Classics in Theory Series – serie

Epistemic Impressions advances a new history of image-making and art-text relations in classical antiquity. Moving away from a focus on imitation (mimēsis), it looks instead to the concept of the seal-impression (typos), which played a vital role in ancient philosophies of mind: seals were 'epistemic objects' in that they informed complex thinking about the relationship between form, matter, and medium. As an indexically produced image, the typos offered Greek thinkers a model of sense perception and knowledge transmission grounded in material processes of engraving and stamping, which were closely related to those of sculptural moulding and casting (plastikē). In turn, these had a profound influence on concepts of truth, representation, and replication, offering a materially embedded ontology of the image that has far-reaching implications for our understanding of Graeco-Roman aesthetics. Drawing on theories of media, Verity Platt explores how the concept of impressing (typōsis) was especially significant for literary engagements with artworks, informing Greek models of intermediality from archaic poetry to imperial Greek prose and early Christian exegesis. Advancing an 'object-oriented' approach that dislodges the trope of ekphrasisin favour of embodied processes of making, the book focuses on Hellenistic epigram, an especially medium-conscious genre, offering new readings of poems by the third-century BCE poet Posidippus, who drew on practices of engraving, stamping, and casting in his epigrams on precious gems (Lithika) and bronze statuary (Andriantopoiika). Posidippus' sophisticated engagement with materiality is set within the longer history of intermedial relations in ancient epigram, as these unfold through the Greek Anthologyin dialogue with shifting approaches to image-making and transmission under the Roman Empire and in early Byzantium. As a prehistory of analogue modes of reproduction (and thus the concept of 'type'), Epistemic Impressions demonstrates how, just as many ancient concerns with the visual may seem surprisingly modern, so many modern preoccupations are in fact more ancient than we might presume.

The volume studies, from different perspectives, the relationship between ancient thought and biopolitics, that is, theories, discourses, and practices in which the biological life of human populations becomes the focal point of political government. It thus continues and deepens the critical examination, in recent literature, of Michel Foucault's claim concerning the essentially modern character of biopolitics. The nine contributions comprised in the volume explore and utilize the notions of biopolitics and biopower as conceptual tools for articulating the differences and continuities between antiquity and modernity and for narrating Western intellectual and political history in general. Without committing itself to any particular thesis or approach, the volume evaluates both the relevance of ancient thought for the concept and theory of biopolitics and the relevance of biopolitical theory and ideas for the study of ancient thought. The volume is divided into three main parts: part I studies instances of biopolitics in ancient thought; part II focuses on aspects of ancient thought that elude or transcend biopolitics; and part III discusses several modern interpretations of ancient thought in the context of biopolitical theory.

Plato and the Metaphysical Feminine offers a new interpretation of the role of the female and the feminine in Plato's political dialogues--the Republic, Laws, and Timaeus--informed by Deleuze's film theory and Irigaray's psychoanalytic feminism. Irene Han reads Plato against the grain in order to close the gap between the vitalists and Plato, instead of magnifying their differences. Han explores the ambivalence that the vitalist tradition, Irigaray, and Derrida have towards Platonism. The application of Deleuzian and Irigarayan concepts to the ancient texts produces a new reading of Plato, focusing on the centrality and importance of motion, change, sensuality, and becoming to Platonic philosophy and, thereby, reinterprets Platonic philosophy in the direction of Heraclitus rather than Parmenides: as feminist rather than masculinist, and as mimetic. It therefore prioritizes Heraclitean principles of movement and flux over Form, the feminine over masculine, and materiality, feeling, or sensation over abstraction and universal essence. Han's exploration illustrates how, in Plato's thought, the feminine maps itself onto the plane of phenomena--a plane associated with vitalist themes such as motion, tactility, and change (metabolē). Platonic metaphysics is recontextualized by illustrating how Being expresses itself through processes of (feminine) becoming. With this reformulation, the resulting account of Platonic Being destabilizes any purported Platonic dualism.

