Authors:Henry Stead Pages: 9 - 25 Abstract: The relationship between the study of Greek and Roman classics and European communism, particularly in the USSR and the Soviet bloc, has attracted increasing critical attention over the past decade. The international workshop in which the following articles were initially presented as papers was held online in October 2021. Hosted by the School of Classics, University of St. Andrews, and sponsored by the Classical Reception Studies Network, it aimed to explore further the conflicted and complex relationship between classics and communism, using the prism of the ambiguous or polysemic concept of proletarianism. What, after all, is “a proletarian classics”' PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.9-25 Issue No:Vol. 4, No. 2 (2022)
Authors:Eivind Heldaas Seland Pages: 29 - 45 Abstract: The Norwegian Arbeidernes leksikon, “Workers’ Encyclopedia,” was published in six volumes from 1931–1936. It was inspired by The Great Soviet Encyclopedia, explicitly aimed at working-class readers, and establishing an alternative to the hegemonic bourgeoise discourse. The editors and many of the contributors belonged to the Communist Party of Norway (NKP) and the independent communist intellectual organization Mot Dag (“Towards Dawn”). This article investigates the reception and representation of the ancient world in Arbeidernes leksikon based on selected articles through the lens of narrative theory. Classical education was traditionally the domain of the upper classes. It is argued that the Workers’ Encyclopedia demonstrates that reorienting the reception of ancient history was considered essential both to rewrite history according to Marxist doctrine and to establish workers’ culture as a full-fledged alternative to its bourgeoise counterpart. In the Workers’ Encyclopedia, the classical past is celebrated not for its empires and rulers but for the effort of the masses and their struggle for freedom. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.29-45 Issue No:Vol. 4, No. 2 (2022)
Authors:Vittorio Saldutti Pages: 47 - 67 Abstract: “The political form at last discovered under which to work out the economic emancipation of labor.” With these words, Marx described the Paris Commune of 1871. It “was formed of the municipal councillors, chosen by universal suffrage in the various wards of the town, responsible and revocable at short term […] a working, not a parliamentary body, executive and legislative at the same time.” The political tradition of the Commune was inherited by the Russian soviets and inspired Lenin, who explained the role of those governing bodies as a “reversion to primitive democracy.” Arthur Rosenberg, professor of Ancient History at Berlin University, tried in his book Democracy and Class Struggle in the Ancient World to offer historical ground for the ideas developed by Lenin in State and Revolution and compared ancient Athenian democracy to the contemporary German and Russian councils. During the 1920s, as a communist leader and MP, Rosenberg, recalling his ideas on Athenian democracy, criticized the political degeneration of the Russian workers’ State. He stressed how Soviet Russia, in limiting the power of the councils, had suppressed the governing body of socialist direct democracy. In his work Workers’ Councils, Dutch revolutionary Anton Pannekoek renewed Rosenberg’s criticism at the end of World War II, returning to the image of ancient democratic Athens as a forerunner of the socialist councils. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.47-67 Issue No:Vol. 4, No. 2 (2022)
Authors:Oleksii Rudenko Pages: 69 - 99 Abstract: Spartacus became one of the key figures of Soviet dramaturgy in the 1920s. He was presented as the only ancient predecessor of the Bolsheviks and his theatrical image significantly shaped the later icon of the gladiator as a brave leader of the oppressed masses and a hero acting in the name of the proletariat. This article explores the image of Spartacus in early Soviet theater and mass performance and outlines the correlation between the template of Spartacus’ portrayal, Raffaello Giovagnoli’s novel Spartaco (1874), and the first dramatic adaptations by Vladimir Mazurkevich (1920) and Vladimir Volkenstein (1921). The article examines the use of the ancient hero in Bolshevik propaganda and traces the ways in which Spartacus’ image morphs and maps onto wider shifts of Soviet political and cultural policy in the early decades of the USSR. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.69-99 Issue No:Vol. 4, No. 2 (2022)
