Dans leur présentation, Michelle ZERBA, Professeure à Louisiana State University et Franck COLLIN... more Dans leur présentation, Michelle ZERBA, Professeure à Louisiana State University et Franck COLLIN, Professeur à l\u27Université des Antilles, confrontent au regard de la pensée glissantienne, deux espaces géographiques : la Méditerranée et la Caraïbe. Cette intervention a été notamment entamée par une définition donnée par Edouard Glissant dans son livre « Les Entretiens de Bâton Rouge » quant à ces deux régions du globe. La première est considérée comme une mer qui concentre tandis que la seconde diffracte. Les intervenants nous en disent plus
Cet article analyse l'opposition récurrente chez Édouard Glissant, entre la mer Méditerra... more Cet article analyse l'opposition récurrente chez Édouard Glissant, entre la mer Méditerranée « qui concentre » et la mer Caraïbe qui « diffracte au contraire » (EBR, p. 106-107). Nous montrons d'abord que cette dialectique oppose l'éclat des doctrines universalisantes conçues par les premières pensées européennes-philosophies de l'Un, de l'Être, monothéismes-à l'opaque des cultures caribéennes, polyphoniques, créolisées et ouvertes. Toutefois, en nous appuyant sur le fait homérique, nous pouvons vérifier que l'espace méditerranéen de la Relation est, au sens glissantien, bien plus élaborée et complexe, dès l'origine, qu'il ne semble, et qu'Odysseus (Ulysse) est un polymétis (un « rusé protéiforme ») dont l'identité est sans cesse remise en question, dont le retour « à la maison » est des plus ambigus, et qui porte à son paroxysme toutes les incertitudes de l'Être. Nous posons enfin la question du dépassement dialectique de l'opposition Méditerranée-Caraïbe, dont Glissant teste la possibilité dans la traduction par les cultures orales d'un nouvel epos syncrétique grâce auquel les peuples de la Caraïbe pourront mêler leurs paroles et exprimer leurs identités. Abstract : This article analyzes the recurrent opposition in the work of Édouard Glissant between the Mediterranean, as a region that « concentrates », and the Caribbeean, as a region
Broadening the interdisciplinary base of study on Renaissance Homer, this essay looks to cassone ... more Broadening the interdisciplinary base of study on Renaissance Homer, this essay looks to cassone (wedding chest) painting in the Quattrocento to explore how the textual reception of the “Odyssey” was enriched by the visual arts. As artifacts, wedding chests had a role in the public sphere, though they were destined for the private, and they made the epic available to audiences of nonelites. Nausicaa is a key figure, merging the vernacular courtly love tradition and romance. In working across the fields of literary study and art history, this essay introduces new critical concepts to account for the complexities of Renaissance reception of Homer.
407 The section is a somewhat celebratory and hopeful, yet not sufficiently problematized, closur... more 407 The section is a somewhat celebratory and hopeful, yet not sufficiently problematized, closure on the cosmopolitan and hybrid nature of contemporary Italian cultural production and demographics. Postcolonial Italy: Challenging National Homogeneity is a groundbreaking work in the fields of Italian and European studies, colonial and postcolonial studies and comparative arts. With no doubt, the volume successfully challenges and expands on the notion of postcolonialism, engages with different disciplines, media and theoretical frameworks, and connects the specificities of the Italian postcolonial, a marginal experience within Europe, with other European postcolonialisms. Is the volume really Challenging National Homogeneity? All in all, it does explore transnational and transcultural trajectories, but remains almost entirely focused on an Italophone production, thus anchored in a national framework that does not disrupt linguistic homogeneity. What LombardiDiop and Romeo’s work seems to be lacking, thus opening a new exciting direction of scholarship, is a stronger comparative perspective that places the Italian postcolonial and Italophone postcolonial production in dialogue with other postcolonialisms, both European and nonEuropean.
