Andrea Capra - Böcker

Capra and Graziosi intervene in current debates about classics and its relation to revolutionary ruptures, nationalist movements, and identity politics today. They begin with The Neoplatonists, an explicit love story posing as the work of an imaginary ancient Greek author, but actually written by the Neapolitan revolutionary and classical scholar Luigi Settembrini (1813-1876). Offering the first English translation of the tale—which, because of its celebration of homosexuality, long remained censored and unpublished—they read it in the context of Settembrini's life, scholarship, and revolutionary politics. Drawing strength from his legacies, Capra and Graziosi go on to tackle the nostalgias of post-truth politics today, demonstrating the queer, reparative potential of various strands of classical scholarship. On the basis of archival research, combined with literary and philosophical analysis, they argue that a commitment to social justice and an investment in the study of Greco-Roman antiquity can—and even should—be rooted in egalitarian, embodied, and joyous forms of love.Classics, Love, Revolution: The Legacies of Luigi Settembrini offers a reassessment of Italian homosexuality, insurgence, and scholarship, while telling a moving story of love and resilience along the way.Postclassical Interventions aims to reorient the meaning of antiquity across and beyond the humanities. Building on the success of Classical Presences, this complementary series features shorter-length monographs designed to provoke debate about the current and future potential of Classical Reception through fresh, bold, and critical thinking.

Plato’s Four Muses reconstructs Plato’s authorial self-portrait through a fresh reading of the Phaedrus, with an Introduction and Conclusion that contextualize the construction more broadly. The Phaedrus, it is argued, is Plato’s most self-referential dialogue, and Plato’s reference to four Muses in Phaedrus 259c–d is read as a hint at the “ingredients” of philosophical discourse, which turns out to be a form of provocatively old-fashioned mousikê.Andrea Capra maintains that Socrates’s conversion to “demotic”—as opposed to metaphorical—music in the Phaedo closely parallels the Phaedrus and is apologetic in character, since Socrates was held responsible for dismissing traditional mousikê. This parallelism reveals three surprising features that define Plato’s works: first, a measure of anti-intellectualism (Plato counters the rationalistic excesses of other forms of discourse, thus distinguishing it from both prose and poetry); second, a new beginning for philosophy (Plato conceptualizes the birth of Socratic dialogue in, and against, the Pythagorean tradition, with an emphasis on the new role of writing); and finally, a self-consciously ambivalent attitude with respect to the social function of the dialogues, which are conceived both as a kind of “resistance literature” and as a preliminary move toward the new poetry of the Kallipolis.

What is horror? The word evokes monstrous creatures and supernatural happenings, but also warfare and terminal illness. Setting aside the implausible circumstances typical of the horror genre, Capra focuses on what he terms "ordinary horror" – the horror that haunts our world, and that we may encounter firsthand. Drawing from ordinary language philosophy and phenomenology, he reframes horror as a common human experience tied to a sense of forced powerlessness – the shattering moment when our control over a given situation, and our very sense of reality, unravels. Capra reveals how ordinary horror manifests in literary texts beyond the horror genre and studies its significance for our time.Centering on modern Italian literature, Ordinary Horror shows a tradition not typically associated with horror to be rife with it. To this end, Capra emphasizes the centrality of the experience in a host of canonical Italian authors, demonstrating the power of ordinary horror to better understand, for instance, Giacomo Leopardi's pages on existential suffering, Primo Levi's writings on Auschwitz, and Elena Ferrante's descriptions of sexual violence. Literature, Capra argues, can convey horror's experiential magnitude through what he calls the "aesthetics of deformation" – scenes when otherwise realistic texts depart from verisimilitude and embrace a more disquieting style. Weaving together aesthetics and phenomenology, Capra shows that just as horror can rupture the fabric of everyday life, so too can it rupture the fabric of a literary text.

What is horror? The word evokes monstrous creatures and supernatural happenings, but also warfare and terminal illness. Setting aside the implausible circumstances typical of the horror genre, Capra focuses on what he terms "ordinary horror" – the horror that haunts our world, and that we may encounter firsthand. Drawing from ordinary language philosophy and phenomenology, he reframes horror as a common human experience tied to a sense of forced powerlessness – the shattering moment when our control over a given situation, and our very sense of reality, unravels. Capra reveals how ordinary horror manifests in literary texts beyond the horror genre and studies its significance for our time.Centering on modern Italian literature, Ordinary Horror shows a tradition not typically associated with horror to be rife with it. To this end, Capra emphasizes the centrality of the experience in a host of canonical Italian authors, demonstrating the power of ordinary horror to better understand, for instance, Giacomo Leopardi's pages on existential suffering, Primo Levi's writings on Auschwitz, and Elena Ferrante's descriptions of sexual violence. Literature, Capra argues, can convey horror's experiential magnitude through what he calls the "aesthetics of deformation" – scenes when otherwise realistic texts depart from verisimilitude and embrace a more disquieting style. Weaving together aesthetics and phenomenology, Capra shows that just as horror can rupture the fabric of everyday life, so too can it rupture the fabric of a literary text.