Authors:Miryana Dimitrova Pages: 101 - 124 Abstract: Daga (the Bulgarian word for “rainbow”) was a Bulgarian comic magazine launched in 1979 and regularly published until 1992. Its remarkably westernized aesthetic greatly impacted an entire generation of readers. Included in its variety of stories (history, sci-fi, literary classics) is an action-packed account of Spartacus’ exploits. For ten consecutive issues (1979–1983), the story spanned the hero’s life from a more fanciful narrative of his early years in Thrace to the better-documented events in Italy and his death. The paper explores the plotline, characterization, and visual aspects of “Spartak” to reveal the eponymous hero’s significance for young Bulgarian readers in the 1980s. Drawing on the cultural and historical context, I argue that Spartacus was well suited to serve as a role model and a national hero by embodying the proletarian anti-imperialist struggle and also, notably, because of his supposed place of birth near the river Strimon in modern-day Bulgaria. I also look at examples of contemporary comics, including a new graphic novel based on Daga’s story published in 2020, and consider the transmutations of the hero to suit the post-communist (and anti-communist) ideological agenda, characterized by a departure from the proletarian image of Spartacus in favor of more conservative, aristocratic features. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.101-124 Issue No:Vol. 4, No. 2 (2022)
Authors:Scott Lyall Pages: 127 - 152 Abstract: The focus of this article is J. Leslie Mitchell’s Spartacus (1933), his fictional representation of the slave rebellion in ancient Rome led by the eponymous gladiator. The article begins by examining Mitchell’s contribution to debates over the role of the revolutionary writer in Left Review in the mid-1930s and his place in the British Left in this era, before going on to survey the ways in which the figure of Spartacus and the German Spartacists are represented across Mitchell’s oeuvre. It then explores key source material utilized in the writing of the novel, as well as outlining comparisons between Mitchell’s representation of Spartacus and those of his fellow novelists Howard Fast and Arthur Koestler. Including close readings of Spartacus and informed by archival research and previously unpublished manuscript items, the article argues that at the same time as denouncing the cruelties of Roman rule, Spartacus also signals Mitchell’s passionate opposition to what he considered the violent histories of oppression suffered by the commons of the earth of all times, culminating in the capitalist crisis of Mitchell’s own period in the 1930s. Mitchell creates this effect of historical simultaneity by writing a work of myth-history – as opposed to historical realism or political propaganda – that employs the utopian legend of the Golden Age to inspire radical dissent against modern deprivation. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.127-152 Issue No:Vol. 4, No. 2 (2022)
Authors:Barbara Goff Pages: 155 - 179 Abstract: The writer and activist Naomi Mitchison (1897–1999) came from a prominent establishment family but was a member of the Labour Party and the wife of a Labour MP. Her work was explicitly marked by the Russian Revolution, even when she wrote about antiquity. In the 1920s and 1930s, she produced a number of works of historical fiction set in ancient Greece and Rome, which were highly regarded at the time. The works use the canvas of antiquity to experiment with many forms of political and social radicalism, with a challenging focus on female sexuality. The article discusses four specific representations of revolution which mobilize female agency in ways that are themselves highly unconventional. However, these representations also invoke the Fraserian figure of the dying king who leads the revolution to disaster, compromising the revolutionary energy. This tension speaks to Mitchison’s own contradictory social positioning as a patrician radical. In 1972, however, the novel Cleopatra’s People revisits the theme and stages a more successful uprising. This novel is centered on the sacrificial queen instead of a king, it enlists a mass of people, and saves the revolution by hiding its key figures in Africa. During her final excursion into antiquity, Mitchison thus found a way to press history into useful service. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.155-179 Issue No:Vol. 4, No. 2 (2022)