Machiavelli's advocacy of force and fraud in the conduct of politics is the key teaching that... more Machiavelli's advocacy of force and fraud in the conduct of politics is the key teaching that has secured his reputation as “Machiavellian” and that has led to the conception of The Prince as the first document in the Western tradition to lay bare the dark, demonic underside of civic humanism. But this interpretation overlooks the degree to which a politics of intense competition and personal rivalry inhabits the humanist vision from antiquity, producing an ethics of expediency and a rhetoric of imposture that seeks to mask its alertness to advantage behind the guise of integrity and service. This vision is nowhere more apparent than in Cicero's De Oratore, which exerted a powerful influence on the Italian humanists of the quattrocentro in whose direct descent Machiavelli stands. Deception, to put it simply, is an acknowledged and vital element in civic humanism long before The Prince. The difference is that Cicero typically couches it in a sacrificial rhetoric that is euphe...
... About this magical-religious nexus Walter Burkert remarks that although shamanism may not hav... more ... About this magical-religious nexus Walter Burkert remarks that although shamanism may not have influenced the development of the Greek free soul, the scholarly debate about shamanism "has in any case performed the useful function of taking the so-called [shamanistic ...
There was a tradition in antiquity, recorded by Diogenes Laertius, that Homer was the founder of ... more There was a tradition in antiquity, recorded by Diogenes Laertius, that Homer was the founder of philosophical scepticism, for ‘regarding the same questions, he sets forth different answers at different times and is not at all dogmatic in what he says’ ( , Lives of the Philosophers, 9.71). By way of evidence, Diogenes notes that Philo of Athens used to say of Pyrrho that he had great admiration for Homer (9.67) and was fond of repeating two passages from the Iliad: 1) the line from Glaucus’ battlefield dialogue with Diomedes, ‘as leaves on trees, such is the life of man’ ( , Il. 6.146), and 2) the verses spoken by Achilles in his taunt to the hapless Lycaon when he tells the Trojan, staring death in the face, that his appeal for mercy is empty since ‘Patroclus, much your better, has also died’ ( , Il. 21.107). In addition to such passages, which concern the instability and folly of human endeavours, Diogenes quotes from Aeneas’ speech to Achilles in Iliad 20.248–50 as an illustration of a Homeric character speaking of the equal value ( , 9.73) of contradictory sayings, a major topic of ancient scepticism: ‘Twisted is the tongue of mortals, many the stories in it | of all kinds, and great is the range of words scattered hither and yon. | Whatever word you say, one like it will you hear’ ( | , / , Il. 20.248–50). Sextus Empiricus confirms Pyrrho’s love of Homer (Against the Grammarians, 272, 281) and observes that Timon of Phlius, a follower of Pyrrho, identified Xenophanes as a dogmatist for asserting that ‘the all is one’ and for deriding the deception found in Homer, which reveals the illusoriness of what reaches us through the senses (Outlines of Pyrrhonism, 1.224). One thinks, in this connection, of Agamemnon’s dream in Iliad 2, though Sextus does not mention it. As these examples suggest, the Homeric epics adumbrate sceptical ways of thinking that are thematized in later philosophical discussion, though evidence in the texts of Diogenes and Sextus supportive of the view is sporadic, unelaborated and drawn mostly from the Iliad.1 The topic, however, has not been studied in any depth. 295
The locution Medea hypokrites is not likely to have circulated in classical Greece. In the fifth ... more The locution Medea hypokrites is not likely to have circulated in classical Greece. In the fifth century, the term hypokrites had come to designate an actor on the Greek stage, typically an actor who took a prominent role in the dialogue. It therefore would have been used of the individual who may have been Euripides’ chief tragic actor, a certain Cephisophon, but it was not used of the character whom he played. The origin of the Greek term for actor has
... great. No guts, no glory. The sublime teeters between transcendence and bathos. ... France. I... more ... great. No guts, no glory. The sublime teeters between transcendence and bathos. ... France. In all of this, Machiavelli says, he kept his subjects' minds uncertain and astonished. One way to read the passage is that Ferdinand devised successful ways of keeping his people ...
