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8 results

  • BLINDNESS AS THE THRESHOLD BETWEEN LIFE AND DEATH IN SENECA'S OEDIPVS AND PHOENISSAE

  • Ricardo Duarte
  • Journal:
    The Classical Quarterly / Volume 71 / Issue 2 / December 2021
    Published online by Cambridge University Press:
    15 November 2021, pp. 707-720
    Print publication:
    December 2021

  • This article looks at the complexity of the thought processes that lead Seneca's Oedipus to choose the mors longa of blindness as punishment for his crime (in his blindness, he is to live in a kind of ostracism, separately from both the living and the dead). It offers an analysis of the consolation of this existence on the threshold between life and death, notably with reference to the end of the Oedipus, but also of the sorrow of this liminal existence. The latter is described in Seneca's Phoenissae, which suggests an escape, by death stricto sensu, from the threshold represented by blindness, by which Oedipus now feels trapped.

    By examining these three topics, the article shows how the threshold between life and death which Oedipus chooses at the end of Seneca's Oedipus and experiences in the Phoenissae mirrors the ambivalence and the errors of his life before he blinded himself. Ultimately, it also illustrates Oedipus’ continuing failure to achieve self-knowledge.

  • Chapter 1 - Contemporary British Poetry and Enigmaticalness

  • Antony Rowland, Manchester Metropolitan University
  • Book:
    Metamodernism and Contemporary British Poetry
    Published online:
    24 September 2021
    Print publication:
    07 October 2021, pp 24-41

  • Summary

    This chapter expands on Theodor Adorno’s account of the enigma in Aesthetic Theory in order to scrutinise further his paradox between the critical impulse and literature that does not ‘extinguish [its] enigmaticalness’. I explore the implications of this tension in relation to J. H. Prynne’s collection Acrylic Tips (2002), and its resistances towards signification. The difficulty of interpretation, I emphasise, is not coterminous with incomprehensibility. Subsequently, I analyse enigmatical poetics in examples of both mainstream and ‘innovative’ writing. Don Paterson’s ‘The Sea at Brighton’ from Landing Light (2003) contains moments of lyrical sublimity, but then pulls back from the ‘remainder’, distrusting any notion of ‘difficult’ poetry. In contrast, Geraldine Monk’s collection Ghosts & Other Sonnets(2008) emphasises the linguistic ‘clowning’ that Adorno laments will appear to some uninitiated readers of modern art as merely ridiculous verbiage.

  • Chapter 11 - Photography in Surrealism

  • from Part II - Developments: Practices/Cultures/Material Forms
  • Edited by Natalya Lusty, University of Melbourne
  • Book:
    Surrealism
    Published online:
    23 July 2021
    Print publication:
    12 August 2021, pp 208-223

  • Summary

    Photography played an increasingly significant role in surrealism in the 1920s and especially the 1930s, when the art form was becoming ever more popular across printed picture magazines and mass-media newspapers. During this time, the surrealists developed their own avant-garde uses of photography, turning it into both a surrealist art practice in its own right and as a means to represent the surrealist group and their interests. The chapter argues that the surrealists employed a diversity of photographic techniques and genres, and developed these in new ways, as demonstrated across their various activities in public forums, surrealist magazines, exhibitions and books. Since photography was situated clearly within the aims of the surrealist project, surrealist photography becomes both a reflection on and a means of constructing the images of their vision, desire, dreams and social ambitions, which were all too often at variance with the predominant social uses of photography.

  • 8 - The Battle of the Atlantic

  • Klaus H. Schmider
  • Book:
    Hitler's Fatal Miscalculation
    Published online:
    08 January 2021
    Print publication:
    28 January 2021, pp 427-483

  • Summary

    At first glance, the Battle of the Atlantic appears to be the arena of war most likely to provide a trigger for a German declaration of war on the USA. The US Navy had been establishing a presence in the eastern half of the North Atlantic with increasing assertiveness since April 1941 and even began escorting British convoys in mid-September 1941. Historians attempting to integrate these events into Hitler’s decision to declare war on the US fall into two different camps. One see in it an unavoidable reaction to the presence of US escorts who were stymying the efforts of his U-boats to get at the convoys, while other maintain the he was longing to unleash his submersibles at the vulnerable merchant traffic in US waters.

    I am now in a position to prove that neither was the case. US escorts only rarely had to prove their worth, because of the low number of convoy interceptions between July-December 1941 – a direct consequence of the rerouting of convoys thanks to the work done in Bletchley Park. Also, not a shred of evidence exists to suggest that either Raeder or Dönitz regarded patrols to the Americas as a missed opportunity.