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Revenge: A Story of Hope

Revenge: A Story of Hope 10:2 Copyright 2004 by Duke University Press Richard T. Neer, Style and Politics in Athenian Vase-Painting: The Craft of Democracy, circa 530–470 BCE (Cambridge: Cambridge University Press, 2002), 306 pp. Keats’s urn was an “unravish’d bride of quietness,” but she was of stone; her sisters of clay have lost their innocence and found their voices. They tell us —we must believe — of artists finding themselves in forms of self-portraiture, of the political ideology of a burgeoning democracy (without ever showing it at work); they are pictorially ambiguous. And we just thought the painters were decorating a semiluxury ware with those scenes of life and myth that might find a response in their buyers, often themselves barbarians far from Greece. Too simple by half, and, yes, they can tell us much more, more even than their makers had realized, although it is easy to imbue the painters with profound motives that, I think, they would never have recognized or even approved. “How does iconicity work?” At least our language is being enriched by neologisms en route to wisdom. —John Boardman Jacques Derrida and Maurizio Ferraris, A Taste for the Secret, trans. Giacomo Donis (Cambridge, U.K.: Polity Press, 2001), http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Common Knowledge Duke University Press

Revenge: A Story of Hope

Bar-On, Mordechai
Common Knowledge , Volume 10 (2) – Apr 1, 2004
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Publisher
Duke University Press
Copyright
Copyright 2004 by Duke University Press
ISSN
0961-754X
eISSN
1538-4578
DOI
10.1215/0961754X-10-2-366-a
Publisher site
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Abstract

10:2 Copyright 2004 by Duke University Press Richard T. Neer, Style and Politics in Athenian Vase-Painting: The Craft of Democracy, circa 530–470 BCE (Cambridge: Cambridge University Press, 2002), 306 pp. Keats’s urn was an “unravish’d bride of quietness,” but she was of stone; her sisters of clay have lost their innocence and found their voices. They tell us —we must believe — of artists finding themselves in forms of self-portraiture, of the political ideology of a burgeoning democracy (without ever showing it at work); they are pictorially ambiguous. And we just thought the painters were decorating a semiluxury ware with those scenes of life and myth that might find a response in their buyers, often themselves barbarians far from Greece. Too simple by half, and, yes, they can tell us much more, more even than their makers had realized, although it is easy to imbue the painters with profound motives that, I think, they would never have recognized or even approved. “How does iconicity work?” At least our language is being enriched by neologisms en route to wisdom. —John Boardman Jacques Derrida and Maurizio Ferraris, A Taste for the Secret, trans. Giacomo Donis (Cambridge, U.K.: Polity Press, 2001),

Journal

Common Knowledge – Duke University Press

Published: Apr 1, 2004

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