Dans leur présentation, Michelle ZERBA, Professeure à Louisiana State University et Franck COLLIN... more Dans leur présentation, Michelle ZERBA, Professeure à Louisiana State University et Franck COLLIN, Professeur à l\u27Université des Antilles, confrontent au regard de la pensée glissantienne, deux espaces géographiques : la Méditerranée et la Caraïbe. Cette intervention a été notamment entamée par une définition donnée par Edouard Glissant dans son livre « Les Entretiens de Bâton Rouge » quant à ces deux régions du globe. La première est considérée comme une mer qui concentre tandis que la seconde diffracte. Les intervenants nous en disent plus
Cet article analyse l'opposition récurrente chez Édouard Glissant, entre la mer Méditerra... more Cet article analyse l'opposition récurrente chez Édouard Glissant, entre la mer Méditerranée « qui concentre » et la mer Caraïbe qui « diffracte au contraire » (EBR, p. 106-107). Nous montrons d'abord que cette dialectique oppose l'éclat des doctrines universalisantes conçues par les premières pensées européennes-philosophies de l'Un, de l'Être, monothéismes-à l'opaque des cultures caribéennes, polyphoniques, créolisées et ouvertes. Toutefois, en nous appuyant sur le fait homérique, nous pouvons vérifier que l'espace méditerranéen de la Relation est, au sens glissantien, bien plus élaborée et complexe, dès l'origine, qu'il ne semble, et qu'Odysseus (Ulysse) est un polymétis (un « rusé protéiforme ») dont l'identité est sans cesse remise en question, dont le retour « à la maison » est des plus ambigus, et qui porte à son paroxysme toutes les incertitudes de l'Être. Nous posons enfin la question du dépassement dialectique de l'opposition Méditerranée-Caraïbe, dont Glissant teste la possibilité dans la traduction par les cultures orales d'un nouvel epos syncrétique grâce auquel les peuples de la Caraïbe pourront mêler leurs paroles et exprimer leurs identités. Abstract : This article analyzes the recurrent opposition in the work of Édouard Glissant between the Mediterranean, as a region that « concentrates », and the Caribbeean, as a region
Broadening the interdisciplinary base of study on Renaissance Homer, this essay looks to cassone ... more Broadening the interdisciplinary base of study on Renaissance Homer, this essay looks to cassone (wedding chest) painting in the Quattrocento to explore how the textual reception of the “Odyssey” was enriched by the visual arts. As artifacts, wedding chests had a role in the public sphere, though they were destined for the private, and they made the epic available to audiences of nonelites. Nausicaa is a key figure, merging the vernacular courtly love tradition and romance. In working across the fields of literary study and art history, this essay introduces new critical concepts to account for the complexities of Renaissance reception of Homer.
407 The section is a somewhat celebratory and hopeful, yet not sufficiently problematized, closur... more 407 The section is a somewhat celebratory and hopeful, yet not sufficiently problematized, closure on the cosmopolitan and hybrid nature of contemporary Italian cultural production and demographics. Postcolonial Italy: Challenging National Homogeneity is a groundbreaking work in the fields of Italian and European studies, colonial and postcolonial studies and comparative arts. With no doubt, the volume successfully challenges and expands on the notion of postcolonialism, engages with different disciplines, media and theoretical frameworks, and connects the specificities of the Italian postcolonial, a marginal experience within Europe, with other European postcolonialisms. Is the volume really Challenging National Homogeneity? All in all, it does explore transnational and transcultural trajectories, but remains almost entirely focused on an Italophone production, thus anchored in a national framework that does not disrupt linguistic homogeneity. What LombardiDiop and Romeo’s work seems to be lacking, thus opening a new exciting direction of scholarship, is a stronger comparative perspective that places the Italian postcolonial and Italophone postcolonial production in dialogue with other postcolonialisms, both European and nonEuropean.
