as well as solid, of her petrified survival as a weeping rock opens a possibility of construing the classical tradition as a monumentality disrupted by an exchange or confusion of states, which unsettles the very idea (physical and symbolic) of being in a state. “Niobe is the image of the withdrawal of the image,” as Rebecca Comay puts it. “Frozen in grief and yet overspilling,” “shrinking into solitude yet expanding into the landscape, fixed in place but defying gravity, freezing-seething,” “neither animate nor inanimate, neither living nor dead,” “a stone that is not quite stony enough, a corpse that does not stay dead enough,” Niobe embodies a narrative fragmentation, an off-centeredness, and a hermeneutic impossibility that seep into the discursive texture of the chapters presented here. This collection is an experiment in Niobean writing, an assemblage of serendipitous, affectively charged meditations on critical–theoretical potentialities.
In Antonietta Raphaël’s 1939 sculpture of Niobe, which provides the cover of this book, we observe Niobe’s mobile immobility, her flowing, agitated immanence, the kinetic force—even in the grip of the paralyzing contours of representation—of a maternal care that disrupts the bounds of individuation. In joining the child’s head to her breast, welcoming a filial leg into a web of limbs, the sculpted Niobe shades deindividuation into melancholic introjection—an absorption whose impossibility, traced by a hole, protects the otherness of the other. As in the tearful flow of Niobe’s perennial lamentation, care in this sculpture appears to be the impetus of her forward projection, the ethical inclination inherent in maternal towardness, a relationality encompassing justice to whose kinetic energy erodes representational boundaries, undoing the distribution of the sensible that births Niobe through a cutting, a chiseling of matter.
The daughter of Tantalus, married to Amphion, Niobe boasted that she was more fecund than Leto/Latona, which caused Leto to engage her own children, Artemis/Diana and Apollo, to slaughter Niobe’s. Inconsolable, turned to stone, she continues, in her petrified form, to weep. Though there is no original story, her most significant presence is in Ovid’s Metamorphoses. In his conciliatory encounter with Priam in the Iliad, Achilles, precariously reintegrated into the heroic Symbolic, uses Niobe as an exemplum of interrupted grief, of a return to life—perhaps a signal that his apparent healing is just a parenthesis in his self-marginalization, his detached life of grief, his constitutive, turbulent petrification.
In Antonietta Raphaël’s 1939 sculpture of Niobe, which provides the cover of this book, we observe Niobe’s mobile immobility, her flowing, agitated immanence, the kinetic force—even in the grip of the paralyzing contours of representation—of a maternal care that disrupts the bounds of individuation. In joining the child’s head to her breast, welcoming a filial leg into a web of limbs, the sculpted Niobe shades deindividuation into melancholic introjection—an absorption whose impossibility, traced by a hole, protects the otherness of the other. As in the tearful flow of Niobe’s perennial lamentation, care in this sculpture appears to be the impetus of her forward projection, the ethical inclination inherent in maternal towardness, a relationality encompassing justice to whose kinetic energy erodes representational boundaries, undoing the distribution of the sensible that births Niobe through a cutting, a chiseling of matter.
The daughter of Tantalus, married to Amphion, Niobe boasted that she was more fecund than Leto/Latona, which caused Leto to engage her own children, Artemis/Diana and Apollo, to slaughter Niobe’s. Inconsolable, turned to stone, she continues, in her petrified form, to weep. Though there is no original story, her most significant presence is in Ovid’s Metamorphoses. In his conciliatory encounter with Priam in the Iliad, Achilles, precariously reintegrated into the heroic Symbolic, uses Niobe as an exemplum of interrupted grief, of a return to life—perhaps a signal that his apparent healing is just a parenthesis in his self-marginalization, his detached life of grief, his constitutive, turbulent petrification.
Cuprins
Introduction: Critical Encounters with Niobe Part 1: An-archic Beginnings Chapter 1 Niobe’s Hypermaternity Chapter 2 Nihil Est in Imagine Vivum Chapter 3 Niobe’s People: Ambiguous Violence and Interrupted Labor in Iliad 24 Part 2: Around Ovid Chapter 4 Philosophers’ Stone: Enduring Niobe Chapter 5 Niobe’s Tragic Cryo-Ecology Chapter 6 Tears from Stone Chapter 7 Shadow and Stone: Niobe between Platonism and Stoicism Part 3 Art and Aesthetics Chapter 8 The Weeping Rock: Paragone, Pathosformel, and Petrification Chapter 9 Schelling’s Niobe Chapter 10 The More Loving One: On Post-Melancholic Life Chapter 11 Niobe’s Nomoi Part 4 Philosophy, Poetry, Social Justice Chapter 12 Niobe between Benjamin and Arendt—and Beyond Chapter 13 Countering Injury: On the Deaths of the Niobids Chapter 14 Lacrimae Rerum: Institution of Grief Chapter 15 “How Strangely Changed”: Phillis Wheatley in Niobean Myth and Memory, an Essay in Verse
Descriere
Explores the mythical figure of Niobe and her continuing relevance as a bridge between classical and ancient discourses and contemporary political and cultural questions.