Anyone done any work on Anais Mitchell’s Hadestown project?
It seems that there was some commentary in Syllecta Classica (which is on my To Be Read pile) but I know very little about Reception in music so I’m looking for some broad thoughts…
It is a ‘modern folk opera’ based on the Orpheus myth and I heard about it on the Radio; partly because, although it was started a while ago, she is planning a stage show which might eventually come to the UK.
I am hoping to actually sit down and listen soon but I would welcome thoughts from any classicists who’ve heard it or can offer some background on the various Orpheus poems/operas etc already out there.
Haverfield, Francis. 1912. [2nd ed.] The Romanization of Roman Britain Oxford: Clarendon Press
Hingley, Richard. 2008.The Recovery of Roman Britain 1586-1906: A Colony So Fertile Oxford: Oxford University Press
P. Ayres (1997) Classical Culture and the Idea of Rome in Eighteenth-Century England Cambridge University Press: Cambridge/New York
V. Hoselitz (2007)Imagining Roman Britain: Victorian Responses to a Roman Past Royal Historical Press/Boydell Press: Woodbridge
S. Stroh (2009) “The long shadow of Tacitus: Classical and modern colonial discourses in the eighteenth- and early-nineteenth-century Scottish Highlands,” in Transcultural English Studies: Theories, Fictions, Realities, F. Schulze–Engler & S. Helff. Rodopi: Amsterdam/Atlanta pp. 339-354.
Hobden, Fiona. 2009. ‘History meets fiction in Doctor Who, “The fires of Pompeii”: A BBC reception of ancient Rome on screen and online’Greece and Rome (Second Series) 56.2: 147-163 DOI: http://dx.doi.org/10.1017/S0017383509990015
Joshel, Sandra et al. 2001 Imperial projections: ancient Rome in modern popular culture Baltimore, Maryland: The Johns Hopkins University Press
S. Piggot (1989) Ancient Britons and the antiquarian imagination: ideas from the Renaissance to the Regency Thames and Hudson: London
S. Smiles (1994) The Image of Antiquity: Ancient Britain and the Romantic Imagination Yale University Press: New Haven CT/London
K. Trumpener (1997) Bardic Nationalism: The Romantic Novel and the British Empire Princeton University Press: Princeton NJ
On the individual books/authors
Bar-Yosef, Eitan. 2003. ‘E. Nesbit and the Fantasy of Reverse Colonialization: How Many Miles to Modern Babylon?’ English Literature in Transition 1880-1920 46.1: 5-28
Butler, Charles. 2006. Four British Fantasists: Place and Culture in the Children’s fantasies of Penelope Lively, Alan Garner, Diana Wynne Jones, and Susan Cooper Lanham MD: Scarecrow Press and Children’s Literature Association
Drout Michael D. C. 1997. ‘Reading the Signs of the Light: Anglo Saxonism, Education and Obedience in Susan Cooper’s the Dark is Rising’ The Lion and the Unicorn 21.2: 230-25
Rahn, Suzanne. 1985. ‘News from E. Nesbit: The Story of the Amulet and the Socialist Utopia’ English Literature in Transition 1880-1920 124-144
Rheimer, Mavis. 2006. ‘The beginning of the End: Writing Empire in E. Nesbit’s Psammead Books’ In E. Nesbit’s Psammead Trilogy: A Children’s Classic at 100. Ed. Raymond E. Jones. Lanham, MD, Toronto, and Oxford: Children’s Literature Association and Scarecrow Press, Inc pp. 39-62
Smith, Michelle. 2009. ‘E. Nesbit’s Psammead Trilogy: Reconfiguring Time, Nation and Gender’ English Literature in Transition 1880-1920 52.3: 298-311
Carroll, Jane S. 2011 Landscape in Children’s Literature New York, NY/Abingdon: Routledge
C. Butler & H. O’Donovan (2012) Reading History in Children’s Books Palgrave Macmillan: Basingstoke
V. Krips (2002) The Presence of the Past: Memory, Heritage, and Childhood in Postwar Britain Taylor and Francis e-publishing
So if you could go anywhere, anywhen and see anything what would you do?
What makes any particular location interesting? Is there a famous person you’d like to meet or observe, some aspect of your life you’d like to re-visit, a subject from school that has nagged at you either because there wasn’t enough information or because you thought it was wrong?
Do you want to change the past or learn something about it or yourself? What will you bring back with you to your life now? What, after all, is the point?
And what if you were going to write fiction about a time-period? Its not enough that you are interested in the subject matter but rather you have to know enough about it to make it convincing but not get so caught up in the details that it becomes overwhelming. Ideally your readers should already be broadly interested in the time-period but neither know so much about it as to get bored nor so so little as to be confused. And again what is the point – why that time period and not any other one? what is it about then that shows off the ideas you are bringing out?