Machiavelli's advocacy of force and fraud in the conduct of politics is the key teaching that... more Machiavelli's advocacy of force and fraud in the conduct of politics is the key teaching that has secured his reputation as “Machiavellian” and that has led to the conception of The Prince as the first document in the Western tradition to lay bare the dark, demonic underside of civic humanism. But this interpretation overlooks the degree to which a politics of intense competition and personal rivalry inhabits the humanist vision from antiquity, producing an ethics of expediency and a rhetoric of imposture that seeks to mask its alertness to advantage behind the guise of integrity and service. This vision is nowhere more apparent than in Cicero's De Oratore, which exerted a powerful influence on the Italian humanists of the quattrocentro in whose direct descent Machiavelli stands. Deception, to put it simply, is an acknowledged and vital element in civic humanism long before The Prince. The difference is that Cicero typically couches it in a sacrificial rhetoric that is euphe...
... About this magical-religious nexus Walter Burkert remarks that although shamanism may not hav... more ... About this magical-religious nexus Walter Burkert remarks that although shamanism may not have influenced the development of the Greek free soul, the scholarly debate about shamanism "has in any case performed the useful function of taking the so-called [shamanistic ...
There was a tradition in antiquity, recorded by Diogenes Laertius, that Homer was the founder of ... more There was a tradition in antiquity, recorded by Diogenes Laertius, that Homer was the founder of philosophical scepticism, for ‘regarding the same questions, he sets forth different answers at different times and is not at all dogmatic in what he says’ ( , Lives of the Philosophers, 9.71). By way of evidence, Diogenes notes that Philo of Athens used to say of Pyrrho that he had great admiration for Homer (9.67) and was fond of repeating two passages from the Iliad: 1) the line from Glaucus’ battlefield dialogue with Diomedes, ‘as leaves on trees, such is the life of man’ ( , Il. 6.146), and 2) the verses spoken by Achilles in his taunt to the hapless Lycaon when he tells the Trojan, staring death in the face, that his appeal for mercy is empty since ‘Patroclus, much your better, has also died’ ( , Il. 21.107). In addition to such passages, which concern the instability and folly of human endeavours, Diogenes quotes from Aeneas’ speech to Achilles in Iliad 20.248–50 as an illustration of a Homeric character speaking of the equal value ( , 9.73) of contradictory sayings, a major topic of ancient scepticism: ‘Twisted is the tongue of mortals, many the stories in it | of all kinds, and great is the range of words scattered hither and yon. | Whatever word you say, one like it will you hear’ ( | , / , Il. 20.248–50). Sextus Empiricus confirms Pyrrho’s love of Homer (Against the Grammarians, 272, 281) and observes that Timon of Phlius, a follower of Pyrrho, identified Xenophanes as a dogmatist for asserting that ‘the all is one’ and for deriding the deception found in Homer, which reveals the illusoriness of what reaches us through the senses (Outlines of Pyrrhonism, 1.224). One thinks, in this connection, of Agamemnon’s dream in Iliad 2, though Sextus does not mention it. As these examples suggest, the Homeric epics adumbrate sceptical ways of thinking that are thematized in later philosophical discussion, though evidence in the texts of Diogenes and Sextus supportive of the view is sporadic, unelaborated and drawn mostly from the Iliad.1 The topic, however, has not been studied in any depth. 295
The locution Medea hypokrites is not likely to have circulated in classical Greece. In the fifth ... more The locution Medea hypokrites is not likely to have circulated in classical Greece. In the fifth century, the term hypokrites had come to designate an actor on the Greek stage, typically an actor who took a prominent role in the dialogue. It therefore would have been used of the individual who may have been Euripides’ chief tragic actor, a certain Cephisophon, but it was not used of the character whom he played. The origin of the Greek term for actor has
... great. No guts, no glory. The sublime teeters between transcendence and bathos. ... France. I... more ... great. No guts, no glory. The sublime teeters between transcendence and bathos. ... France. In all of this, Machiavelli says, he kept his subjects' minds uncertain and astonished. One way to read the passage is that Ferdinand devised successful ways of keeping his people ...
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