Farewell to the classical: Excavations in modernism

Modernism - Modernity

Volumn 11, Issue 1, 2004, Pages 37-53

  Jusdanis, Gregory ^a  

^a OHIO STATE UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 50349086545     PISSN: 10716068     EISSN: 10806601     Source Type: Journal    
DOI: 10.1353/mod.2004.0013     Document Type: Article

References (39)

1. Rose Macaulay, Pleasure of Ruins (London: Weidenfeld and Nicolson, 1953), 146-7.
2. On the relationship between nationalism and archaeology see Jeanette Greenfield, The Return of Classical Treasures (New York: Cambridge University Press, 1989);
3. Neil Asher Silberman, Between Past and Present: Archaeology, Ideology, and "Nationalism in the Modern Middle East (New York: Henry Holt, 1989);
4. and Bruce G. Trigger, "Romanticism, Nationalism, and Archaeology," in Nationalism, Politics, and, the Practice of Archaeology, ed. Philip L. Kohl and Clare Fawcett (New York: Cambridge University Press, 1995).
5. Angelike Kokkou, I Merimna gia tis Archeotetes stin Hellada kai ta Prota Mouseia (Athens: Hermes, 1977), 18. Many Greeks pray for the return of the most famous treasures, such as the Parthenon Marbles housed in the British Museum. Nicholas Flokos's comic novel, Nike, relates the quixotic plans hatched up by its hapless hero, Photi, to rescue the Winged Victory of Samothrace displayed in the grand staircase of the Louvre since 1863. "We have with France, you see, an unsettled score. Repatriation. Bring back our winged one, bring her home." Nike. A Romance (Boston: Houghton Mifflin, 1998), 4.
6. Kokkou, I Merimna, 32.
7. Eleni Bastea, The Creation of Modern Athens: Planning the Myth (New York: Cambridge University Press, 2000), 123, 103.
8. Jonah Siegel, Desire, and Excess: The Nineteenth-Century Culture of Art (Princeton, N.J.: Princeton University Press, 2000), 277.
9. On this topic, see Liana Giannakopoulou, "Perceptions of the Parthenon in Modern Greek Poetry," Journal of Modern Greek Studies 20, no. 2 (2002): 241-72;
10. and Alexandras Argyriou, "The Parthenon in the Consciousness of Modern Greek Poets and Thinkers," in The Parthenon and, Its Impact in Modern Times, ed. Panayiotis Tournikiotis (Athens: Melissa Publishing, 1996).
11. Bruce G. Trigger, A History of Archaeological Thought (New York: Cambridge University Press, 1989), 39.
12. Georgios Seferis, Piimata, 7th ed. (Athens: Ikaros, 1977), 239.
13. Seferis, Piimata, 46.
14. Vassilis Lambropoulos, "Classics in Ferformance," Journal of Modern Greek Studies 20, no. 2 (2002): 194.
15. Trigger, Archaeological Thought, 31.
16. On classicism in late Byzantium, particularly that of Georgios Gemistos Plethon, see C. M. Woodhouse, George Gemistos Plethon: The Last of the Hellenes (Oxford: Clarendon Press, 1986).
17. Johann Joachim Winckelmann, Reflections on the Imitation of Greek Works in Painting and Sculpture, trans. Elfriede Heyer and Roger C. Norton (1755; La Salle, Ill.: Open Court, 1987), 33.
18. Nikolaus Himmelmann, Utopische Vergangenheit: Archaeologie und moderne Kultur (Berlin: Gebr. Mann, 1976), 43.
19. On the barbarians, see J. P. V. D. Balsdon, Romans and Aliens (Chapel Hill: The University of North Carolina Press, 1979);
20. Barry Cunliffe, Greeks, Romans, and Barbarians: Spheres of Interaction (New York: Methuen, 1988);
21. and François Hartog, The Mirror of Herodotus: The Representation of the Other in the Writing of History, trans. Janet Lloyd (Berkeley: The University of California Press, 1988).
22. Winckelmann, Imitation, 5, 21.
23. Winckelmann, History of Ancient Art, trans. Alexander Gode (1764; New York: Ungar Publishing, 1968) 1/2:179.
24. James Whitley, The Archaeology of Ancient Greece (New York: Cambridge University Press, 2001), 32.
25. Suzanne L. Marchand, Down from Olympus: Archaeology and Philhellenism in Germany, 1750-1970 (Princeton, N.J.: Princeton University Press, 1996), xii. The display of sculptures and vases in museums and their subsequent reproduction as photographs lent a visual immediacy to the classical world, once available only to intrepid travelers.
26. Ian Morris, "Archaeologies of Greece," in Classical Greece: Ancient Histories and Modern Anthropologies, ed. Ian Morris (New York: Cambridge University Press, 1994), 26.
27. Stephen L. Dyson, "Complacency and Crisis in Late Twentieth-Century Archaeology," in Classics: A Discipline and Profession in Crisis, ed. Phyllis Culham and Lowell Edmunds (New York: University Press of America, 1989), 215.
28. See also Dyson, "The Role of Ideology and Institutions in Shaping Classical Archaeology in the Nineteenth and Twentieth Centuries," in Tracing Archaeology's Past: The Historiography of Archaeology, ed. Andrew L. Christenson (Carbondale: Southern Illinois University Press, 1989).
29. Argyriou, "The Parthenon," 342.
30. Kostis Palamas, Apanta (Athens: Biris, 1960), 5: 112-3.
31. See Giannakopoulou, "Perceptions."
32. Nicolas Calas, Graphi kai Fos (Athens: Ikaros, 1983), 23-4.
33. John Carey, The Intellectuals and the Masses: Pride and Prejudice Among the Literary Intelligentsia, 1880-1939 (New York: St. Martin's Press, 1992).
34. See also Gene H. Bell-Villada, Art for Art's Sake and Literary Life: How Politics and. Markets Helped Shape the Ideology and Culture of Aestheticism (Lincoln: University of Nebraska Press, 1996).
35. Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, trans. Harry Zohn (New York: Schocken Books, 1969).
36. On the controversy surrounding this acquisition see Calvin Tomkins, Merchants and Masterpieces: The Story of the Metropolitan Museum (New York: Henry Holt, 1989), 368-9.
37. Nikos Engonopoulos, Piimata (Athens: Ikaros, 1977), 1:11-2.
38. Artemis Leontis, Topographies of Hellenism: Mapping the Homeland (Ithaca, N.Y.: Cornell University Press, 1995), 116.
39. A. E. Stallings, Archaic Smile (Evansville, Ind.: The University of Evansville Press, 1999), 32.