The topic of force has long remained a problem of interpretation for readers of Homer's Iliad, ever since Simone Weil famously proclaimed it as the poem's main subject. This book seeks to address that problem through a full-scale treatment of the language of force in the Iliad from both philological and philosophical perspectives. Each chapter explores the different types of Iliadic force in combination with the reception of the Iliad in the French intellectual tradition. Ultimately, this book demonstrates that the different terms for force in the Iliad give expression to distinct relations between self and "other." At the same time, this book reveals how the Iliad as a whole undermines the very relations of force which characters within the poem seek to establish. Ultimately, this study of force in the Iliad offers an occasion to reconsider human subjectivity in Homeric poetry.

The Art of Complicity in Martial and Statius examines the relationship between politics and aesthetics in two poets from the reign of Domitian. Gunderson offers a comprehensive overview of the Epigrams of Martial and the Siluae of Statius. The praise of power found in these texts is not something forced upon these poems, nor is it a mere appendage to these works. Instead, power and poetry as a pair are a fundamental dyad that can and should be traced throughout the two collections. It is present even when the emperor himself is not the topic of discussion. In Martial the portrait of power is constantly shifting. Poetic play takes up the topic of political power and 'plays around with it'. The initial relatively sportive attitude darkens over time. Late in the game we have ecstasies of humiliation. After Domitian dies the project tries to get back to the old games, but it cannot. Statius' Siluae merge the lies one tells to power with the lies of poetry more generally. Poetic mastery and political mastery cannot be dissociated. The glib, glitzy poetry of contemporary life articulates a radical modernism that is self-authorizing, and so complicit with a power whose structure it mirrors. What does it mean to praise praise poetry? To celebrate celebrations? Gunderson's discussion opens and closes with a meditation upon the dangers of complicit criticism and the seductions of a discourse of pure art in a world where the art is anything but pure.

Although metonymy has long been recognized as being a central device in poetic language, it has received little critical attention in its own right. Not only has this created a gap in literary analytical scholarship which needs to be addressed, but it has also allowed for problematic appropriations of metonymy as a critical concept now widely in use in structuralist studies across the humanities. Rethinking Metonymy is the first monograph to confront and resolve these issues. It advances the theory of poetic language by developing a ground-breaking new definition of metonymy on the basis of an evaluation of examples in Greek tragedy and lyric poetry, considering these in conjunction with examples from classicizing and Romantic German poetry for the purposes of illustration and comparison, including works by Goethe, Schiller, and Hölderlin. In addition to establishing the fundamental principle, different conformations, and aesthetic effects of this important poetic device, the volume also demonstrates how the new arguments it offers have the potential to set an agenda for far-reaching reconsiderations in literary studies and beyond. It mobilizes analytical insights into the inner workings of metonymy by examining three case studies designed to explore the trope in critical practice, covering its role in creating a 'hellenizing' style, what happens to it in 'classic' German translations of Aeschylus' Agamemnon, and critically re-assessing its modern re-appropriations as a structural-semiotic paradigm. Connecting classical perspectives with modern linguistic and literary theory, Rethinking Metonymy is a compelling and authoritative analysis that rehabilitates and brings much-needed clarity to an oft-neglected literary device. Its combination of in-depth engagement with classical literature and cross-cultural and cross-linguistic comparison makes it an invaluable resource not only to specialists in Greek poetry, but also to students and scholars engaged in literary analysis, translation criticism, and structuralist studies across a much wider range of disciplines.

