Page DuBois – författare

Sappho's poetry, dating from the seventh century BC, comes to us in fragments, her biography as speculation. How is it then that this poet has come to signify so much? This study offers a different reading of the archaic lesbian poet that acknowledges the poet's distance and difference from us, whilst at the same time stresses Sappho's inassimilability into our narratives about the Greeks, literary history, philosophy, the history of sexuality, the psychoanalytic subject. The author reads Sappho as a disruptive figure at the very origin of the story of Western civilization. Sappho is beyond contemporary categories, inhabiting a space outside of reductively linear accounts of our common history. She is a woman, but also an aristocrat, a Greek, but one turned toward Asia, a poet who writes as a philosopher before philosophy, a writer who speaks of sexuality that can be identified neither with Michel Foucault's account of Greek sexuality, nor with many versions of contemporary lesbian sexuality. She is named as the tenth muse, yet the nine books of her poetry survive only in fragments.She questions many certitudes in the history of poetry, the history of philosophy, the history of sexuality. The work argues that the reader needs to read Sappho again.

Sappho's poetry, dating from the seventh century BC, comes to us in fragments, her biography as speculation. How is it then that this poet has come to signify so much? This study offers a different reading of the archaic lesbian poet that acknowledges the poet's distance and difference from us, whilst at the same time stresses Sappho's inassimilability into our narratives about the Greeks, literary history, philosophy, the history of sexuality, the psychoanalytic subject. The author reads Sappho as a disruptive figure at the very origin of the story of Western civilization. Sappho is beyond contemporary categories, inhabiting a space outside of reductively linear accounts of our common history. She is a woman, but also an aristocrat, a Greek, but one turned toward Asia, a poet who writes as a philosopher before philosophy, a writer who speaks of sexuality that can be identified neither with Michel Foucault's account of Greek sexuality, nor with many versions of contemporary lesbian sexuality. She is named as the tenth muse, yet the nine books of her poetry survive only in fragments.She questions many certitudes in the history of poetry, the history of philosophy, the history of sexuality. The work argues that the reader needs to read Sappho again.

Page duBois, a classicist known for her daring and originality, turns in this book to one of the most troubling subjects in the study of antiquity: the indispensability of slaves in ancient Greece. DuBois here explores both the material culture of slavery as well as its representation in literature. Specifically, she considers the place of slaves in Plato's "Meno", Aristotle's "Politics", Aesop's "Fables", Aristophanes' "Wasps", and Euripides' "Orestes". She contends throughout that portraying the difference between slave and free as natural was pivotal to Greek concepts of selfhood and political freedom.

Page duBois, a classicist known for her daring and originality, turns in this book to one of the most troubling subjects in the study of antiquity: the indispensability of slaves in ancient Greece. DuBois here explores both the material culture of slavery as well as its representation in literature. Specifically, she considers the place of slaves in Plato's "Meno", Aristotle's "Politics", Aesop's "Fables", Aristophanes' "Wasps", and Euripides' "Orestes". She contends throughout that portraying the difference between slave and free as natural was pivotal to Greek concepts of selfhood and political freedom.

Considers how ancient Greek comedy offers a model for present-day politics.  With Democratic Swarms, Page duBois revisits the role of Greek comedy in ancient politics, considering how it has been overlooked as a political medium by modern theorists and critics. Moving beyond the popular readings of ancient Greece through the lens of tragedy, she calls for a revitalized look at Greek comedy. Rather than revisiting the sufferings of Oedipus and his family or tragedy’s relationship to questions of sovereignty, this book calls for comedy—its laughter, its free speech, its wild swarming animal choruses, and its rebellious women—to inform another model of democracy.  Ancient comedy has been underplayed in the study of Greek drama. Yet, with the irrepressible energy of the comic swarm, it provides a unique perspective on everyday life, gender and sexuality, and the utopian politics of the classical period of Athenian democracy. Using the concepts of swarm intelligence and nomadic theory, duBois augments tragic thought with the resistant, utopian, libidinous, and often joyous communal legacy of comedy, and she connects the lively anti-authoritarianism of the ancient comic chorus with the social justice movements of today.