Authors:Claudio Sansone Pages: 181 - 208 Abstract: This article traces Pasolini’s engagement with Aeschylus Oresteia and the concept of the “irrational,” through which he sought to excavate patterns of ideological resistance in the classical past. I argue that Pasolini’s translations and adaptations of Aeschylus ultimately failed to achieve his desired ambition to forward an Aeschylus fit for the proletariat, and whose words might spark new kinds of Marxist thought. However, there is value in reading into Pasolini’s practices and his reflections on his work. Acknowledging and parsing his affects of disappointment and resignation, the broader conceptual outlines of his ambitions become clearer as gestures of kind of “failed” classical reception – an attempt to turn the classics to new political ends. An analysis of this kind of failure teaches us broader theoretical lessons about what it might mean to perform a generative and politically fruitful appropriation of the classics, necessarily confronting the entrenched ideologies of the past and their tenacious ability to reproduce themselves even in the most unexpected literary and political contexts. The article engages with selections from Pasolini’s literary, personal, and political writings from the 1960s until his death – connecting his translations and adaptations of Aeschylus to other contemporaneous essayistic, novelistic, and cinematic projects. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.181-208 Issue No:Vol. 4, No. 2 (2022)
Authors:Natasha Remoundou Pages: 211 - 247 Abstract: Antigone’s afterlives in Ireland have always enacted critical gestures of social protest and mourning that expose the fundamental fragility of human rights caught up in the symbolic conflict between oppressors and oppressed. This paper seeks to explore the scope of rereading certain Irish figurations of Antigone – the exemplary text of European humanism – through a posthumanist lens that unveils new and radical understandings of modern injustices, legal fissures, and capitalist insinuations of an “inhuman politics” against proletarian minorities in twentieth-century Irish society in transnational contexts. The possibilities of a posthumanist theorization of Antigone at the intersection with gender, class, and human rights, reflect the connecting threads, political, aesthetic, and critical, between two texts: an early twentieth-century anonymous poem titled “The Prison Graves” dedicated to Irish human rights activist and revolutionary Roger Casement and an unpublished play-version of Antigone by Aidan C. Mathews in 1984, dedicated to René Girard. Written and produced as a critique of systematic institutional violence and neoliberal capitalist oppression during the epoch of the anti-revolutionary zeitgeist, the myth of Antigone shifts its dialectic from the nationalist nostalgia of “The Prison Graves” to the play-version of the Cold War era to reciprocate a counter-protest against the passing of the Irish Justice Bill. Antigone is reimagined as a hypochondriac resident of the slums of the proletariat and a member of a degenerate acting troupe. Her classical (mythical), aristocratic (white, European, Western) figure has become a posthuman commodity: a proletarian actor now, she performs the same role for millennia in a post-nuclear contaminated prison state in Thebes/Dublin. Peteokles is a bourgeois-turned-rebel mediary; Polyneikes is remembered as a communist terrorist who has been airbrushed from the records of the police state; a bibliophile Ismene religiously reads Aleksandr Solzhenitsyn’s The Gulag Archipelago, and the Chorus is the real state oppressor. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.211-247 Issue No:Vol. 4, No. 2 (2022)
Authors:David Movrin Pages: 249 - 274 Abstract: About a year before the pandemic struck, personal archives of Anton Sovre (1885–1963) were rediscovered, and they eventually made their way to the National and University Library in Ljubljana. During the fifties, Anton Sovre was the undisputed éminence grise of the field of classics in Slovenia and among the new sources now available to researchers is an essay on “Perspective Development of Classical Philology” from 1959. The document was written in the tradition of the Five-Year Plans, and its rhetoric is often amusing. Its content, however, was written mainly by Sovre’s best student. At that time, Kajetan Gantar (1930–2022) had already defended his PhD thesis on Homer. Due to political reasons, he was initially blocked from getting a university position. However, the situation changed somewhat during the thaw in the sixties, when he could finally get the position of lecturer, and he eventually became the leading classical scholar and translator in the country and Sovre’s successor. His proposal for the future of the discipline shows strategic thinking, which was confirmed by the decades that followed. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.249-274 Issue No:Vol. 4, No. 2 (2022)