Although metonymy has long been recognized as being a central device in poetic language, it has received little critical attention in its own right. Not only has this created a gap in literary analytical scholarship which needs to be addressed, but it has also allowed for problematic appropriations of metonymy as a critical concept now widely in use in structuralist studies across the humanities. Rethinking Metonymy is the first monograph to confront and resolve these issues. It advances the theory of poetic language by developing a ground-breaking new definition of metonymy on the basis of an evaluation of examples in Greek tragedy and lyric poetry, considering these in conjunction with examples from classicizing and Romantic German poetry for the purposes of illustration and comparison, including works by Goethe, Schiller, and Hölderlin. In addition to establishing the fundamental principle, different conformations, and aesthetic effects of this important poetic device, the volume also demonstrates how the new arguments it offers have the potential to set an agenda for far-reaching reconsiderations in literary studies and beyond. It mobilizes analytical insights into the inner workings of metonymy by examining three case studies designed to explore the trope in critical practice, covering its role in creating a 'hellenizing' style, what happens to it in 'classic' German translations of Aeschylus' Agamemnon, and critically re-assessing its modern re-appropriations as a structural-semiotic paradigm. Connecting classical perspectives with modern linguistic and literary theory, Rethinking Metonymy is a compelling and authoritative analysis that rehabilitates and brings much-needed clarity to an oft-neglected literary device. Its combination of in-depth engagement with classical literature and cross-cultural and cross-linguistic comparison makes it an invaluable resource not only to specialists in Greek poetry, but also to students and scholars engaged in literary analysis, translation criticism, and structuralist studies across a much wider range of disciplines.

Greco-Roman antiquity is often presumed to provide the very paradigm of humanism from the Renaissance to the present. This paradigm has been increasingly challenged by new theoretical currents such as posthumanism and the "new materialisms", which point toward entities, forces, and systems that pass through and beyond the human and dislodge it from its primacy as the measure of things. Antiquities beyond Humanismseeks to explode the presumed dichotomy between the ancient tradition and the twenty-first century "turn" by exploring the myriad ways in which Greek and Roman philosophy and literature can be understood as foregrounding the non-human. Greek philosophy in particular is filled with metaphysical explanations of the cosmos grounded in observations of the natural world, while other areas of ancient humanistic inquiry - poetry, political theory, medicine - extend into the realms of plant, animal, and even stone life, continually throwing into question the ontological status of living and non-living beings. By casting the ancient non-human or more-than-human in a new light in relation to contemporary questions of gender, ecological networks and non-human communities, voice, eros, and the ethics and the politics of posthumanism, the volume demonstrates that encounters with ancient texts, experienced as both familiar and strange, can help forge new understandings of life, whether understood as physical, psychical, divine, or cosmic.

In the field of classical studies, the psychoanalytic construction of the unconscious is rarely regarded as a fruitful methodological concept. Commonly understood as a modern conceptual invention rather than the discovery of a psychic reality, the notion of the unconscious is often criticized as an anachronistic lens, one that ineluctably subjects ancient experience to modern patterns of thought. The Ancient Unconscious seeks to challenge this ambivalent theoretical disposition toward the psychoanalytic concept and reclaim the value of the unconscious as a methodological tool for the study of ancient texts by transforming our understanding of what the unconscious means, the way it operates, and how it relates to textual hermeneutics. It considers the debate over whether the ancients had an unconscious as an invitation to rethink the relationship between antiquity and modernity, investigating the meaning of textuality through contact between historical moments that have no priority under the law of chronology: associations and connections between the past and its future - including the present - belong to the sphere of the unconscious, which is primarily employed here in order to study the inherent, often hidden, links that bind modernity to classical antiquity and modern to ancient experiences. Drawing on an incisive examination of the complicated, often conflicted, relationship between classical studies and psychoanalytic theory, the volume aims to explain why the concept of the unconscious is in fact inseparable from, and crucial for, the study of the ancient text and, more generally, the methodology of classical philology.