In Centaurs and Amazons, Page duBois offers a prehistory of hierarchy. Using structural anthropology, symbolic analysis, and recent literary theory, she demonstrates a shift in Greek thought from the fifth to the fourth century B.C. that had a profound influence upon subsequent Western culture and politics.Through an analysis of mythology, drama, sculpture, architecture, and Greek vase painting, duBois documents the transition from a system of thought that organized the experience of difference in terms of polarity and analogy to one based upon a relatively rigid hierarchical scheme. This was the beginning of "the great chain of being," the philosophical construct that all life was organized in minute gradations of superiority and inferiority. This scheme, in various guises, has continued to influence philosophical and political thought.The author's intelligent and discriminating use of scholarship from various fields makes Centaurs and Amazons an impressive interdisciplinary study of interest to classicists, feminist scholars, historians, art historians, anthropologists, and political scientists.

The iconoclast of Classics, Page duBois refuses to act as border patrol for a sometimes fiercely protected traditional discipline. Instead, she incorporates insights from postcolonial, psychoanalytic, and postmodern theories into her nuanced close readings of ancient Greek texts. Contemporary theory and ancient texts are mutually transformed in the process. Out of Athens sets ancient Greek culture next to the global ancient world of Vedic India, the Han dynasty in China, and the empires that survived Alexander the Great. DuBois also extends the range of classical studies through illuminating transhistorical juxtapositions—ancients brush elbows with Colette as she performs as a mummy at the Moulin Rouge, or with Kirk Douglas as he appears on the silver screen as Spartacus. She reads the poetry of Sappho, the tattooed body of the sage Epimenides, as well as Athenian tragedy, Buddhist texts set in a post-Alexandrian Bactria, alongside the work of Judith Butler and Alain Badiou. Page duBois establishes a daring agenda for the next generation of Classicists and, for both the intimate friend of Greek texts and the freshly arrived reader, makes ancient Greeks new.

Many people worship not just one but many gods. Yet a relentless prejudice against polytheism denies legitimacy to some of the world’s oldest and richest religious traditions. In her examination of polytheistic cultures both ancient and contemporary—those of Greece and Rome, the Bible and the Quran, as well as modern India—Page duBois refutes the idea that the worship of multiple gods naturally evolves over time into the “higher” belief in a single deity. In A Million and One Gods, she shows that polytheism has endured intact for millennia even in the West, despite the many hidden ways that monotheistic thought continues to shape Western outlooks.In English usage, the word “polytheism” comes from the seventeenth-century writings of Samuel Purchas. It was pejorative from the beginning—a word to distinguish the belief system of backward peoples from the more theologically advanced religion of Protestant Christians. Today, when monotheistic fundamentalisms too often drive people to commit violent acts, polytheism remains a scandalous presence in societies still oriented according to Jewish, Christian, and Muslim beliefs. Even in the multicultural milieus of twenty-first-century America and Great Britain, polytheism finds itself marginalized. Yet it persists, perhaps because polytheism corresponds to unconscious needs and deeply held values of tolerance, diversity, and equality that are central to civilized societies.

A passionate reexamination of the ancient world and the lessons we can draw from antiquityIn today's turbulent cultural moment, it is all too common for conservatives to invoke the wisdom of the ancient Greeks in the name of timeless virtues. At the same time, critics have charged that multiculturalists have hopelessly corrupted the study of antiquity itself, and that the teaching of Classics is dead.Trojan Horses is Page duBois's answer to scholars and theorists—such as Camille Paglia, Allan Bloom, and William Bennett—who have appropriated antiquity in the service of a conservative political agenda. She challenges cultural conservatives' appeal to the authority of the Classics by revealing their presentation of ancient Greece as simplistic, ahistorical, and irreparably distorted by their politics. In its devastating critique of these pundits, Trojan Horses presents a more complex and more accurate view of ancient Greek politics, sex, and religion. In her incisive examinations of figures such as Daedalus and Artemis, duBois eloquently conveys their complexity and passion, but also unearths actions and beliefs that do not square so easily with today's conservative values. As duBois writes, "Like Bennett, I think we should study the past, but not to find nuggets of eternal wisdom. Rather we can comprehend in our history a fuller range of human possibilities, of beginnings, of error, and of difference."In these chapters, duBois offers readers a view of the ancient Greeks that is more nuanced, more subtle, more layered and in every way more historical than the portrait many of today's scholars strive to display in our classrooms. Sharp, timely, and engaging, Trojan Horses portrays the richness of ancient Greek culture while riding in to rescue the Greeks from the new barbarians.