Authors:Elżbieta Olechowska Pages: 277 - 296 Abstract: There were few Marxist sympathizers among Polish classicists decimated during World War II. How they fared during the tense and uncertain first postwar decade depended on their Communist connections and personality. Kazimierz Majewski (1903–1981), a classicist from Lviv, commanded quasi-universal respect in the academic community – despite his Communist views – because of his scholarly, organizational, and didactic achievements. Tasked with organizing and inaugurating a new Polish University in Wrocław in 1945, he contributed to creating three thriving classical departments – philology, ancient history, and archaeology – a scholarly society, academic journals, and a vibrant academic community. When he moved to Warsaw four years later, he founded an institute for material culture, developed a multidisciplinary research team, and launched within the Soviet bloc two major archaeological excavation projects, in Olbia and in Novae, where generations of archaeologists learned how to perform fieldwork and communicate its results internationally through regular publications and cooperation. Through his Party connections, he protected and ensured support for colleagues less fortunate in this respect. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.277-296 Issue No:Vol. 4, No. 2 (2022)
Authors:Adrian Szopa, Andrzej Gillmeister, Elżbieta Olechowska Pages: 303 - 307 Abstract: A summary of an interview conducted by Adrian Szopa and Andrzej Gillmeister on April 22, 2016, in the cycle “Conversations with Mentors,” sponsored by the Centre for Film Documentation of Polish Scholarship, Pedagogical University of Kraków and the Polish Society of Ancient Studies. Available online at the Oral History Archive of the Polish Society for Ancient Studies (SHS). PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.303-307 Issue No:Vol. 4, No. 2 (2022)
Authors:Adrian Szopa, Andrzej Gillmeister, Elżbieta Olechowska Pages: 311 - 318 Abstract: A summarized fragment of an interview conducted on April 22, 2016, as an installment of the cycle “Conversations with Mentors,” sponsored by the Centre for Film Documentation of Polish Scholarship, Pedagogical University of Kraków and the Polish Society of Ancient Studies. Available online at the Oral History Archive of the Polish Society for Ancient Studies (SHS). The summary covers only Prof. Wipszycka’s biography until the change of regime. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.311-318 Issue No:Vol. 4, No. 2 (2022)
Authors:Anja Božič Pages: 323 - 340 Abstract: Toward concordia: Dialogue and Poetry. – The question whether the governance and autonomy of medieval and early modern cities and the participation of their citizens in communal affairs may gesture toward a form of communal self-governance or it is yet another form of the rule of the privileged has re-emerged with new answers in recent scholarship. It was also one of the topics of the lecture series, Urban Governance and Civic Participation in Words and Stone, as part of which Prof. Ferenc Hörcher also gave a talk. Although the following interview is based primarily on Prof. Hörcher’s lecture, the discussion joyfully meandered through a number of other, fascinating topics, like the value of philosophical dialogue vis-a-vis debate, the literary figure of the flaneur, the political ideas of Dante and the philosophical potential of poetry. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.323-340 Issue No:Vol. 4, No. 2 (2022)
Authors:Ksenija Rozman Pages: 351 - 355 Abstract: The first excursion to Greece for classicists after World War II – and likely the first one since the university was established in 1919 – was devised by Professor Milan Grošelj for his classical seminar in 1958. Those were the years when every effort was made to eliminate classical gymnasia in Slovenia, and they were eventually abolished in 1958. However, we, the students of those days, still considered ourselves fortunate. Our professors were professionally sound; they took their calling seriously and were aware that they were not merely experts but also teachers and educators. Therefore, the excursions were a serious matter, far from merely fun and charming trips. PubDate: 2022-12-23 DOI: 10.4312/clotho.4.2.351-355 Issue No:Vol. 4, No. 2 (2022)
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