According to the terms of Aristotle's Politics, to be alive is to instantiate a form of rule. In the growth of plants, the perceptual capacities and movement of animals, and the impulse that motivates thinking, speaking, and deliberating Aristotle sees the working of a powerful generative force come to expression in an array of forms of life, and it is in these, if anywhere, that one could find the resources needed for a philosophic account of the nature of life as such. Aristotle on the Concept of Shared Life explores this intertwining of power and life in Aristotle's thought, and argues that Aristotle locates the foundation of human political life in the capacity to share one's most vital activities with others. A comprehensive study of the relationality which shared life reveals tells us something essential about Aristotle's approach to human political phenomena; namely, that they arise as forms of intimacy whose political character can only be seen when viewed in the context of Aristotle's larger inquiries into animal life, where they emerge not as categorically distinct from animal sociality, but as intensifications of it. Tracing the human capacity to share life thus illuminates the interrelation between the zoological, ethical, and political lenses through which Aristotle pursues his investigation of the polis. In following this connection, this volume also examines — and critically evaluates — the reception of Aristotle's political thought in some of the most influential concepts of contemporary critical theory.

Inventing the Novel uses the work of the Russian philosopher Mikhail Bakhtin (1895-1975) to explore the ancient origins of the modern novel. The analysis focuses on one of the most elusive works of classical antiquity, the Satyrica, written by Nero's courtier, Petronius Arbiter (whose singular suicide, described by Tacitus, is as famous as his novel). Petronius was the most lauded ancient novelist of the twentieth century and the Satyrica served as the original model for F. Scott Fitzgerald's The Great Gatsby (1925), as well as providing the epigraph for T. S. Eliot's The Waste Land (1922), and the basis for Fellini Satyricon (1969). Bakhtin's work on the novel was deeply informed by his philosophical views: if, as a phenomenologist, he is a philosopher of consciousness, as a student of the novel, he is a philosopher of the history of consciousness, and it is the role of the novel in this history that held his attention. This volume seeks to lay out an argument in four parts that supports Bakhtin's sweeping assertion that the Satyrica plays an "immense" role in the history of the novel, beginning in Chapter 1 with his equally striking claim that the novel originates as a new way of representing time and proceeding to the question of polyphony in Petronius and the ancient novel.

Encounters with the Plague in Homer, Sophocles, and Thucydides explores three of the earliest, and most influential, accounts of plague visitations in Western literature: Homer's Iliad book 1 (1-487), Sophocles' Oedipus the King (esp. 1-215), and Thucydides' History of the Peloponnesian War book 2 (esp. 47.3-54). The question at the core of this study is how a destructive force within narrative becomes a creative force for narrative itself: both in terms of the formation of narrative and in narrative's encounter with its readers and spectators as the hosts that will ensure its dissemination and its survival through time. The three accounts of plague visitations under discussion matter as examples of a particular type of narrative event associated with crisis. In all three of them, the plague spreads through seemingly disparate but closely interconnected social, material, and technical networks: different linguistic domains, structures of narrative space and time, routes of knowledge and affect, and biological and socio-political bodies. Thematically, the plague is a disruptive force that breaks down distinctions between and across such networks. At the same time, however, it is also a generative force that shows the capacity of narrative to expose the heterogeneous parts of such networks and the complex interconnections within and between them. By emphasizing the disruptive, invasive force of such narratives, with their power to spread like epidemic disease, this book offers a way of thinking through the anxieties generated by exposure to technical and artistic skill.

In classical scholarship, the presence of legal language in love poetry is commonly interpreted as absurd and incongruous. Ovid's legalisms have been described as frivolous, humorous, and ornamental. Law and Love in Ovid challenges this wide-spread, but ill-informed view. Legal discourse in Latin love poetry is not incidental, but fundamental. Inspired by recent work in the interdisciplinary field of law and literature, Ioannis Ziogas argues that the Roman elegiac poets point to love as the site of law's emergence.The Latin elegiac poets may say 'make love, not law', but in order to make love, they have to make law. Drawing on Agamben, Foucault, and Butler, Law and Love in Ovid explores the juridico-discursive nature of Ovid's love poetry, constructions of sovereignty, imperialism, authority, biopolitics, and the ways in which poetic diction has the force of law. The book is methodologically ambitious, combining legal theory with historically informed closed readings of numerous primary sources. Ziogas aims to restore Ovid to his rightful position in the history of legal humanism. The Roman poet draws on a long tradition that goes back to Hesiod and Solon, in which poetic justice is pitted against corrupt rulers. Ovid's amatory jurisprudence is examined vis-à-vis Paul's letter to the Romans. The juridical nature of Ovid's poetry lies at the heart of his reception in the Middle Ages, from Boccaccio's Decameron to Forcadel's Cupido iurisperitus. The current trend to simultaneously study and marginalize legal discourse in Ovid is a modern construction that Law and Love in Ovid aims to demolish.