Naturally, I tend to think that the ancient classical world offers an excellent setting for fiction. Apart from the obvious fact that we tend to define it rather loosely – it easily covers 1000 years (are we including Myceneans or Minoans? Is 476 the real fall of the Roman empire – what are you doing with the East?) and covers (at various times) from Britain to the Middle East with a chunk of North Africa thrown in – and that means there is plenty of scope for exploring, it is also something that many people are able to recognise and pick out stories from. Not only have chunks of its history and literature been traditionally taught in Western schools but it has also been absorbed into our culture in more subtle ways (such as architectural iconography and narrative tropes).
OK so far so obvious but actually it raises more questions for me:
Who chooses to write fiction about the classical world, especially to contrast it directly against their contemporary world? Is there a gender bias? a racial one?
Are some parts of the classical world more popular than others – what makes them so, their familiarity or shared themes (I tend to notice themes of imperialism everywhere so…)?
What do the characters learn? Is it the same as the readers?
How does the portrayal of the ancient world react to scholarship on the topic?
Does the immersive potential of fiction allow scholars to examine the past differently or do we simply partake in the wish-fulfilment?
So… as part of my ongoing thinking/research on the topic I want to collect examples.
I am focusing on time-travel and NOT historical fiction so there must be some element of the character(s) experiencing contrasting time periods but I don’t mind if thats by magic or a device and I am willing to be persuaded on what counts as the ‘classical’ world – if you have suggestions please add them to the comments.
Anyone have any suggestions for building a little bit of research and a little bit of writing into a weekly schedule that includes minimum 20hrs non-academic paid work, 8 hours volunteering, 6 hours housework, and a lot more procrastination and feeling sorry for oneself?
I am fairly busy in my personal life; working as usual, trying to help organise a beer festival, looking for work, volunteering & generally attempting to keep my shit together.
I did not, however, go to the Classical Association conference this year. I knew I wouldn’t/couldn’t afford to last August when I didn’t send in an abstract but that doesn’t mean I don’t feel the twang of regret.
Every day that passes I feel my academic life and credentials slip further away. In part it is because I haven’t been keeping up with my writing (soon I promise), but in part it is because I haven’t kept up with changes…
But…. Thank the daemons of the internet for Twitter. Without it I could not have followed panels of research at the biggest UK conference of its kind and found new things to investigate. Without it I would be totally cut off waiting for the open access journals to show up on Google and research to be made available through JSTOR from several years ago. Twitter gave me instant access to ideas and to people.
I know that (for many good reasons) people are nervous about the implications for their research, reputation and finances with regard to the broadcasting of their ideas online and I also know that the potential for misrepresentation in such a limited medium is very high but I can’t help feeling that the opportunities far outweigh the risks.
So, yes, I am still horrendously jealous that I couldn’t go and absorb information and ideas first hand. I feel lost without that spark and push of novelty but I am grateful that even when the money is far too tight and even if the social anxiety is far too crippling I don’t have to rot away because there are so many people generous enough to publish their interpretations in a way that reaches into my home and lets me think!
When I was in my teens the film “The Mummy” with Brendan Fraser came out. In it Rachel Weisz’s character whilst drunkenly assessing the turns her life has recently taken declares: “I am proud of what I am. […] I am….. a librarian”
This quickly became a kind of de facto motto for my small group of friends, our way of declaring that we might not be sporty, or the party-animals and cool kids and that we were ok with being thought of as the swots (this was way back before being a geek was cool). We even all took the chance to be school librarians when prefect allocation came up.
Later we went our separate ways to university and beyond; one of our group went to Aberystwyth to study Librarianship (although under which branch of information science I no longer remember) and I took the long slow road towards a doctorate. Being a librarian was something we did at school and I thought no more about it.
I have always been interested in a career in heritage. Mostly that has always been about working behind the scenes at museums and sites but more recently I have been thinking about archives.
Until quite recently I had never really thought about the difference between libraries and archives except that libraries have books (which sometimes you can take them away) and archives have original documents (which generally you can’t). I have only ever accessed letters and similar through libraries with archival holdings but when a job opportunity at a library came up at the same time as the possibility for volunteering at an archive I began to think about these things more carefully.
I didn’t get the job at the library in London – although I did enjoy the tour and the discussion of alternative cataloguing classification systems – but I have started volunteering at an Archive dedicated to Mills.
So far I have learnt the difference between smock mills and post mills, the usefulness of volunteer labour in donation record-keeping and the importance of context. It turns out that the really important distinction between archives and libraries is the notion of the preservation and curation of the context of the collection. I’m a long way from understanding the nuances yet but I am looking forward to seeing how getting into the depths of a collection changes my approaches to research.