First published in 1991, this book — through the examination of ancient Greek literary, philosophical and legal texts — analyses how the Athenian torture of slaves emerged from and reinforced the concept of truth as something hidden in the human body. It discusses the tradition of understanding truth as something that is generally concealed and the ideas of ‘secret space’ in both the female body and the Greek temple. This philosophy and practice is related to Greek views of the ‘Other’ (women and outsiders) and considers the role of torture in distinguishing slave and free in ancient Athens. A wide range of perspectives — from Plato to Sartre — are employed to examine the subject.

First published in 1991, this book — through the examination of ancient Greek literary, philosophical and legal texts — analyses how the Athenian torture of slaves emerged from and reinforced the concept of truth as something hidden in the human body. It discusses the tradition of understanding truth as something that is generally concealed and the ideas of ‘secret space’ in both the female body and the Greek temple. This philosophy and practice is related to Greek views of the ‘Other’ (women and outsiders) and considers the role of torture in distinguishing slave and free in ancient Athens. A wide range of perspectives — from Plato to Sartre — are employed to examine the subject.

Sappho has been constructed as many things: proto-feminist, lesbian icon and even - by the Victorians - chaste headmistress of a girls' finishing school. Yet ironically, as Page DuBois shows, the historical poet herself remains elusive. We know that Sappho's contemporary Alcaeus described her as 'violet, pure, honey-smiling Sappho'; and that the rhetorician and philosopher Maximus of Tyre saw her, perhaps less enthusiastically, as 'small and dark'. We also know that her 7th/6th century BCE island of Lesbos was riven by tyrannical and aristocratic factionalism and that she was probably exiled to Sicily. Much of the rest is speculative. DuBois suggests that the value of Sappho lies elsewhere: in her remarkable verse, and in the poet's reception - one of the richest of any figure from antiquity. Offering nuanced readings of the poems, written in an archaic Aeolic dialect, DuBois skillfully draws out their sharp images and rhythmic melody. She further discusses the exciting discovery of a new verse fragment in 2004, and the ways in which Sappho influenced Catullus, Horace and Ovid, as well as later writers and painters.

'Life, liberty and the pursuit of happiness' is perhaps the most famous phrase of all in the American Declaration of Independence. Thomas Jefferson's momentous words are closely related to the French concept of 'liberte, egalite, fraternite'; and both ideas incarnate a notion of freedom as inalienable human right that in the modern world we expect to take for granted. In the ancient world, by contrast, the concepts of freedom and equality had little purchase. Athenians, Spartans and Romans all possessed slaves or helots (unfree bondsmen), and society was unequal at every stratum. Why, then, if modern society abominates slavery, does what antiquity thought about serfdom matter today? Page duBois shows that slavery, far from being extinct, is alive and well in the contemporary era. Slaves are associated not just with the Colosseum of ancient Rome but also with Californian labour factories and south Asian sweatshops, while young women and children appear increasingly vulnerable to sexual trafficking. Applying such modern experiences of bondage (economic or sexual) to slavery in antiquity, the author explores the writings on the subject of Aristotle, Plautus, Terence and Aristophanes.She also examines the case of Spartacus, famous leader of a Roman slave rebellion, and relates ancient notions of liberation to the all-too-common immigrant experience of enslavement to a globalized world of rampant corporatism and exploitative capitalism.