'Metalepsis' is a term from classical rhetoric, but in the twentieth century, it was re-framed more broadly as a crossing of the boundaries that separate distinct narrative worlds. This modern notion of metalepsis, introduced by Gérard Genette, has so far largely been theorized on the basis of examples from post-modern novels and films. Yet metalepsis has a much greater potential to address all sorts of transgressions between 'worlds' or 'levels', not only in post-modern but also pre-modern literature.This volume explores metalepsis in classical antiquity, considering questions such as: if metalepsis consists fundamentally in the breaking down of barriers, what sort of barriers and what sort of transgressions can the concept be fruitfully applied to? Can it be used within approaches other than narratology? Does metalepsis require recognisable levels of reality and fictionality, and if so, what role might be played by other planes, such as the past, the mythical or the divine? What form does metalepsis take in less obviously 'narrative' genres, such as lyric poetry? And how should it be understood in visual media? Reflecting on these questions sheds new light on important dynamics in ancient texts, and advances literary theory by probing how explorations of ancient metalepsis might change, refine, or extend our understanding of the concept itself.

This volume is four books in one: a monograph on Sarah Kofman; an exploration of the 'philosophy in-deed' group she formed with Jacques Derrida, Jean-Luc Nancy, and Philippe Lacoue-Labarthe; a study of ancient thought's reception in 20th-century France; and an exploration of the concept of life. It provides readings ranging across Kofman's work, including major works Nietzsche and the Philosophical Stage and Socrates: Fictions of a Philosopher. Much of this work is little-known in the Anglophone world. The book draws on a wealth of archival resources including correspondence running to hundreds of unpublished pages, as well as on Kofman's recorded interviews and the author's interviews with her contemporaries. The picture that emerges is of Kofman as an erudite yet provocative thinker. The forcefulness of her work carries us across unhelpful boundaries, starting with that between theory and philosophy. Kofman's thinking sees her engaging in myriad ways with questions of institutionality, worldhood, middleness, and life. Thus we see her vivid and thought-provoking work returning repeatedly to a learning to live at last, in ways that given her post-Holocaust trauma and death by suicide, are unexpected - yet still fully capable of speaking to us today.

Truth and Enjoyment in Cicero offers a fundamental re-examination of the relation between truth and enjoyment as understood in the traditional confrontation between rhetoric and philosophy in Cicero. His simultaneous advocacy of classical rationality and continued emphasis on the importance of performativity and enjoyment in language-on ratio as a desire (cupiditas) and force (vis) in the real-situates him at the crossroads of reason and the unconscious. Where the modern concept of truth abstracts truth from the subjective experience of speaker and hearer, for Cicero truth is inseparable from our experience of it, and it is precisely the possibility of their separation that he criticizes in works like De Oratore and De Re Publica where he seeks an ideal reconciliation between rhetoric and philosophy, truth and enjoyment. This book looks at the problem of enjoyment (jouissance) as central to understanding the differend between rhetoric and philosophy. Paul Allen Miller distinguishes "pleasure" from "enjoyment," with pleasure always being balanced by the constraints of the reality principle and hence always open to substitution and deferral. Jouissance, however, is a drive that leads beyond any utilitarian calculus, seeking a form of radical experience that can be both sublime and destructive. There has never been a psychoanalytic treatment of Cicero's philosophical works, and while we must beware of crude attempts to psychoanalyze a long-dead author, Freud's hermeneutic model can provide new insights into Cicero's investment in concepts of desire, the sublime, and the abject, as well as how these concepts undergird his understanding of rational appeals to his audience. The conflict between rhetoric and philosophy dates to at least the fifth century. It has often understood itself as a conflict between a discourse that speaks to desire and one that speaks to truth. In the Gorgias, the rhetor is compared to the pastry chef, while the philosopher is the doctor whose bitter gall leads to health. Cicero is situated at this nexus between these figures, and, as he has Crassus argue in De Oratore Book 3, we live a more destitute and impoverished existence since these functions of discourse, truth and desire, have been split apart. Miller offers the first psychoanalytic account of Cicero as a philosopher and rhetorician, bringing a fresh reading of five Cicero's major works during a crucial period of the Roman republic.

