|Victoria sponge: technically a sandwich? A defense.|
Thursday, October 30, 2014
Thursday, October 23, 2014
|Samuel Johnson and James Boswell on High Street.|
From the Hyde Collection, Houghton Library, Harvard.
I've been posting a lot about classics stuff lately, which I suppose is a hazard of the fact that it's most of what I come across these days. But it's humbling to consider the command of Latin and Greek that people used to have, as a couple of literary anecdotes from the 18th century show.
Monday, October 20, 2014
|When history was literature: the young Mommsen. (palagrisa.it)|
But today I would like to draw to your attention the second-ever winner of the Nobel Prize in Literature in 1902, who was neither poet nor novelist nor playwright but rather a historian: the great German classicist Theodor Mommsen.
Thursday, October 9, 2014
Monday, October 6, 2014
|Odilon Redon. Le cyclope. 1914? Rijksmuseum|
Modernism, with Pound's rallying cry of "Make it new," is often seen a moment of final decline of classicism in Western art: classical learning diminishes, and artists stop using antiquity as a touchstone, interested instead in shattering traditions. But this view is wrong. In this course, we'll look at a range of relationships between ancient and Modernist art, though, and literature—from the manifest to the latent, the certain to the contested—and ask how artists and thinkers used, absorbed, interpreted, and misinterpreted the classical heritage for their own purposes.
Week 1: The Structure of the Psyche
Freud: Das Ich und das Es (The Ego and the Id), trans. James Strachey (1923)
Plato: Republic 4, trans. C.D.C. Reeve
Thursday, October 2, 2014
There's a postcard on my wall—a reproduction from an exhibit at the Neue Galerie in New York City of a photograph by the Austro-German photographer Heinrich Kühn (1866-1944), who was one of the crucial early inventors of the technology for taking color photographs. It's of a box of paints—he is basically showing off what his new experiment can do: