Sappho (Ancients in Action)

Lachlan Mackinnon translated it in his collection Small Hours. More could come from that source. This latest poem emerges from elsewhere — an anonymous collector — and it is the scoop of Dr Dirk Obbink, a Classics fellow at Oxford, who when he saw it declared that it was by Sappho. They are written in her distinctive meter, with the long vowels of the Lesbian dialect.

In the poem Sappho chastises an audience for assuming Charaxos will return from a trading journey safely. Herodotus mentioned him, and Ovid picked up on his story, too.

Be part of the story

Crime writer with a slab of ice in his heart. TS Eliot Prize Here, as convincingly as possible, is a glimpse at the story the ancients knew — a story that has been lost since their time. This is exciting enough for antiquarians, but the question remains: What we have of Sappho has often survived because ancient critics and philologists quoted her, so that we have a word here and a line there.

This has a musical quality of its own: From this perspective, this postcard captures some of the discursive processes implicated in any attempt to convey, interpret, and naturalize the otherness of foreign, past or present, cultures.

Sappho and Phaon

It is this unwillingness to accept rewriting as an intrinsic constituent of any analytical process that often gives rise to lasting essentialized ideological or methodological approaches. In classical philology—defined as the study of texts in their original context, viewed always to a certain degree through the lenses of the textual work of Alexandrian Greek scholars—these approaches resist being superseded by newer paradigms, themselves methodological models not invulnerable to large-scale revision and modification.

Practices of rewriting and monumentalizing Greek antiquity into sometimes unnecessarily confident reconstructions of archaic realities have been explored in different parts of this book. Moving beyond the polar hermeneutic schema of original authorial past vs. By focusing on the densely layered loci of these stages of the shaping of Sappho and other archaic and classical song-makers, my investigation has aspired to eschew the hermeneutic linearity of historicizing approaches that attempt to reconstruct in aggressive detail the original context or intentions of her poetry while leaving aside the synchronic discursivity of ancient informants who mediate between the past of her authorial voice and the present of their recontextualizing practices.

The theoretic methodology proposed in this book attempts to demonstrate several main arguments. If we return to the current sporadic outlines of the ancient reception of Sappho—viewed as a unified conglomeration of miscellaneous images from distant periods susceptible to modern narrativization—we run the risk of casting into schematic oblivion the richness, cultural vibrancy, and, more importantly, the interdiscursivity of existing sources—ancient Greek, Roman, and medieval. However, in current reconstructions of her original context, a marked tendency exists to look askance in the wrong places.

Throughout this work, I argue that only through a plurality of investigations into the linguistic and cultural anthropology of sources and their broader sociopolitical discursive textures can scholarly advances be made with regard to how Sappho and her archaic world of social action might be viewed and written about in modern times.

1. Sappho (Ancients in Action) Marguerite Johnson: Bristol Classical Press.
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5. Chapter 5. In Search of Sappho’s Companions: Anthropological Fieldwork on Socioaesthetic Cultures?
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Once we shift our research focus to nexuses of synchronic ancient discursive idioms, mythopractical associations, and syntagmatic metonymies closely connected with the shaping and representation of her figure, the picture becomes more complex and our results concerning the original realities lurking behind the textual fragments of Sappho more historically grounded. Interesting questions surrounding late seventh-century Sappho remain: Was she perhaps a chorus leader in, or a poet for, archaic khoroi of young girls, a socioreligious initiator of some sort?

Was her performative medium choral or monodic a rather schematic understanding of performance in view of the arguments advanced in Chapter Four with regard to how we might want to conceptualize genre in archaic and classical Greece? Go to the page footer press enter. The State Hermitage Museum. Javascript is disabled in this browser.

5. In Search of Sappho’s Companions: Anthropological Fieldwork on Socioaesthetic Cultures

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