This book presents an innovative theoretical framework for exploring the intellectual culture of ancient Greece in the period 450–350 BC. The bewildering questions and surprising opportunities posed by emergent styles of ontological thinking at this time, about issues of being and becoming, of presence (what is or is not there for us), and about different modes of existence, moulded the divergent responses of figures such as Herodotus and Thucydides, Parmenides, Protagoras, and Democritus, as well as cultural practices such as tragedy, and the fiercely abstract thinking of the early Greek geometers and mathematicians. Many new ways of seeing were being created, and, with them, new objects and modes of inquiry. Taking its cue from the historical 'ontological turn' in the humanities, as seen in the work of, amongst others, Tristan Garcia, Ian Hacking, and Bruno Latour, it challenges existing narratives of the development of Greek thought that continue to reflect the metaphysical agenda created by Plato and Aristotle in the fourth century BC, responses those earlier thinkers could not have foreseen, and which can frequently be shown to be highly tendentious. Their texts are instead located in contemporary fields of sense that draw attention to details that suggest different lines of development, the traces of which can be detected even in receptions that are hostile. Dynamically linking ancient and modern thought, the book is accessible to a broad readership interested in how disciplines now taken for granted (including history, philosophy, anthropology, and mathematics) first emerged as distinct styles of inquiry.

Diotima at the Barricades argues that the debates that emerged from the burgeoning of feminist intellectual life in post-modern France involved complex, structured, and reciprocal exchanges on the interpretation and position of Plato and other ancient texts in the western philosophical and literary tradition. Paul Allen Miller shows how individual works of Anglo-American figures such as Toril Moi, Judith Butler, and Kaja Silverman, as well as movements such as queer theory, are rooted in feminist theoretical debates that began in the sixties in France and have continued right up to the present day. Miller demonstrates that French philosophy as represented by writers as diverse as Julia Kristeva, Hélène Cixous, Sarah Kofman, Jacques Lacan, Jacques Derrida, and Luce Irigaray have had a profound influence on literary, theoretical, and cultural studies in the Anglo-American world. He reveals that in order to understand the intellectual substructure of much of later Anglo-American critical theory, it is crucial to examine the development of post-modern French feminist thought in relation to its dialogue with antiquity. In modern feminism and post-structuralism, the ancient world, and Plato in particular, truly function as our theoretical unconscious.

Diotima at the Barricades argues that the debates that emerged from the burgeoning of feminist intellectual life in post-modern France involved complex, structured, and reciprocal exchanges on the interpretation and position of Plato and other ancient texts in the western philosophical and literary tradition. Paul Allen Miller shows how individual works of Anglo-American figures such as Toril Moi, Judith Butler, and Kaja Silverman, as well as movements such as queer theory, are rooted in feminist theoretical debates that began in the sixties in France and have continued right up to the present day. Miller demonstrates that French philosophy as represented by writers as diverse as Julia Kristeva, Hélène Cixous, Sarah Kofman, Jacques Lacan, Jacques Derrida, and Luce Irigaray have had a profound influence on literary, theoretical, and cultural studies in the Anglo-American world. He reveals that in order to understand the intellectual substructure of much of later Anglo-American critical theory, it is crucial to examine the development of post-modern French feminist thought in relation to its dialogue with antiquity. In modern feminism and post-structuralism, the ancient world, and Plato in particular, truly function as our theoretical unconscious.