|November 9, 2017||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2017.11.09 | By Gregory Nagy
My comments here continue from where I left off in Classical Inquiries 2017.10.18. Among the many points of interest noted by Pausanias in this stretch of text is his reference at 1.3.1 to a myth about the abduction of the beautiful young hero Kephalos by Eos, goddess of the Dawn.
|November 2, 2017||By Gregory Nagy listed under By Gregory Nagy|
2017.11.02 | By Gregory Nagy
On the film The Tales of Hoffmann (1951).
Commentary by Gregory Nagy 2012.11.11, revised 2017.10.23.
For a prior commentary, see §§34–45 of ch.1 of Nagy’s Masterpieces of Metonymy.
On the original opera Les Contes d’Hoffmann by Jacques Offenbach, Nagy offers extensive analysis in http://nrs.harvard.edu/urn-3:hlnc.essay:Nagy.The_Fragmentary_Muse_and_the_Poetics_of_Refraction.2009.
This 1951 film was produced, written, and directed by Michael Powell and Emeric Pressburger.
The film is currently re-distributed by Criterion Collection, Janus Films, Studio, a Canal+ Company. Among the features: a voiceover, by Martin Scorsese, analyzing selected portions.
The commentary by Nagy goes frame by frame, analyzing both video and audio.
|October 26, 2017||By Gregory Nagy listed under By Gregory Nagy|
2017.10.26 | By Gregory Nagy
This briefest of essays is about two arias sung by a character known as The Queen of the Night in Die Zauberflöte or The Magic Flute of Wolfgang Amadeus Mozart, which premiered in 1791, with German-language libretto by Emanuel Schikaneder. I focus for a moment on the music and the words of these two arias as visualized by Ingmar Bergman in his Swedish-language film version of the opera, Trollflöjten, released in 1975. The first aria can be viewed here (at 22:33), and the second aria can be viewed here (at 1:17:11).
|October 19, 2017||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2017.10.18 | By Gregory Nagy
My comments here continue from where I left off in Classical Inquiries 2017.10.10, revised 2017.10.14, where I focused on the first two sentences in the text of Pausanias 1.1.1. Now I start with the remainder of 1.1.1, continuing from there to 1.2.1. Among the many points of interest noted by Pausanias in this stretch of text is his mention of Antiope the Amazon at 1.2.1.
|October 12, 2017||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2017.10.10 (revised 2017.10.14) | By Gregory Nagy
This sampling of comments is taken from an online project A Pausanias Reader, edited by Greta Hawes and Gregory Nagy. My set of comments on the first two sentences in the text of Pausanias 1.1.1 is divided into seven paragraphs, §§1–7. Among the many points of interest noted by Pausanias in these two sentences is his mention of a temple of the goddess Athena at the headland of Sounion—a mention that seems to anticipate what he will say at a later point about a colossal bronze statue of the goddess Athena Promakhos (sometimes spelled Promachos) guarding the acropolis in Athens.
|October 5, 2017||By Gregory Nagy listed under By Gregory Nagy, Pindar commentary|
2017.10.05 | By Gregory Nagy
Pindar’s Isthmian 8 highlights the hero Achilles, who is for us defined primarily by the Homeric Iliad—though he had been a prominent figure also in other epic traditions, as we see for example in the surviving plot-outline of the Aithiopis, ‘the song of the Ethiopians’, which was an epic belonging to a body of poetry commonly known as the epic Cycle. Also highlighted in Isthmian 8 are two epic opponents of Achilles: they are (1) Hector, the hero who is for us defined primarily by the Iliad, and (2) Memnon, a prominent hero in the Aithiopis, whose ‘Ethiopian’ identity is conventionally signaled in ancient Greek vase-paintings by portraying him or his attendants as “African” or “black” in appearance. The use of these two descriptive words is problematic, however, since they may suggest a racial reading in contexts where no racism had been intended.