Posts Tagged by Sappho
|January 16, 2019||By Gregory Nagy listed under By Gregory Nagy||
2019.01.16 | By Gregory Nagy
This posting for 2019.01.16 is Part Two of a long-term project that I started in the posting for 2019.01.08, which is Part One of that project. In Part One, I was analyzing various examples of ancient texts composed by male authors who playfully imitate Sappho by appropriating aspects of her songs in their own literary creations. Here in Part Two, I analyze further examples, and the numbering of my paragraphs continues from where I left off at the concluding paragraph §33 of Part One. As I already noted in that paragraph, Part Two of my analysis here will center on the erotic novel Daphnis and Chloe, attributed to a man named Longus, who has conventionally been dated to the second century CE. His novel, as I will argue, is a playful exercise in showing how to soften the potential for hard-core pornographic appropriations of female sexuality by ancient male authors in their imitations of Sappho’s songs. In the course of my argumentation, I will at times view this ancient Greek novel through the metaphorical lens of a modern Italian film, Cinema Paradiso.
|January 8, 2019||By Gregory Nagy listed under By Gregory Nagy||
2019.01.08 | By Gregory Nagy
§0. This essay is the first in a set of consecutive postings that will have the same title, differentiated as Part One, Part Two, and so on. The first two words in the title of each posting derive from an earlier essay, Nagy 2015.10.15, where I analyzed the theorizing of Aristotle about the human propensity to imitate. I highlighted in that essay the interest that Aristotle takes in primal attempts at imitation, which go back to the earliest phases of childhood. For Aristotle, as I pointed out, childish imitation is at the root of human playfulness. It was in the context of making this point that I had first played with the pseudo-scientific term Homo ludens. In the present context, I make use of that same term again as I proceed to focus on the playfulness I find in ancient literary creations that imitate Sappho.
Two small comments on Catullus Two: an iconic effect and an expression of delight in what is beautiful
|December 13, 2018||By Gregory Nagy listed under By Gregory Nagy||
2018.12.13 | By Gregory Nagy
§0. As I contemplate the vast buildup of secondary bibliography documenting countless interpretations of “Catullus Two”—as Classicists normally call this poem—I struggle under the weight, looking for ways to break free by simply expressing the delight I experience whenever I re-read Catullus 2. The comments I offer here are merely two examples of such experiences. But I must already now highlight one thing that these examples have in common: they both have something to do with Sappho.
|September 21, 2017||By Gregory Nagy listed under By Gregory Nagy||
2017.09.21 | By Gregory Nagy
Compared here are two songs that are historically unrelated to each other. Still, there are parallelisms between the two songs that are worth comparing. Such an exercise, in considering two historically unrelated structures, is known in linguistics as typological comparison.
|March 23, 2017||By Gregory Nagy listed under By Gregory Nagy||
2017.03.23 | By Gregory Nagy
A paper presented on March 11, 2017, at the Stoá tou Vivlíou in Athens as part of a conference hosted by the Society for the Promotion of Education and Learning.
|February 23, 2017||By Gregory Nagy listed under By Gregory Nagy|
2017.02.23 | By Gregory Nagy
The expression ‘once again this time’ is my translation of the word dēute as used three times in Song 1 of a woman named Sappho. The meaning of this word captures the recurrent many-sidedness of the songs attributed to Sappho, admired by many as one of history’s greatest masters of songmaking.