In any case, I also live in in West LA and the show was at the Greek Theater in Griffith Park, so, quite a schlep and I just didn’t want to get in the car and sit in rush hour traffic to get across town. I can’t do as much as I’m used to, and though my emotional states and energy levels have stabilized more they can still be pretty unpredictable, so I have been learning how to pace myself and to be okay with only being able to do one thing at a time for a while. It’s worth mentioning here that one thing that grief is forcing me to do is slow down. I taught earlier that day and then I went to the gym, and by the time evening rolled around I was just totally exhausted. Not just because of the fact that it was a date with him, but for practical reasons, too. ![]() In any case, that’s the decision I made and I had to work through all kinds of avoidance around actually showing up that night. So, I decided to just buy a new ticket, even though I’m sure the ticket he bought me would have been a much better seat. ![]() I didn’t even use the tickets he bought for us-for lots of reasons, including not wanting to have an empty seat next to me once I’d decided to go alone. Of the dates on the calendar, this is one of the only ones I decided to go alone even though Ed bought us two tickets. Like, I really, really didn’t want to go to the show that night. But the subject of this chapter is not that official propaganda: instead, it investigates how this same manner of painting was used to show the darker side of ancient history, one which was often connected with political opposition.This date took place on Thursday May 12th.ĭate #4: the Carla Morrison show at the Greek-or a lesson in capital “r” Romance. Within this historical frame, classical-revival paintings were commissioned by branches of government to convey the new identity of, and to celebrate, the new state. After unification, this concept was appropriated by the ruling class who needed to achieve in reality the unity of the country that had now been obtained on paper. The Italians who dreamed of and fought for an independent, unified country stressed the ancient roots, and therefore the pre-existence, of the Italian Nation. During the Risorgimento, ancient Rome played an important role in what has been called the ‘invention of tradition’. Contrary to the British and the French revivals - mostly interpreted as spreading the values of the bourgeoisie whilst appearing to remain politically neutral - the Italian classical revival had a strong political commitment. Paul, OUP (Classical presences Series): This chapter examines the classical revival in Italy, which started around 1860, shortly before the unification of the country as a kingdom. ![]() ![]() This is the last un-edited version of a chapter in the book 'Pompeii in the public imagination', ed. They offer reflections on the place of classicism in contemporary conflicts and debates over race and racism, and on the intersections between classicism, race, gender, and social status, demonstrating how the legacies of ancient Greece and Rome have been used to buttress racial hierarchies, but also to challenge racism and Eurocentric reconstructions of antiquity. The studies presented in this volume range across the anglophone, francophone, and hispanophone worlds, including literary studies of authors such as Derek Walcott, Marlene NourbeSe Philip, and Junot Díaz, biographical and historical studies, and explorations of race and classicism in the visual arts. From the aftermath of slavery up to the present day, black authors, intellectuals, and artists in the Atlantic world have shaped and reshaped the cultural legacies of classical antiquity in a rich variety of ways in order to represent their identities and experiences and reflect on modern conceptions of race, nation, and identity. The historical and cultural space of the Black Atlantic-a diasporic world of forced and voluntary migrations-has long provided fertile ground for the construction and reconstruction of new forms of classicism.
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