Intus habes quem poscis

Arweiler, Alexander; Möller, Melanie

doi:10.1515/9783110214017.33

Cited by 2 publications

(1 citation statement)

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“…The name of Itys is encrypted in the series of wailing sounds ἰώ ἰώ ἰτὼ ἰτὼ ἰτὼ ἰτὼ / ἴτω (iō iō itō itō itō itō / ítō), the last of which, with a minimal accent alteration, turns the avian ἰτώ (itō) into the imperative ἴτω (ítō) that gathers the multiplicity of birds and forms the new society. 34 This imperative, created by the accent's motion toward the word's beginning (the archē), functions 33 Eisō ("inside") -the stage direction that could be used of the position of Procne ("inside the skēnē) -corresponds to the Latin intus; on the pun between Itys's name and intus, see Feldherr (2008) and Oliensis (2009, 87). 34 The transition is effected by the quasi-imperceptible movement of the acute accent from the last syllable in the avian wailing sound (ἰτώ/itō) to the first one in the imperative (ἴτω/ítō).…”

Section: Cannibalistic Consensusmentioning

confidence: 99%

Resistant Form

Telò

2023

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Can attending to poetic form help us imagine a radical politics and bridge the gap between pressing contemporary political concerns and an ancient literature that often seems steeped in dynamics of oppression? The corpus of the fifth-century Athenian playwright Aristophanes includes some of the funniest yet most disturbing comedies of Western literature. His work’s anarchic experimentation with language invites a radically “oversensitive” hyperformalism, a formalistic overanalysis that disrupts, disables, or even abolishes a range of normativities (government, labor, reproduction, gender). Exceeding not just historicist contextualism, but also conventional notions of laughter and the logic of the joke, Resistant Form: Aristophanes and the Comedy of Crisis uses Aristophanes to fully embrace, in the practice of close or “too-close” reading, the etymological and conceptual nexus of crisis, critique, and literary criticism. These exuberant readings of Birds, Frogs, Lysistrata, and Women at the Thesmophoria, together with the first attempt ever to grapple with the comic style of critical theorists Gilles Deleuze, Achille Mbembe, and Jack Halberstam, connect Aristophanes with contemporary discourses of biopolitics, necrocitizenship, care, labor, and transness, and at the same time disclose a quasi- or para-Aristophanic mode in the written textures of critical theory. Here is a radically new approach to the literary criticism of the pre-modern – one that materializes the circuit of crisis and critique through a restless inhabitation of the becomings and unbecomings of comic form.

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Section: Cannibalistic Consensusmentioning

confidence: 99%