#patrick t. reardon

[aboutanancientenquiry]

“Book review: “Herodotus: A Very Short Introduction” by Jennifer T. Roberts

PATRICK T REARDON October 20, 2021

In a real way, Jennifer T. Roberts’ Herodotus: A Very Short Introduction is a 112-page blurb for the great Greek historian’s Histories.

Written around 430 BC, The Histories — which, in Greek, means Enquiries — tells the story of the Greek-Persian Wars a few decades earlier by going back centuries to get at the root causes of the conflict, taking many digressions to explain for his Greek audience the cultures and ways of life of a great variety of peoples, and detailing every step of the way who his sources are and the extent to which he trusts or distrusts their testimony.

In the process, Herodotus created the field of history and won the title of the Father of History.

His work, however, is a long haul for a modern audience, some 722 pages in the  Landmark Herodotus: The Histories, translated by Andrea L. Purvis, edited by Robert B. Strassler and published in 2009 by Anchor Books.

(Roberts herself is a co-editor of another seemingly shorter translation: the Norton Critical Edition of The Histories, translated by Walter Blanco who is the other co-editor. This text runs to 420 pages, but don’t think it’s a truncated version. The Norton editions of great works always seem shorter than others, but that’s because they’re printed with a lot more text per page than is usual in publishing.)

Not only is Herodotus a long book for modern readers, it’s also told in a somewhat meandering style and contains a lot of material that might or might not be quite accurate. Fans of modern historians such as Robert Caro or David McCullough will find The Histories harder to get into.

Hence, the need for a booklet-long blurb.

Father of…

As a blurb, Herodotus: A Very Short Introduction functions well inasmuch as it’s a breezy, peppy overview of the longer book, filled with enticements to pick up The Histories.

For instance, Roberts describes The Histories as “a profoundly democratic text” that features multi-subjectivity (i.e., reports from several sources about the same event) and is an “open invitation to readers to make up their own minds and stand always in the position of evaluators.”

Thucydides, the other major Greek historian who came a couple decades later, didn’t like Herodotus’s presentation of multiple points of view and roundly excoriated him.  Indeed, that sharp criticism has echoed down the centuries to such an extent that Herodotus has also been given a second title: Father of Lies.

Indeed, much of Roberts’s short book is aimed at countering such libel by explaining what Herodotus was trying to do and why he was trying to do it.  Indeed, she notes that, in contrast to previous important Greek works, Herodotus wrote in prose rather than poetry — i.e., wrote in “the language of people, a medium in which they could challenge other people and even the gods themselves.”

“Its openness to competing views”

This democratic aspect of The Histories, she suggests, may account for the recent rise in the book’s popularity:

Once considered frivolous when placed side by side with the didactic and relentlessly serious Thucydides, The Histories has now come to be appreciated for its openness to competing views, its cultural relativity, its interest in social history, and its acknowledgement of the existence of two sexes.

In fact, women play a multiplicity of important roles in The Histories, quite an innovation for that era (and, in truth, for many eras to come).

And Herodotus, Roberts reports, can be a lot of fun. Consider Egyptology professor Salima Ikram who rolled her eyes when asked about putting Thucydides above Herodotus on the list of major historians, and then cried out:

“Okay, so Thucydides is a finer historian, but he’s so dull, so tedious, oh my God, I’m going to shoot myself!”

“Contagious thirst for knowledge”

Much of what Roberts is doing in her Very Short Introduction is aimed at helping the reader see Herodotus as not an old fuddy-duddy but as a smart, hip, interesting guy, very much in the modern mold:

Our roving reporter, a thinker and traveller of insatiable curiosity, catches us up in his narrative by the intensity of his contagious thirst of knowledge.

Very blurb-like.

Whether about the true story of the abduction of Helen (she was never, Herodotus says, in Troy, but remained in Egypt throughout the war), the way the Scythians buried their kings (with many retainers), how the Trausians greet the birth of a baby (mourning the sufferings it will have to endure), how the Greeks and Persians came to blows (a very long story indeed), Herodotus wants to know.

There is an intensity to Roberts’s descriptions of Herodotus and his Histories.  Part of that, of course, is that she’s working with a very limited amount of space.

Even more, though, she communicates how much she enjoys, admires and respects the Father of History.

 “Master storyteller”

Indeed, Roberts argues that The Histories isn’t something we have to read, but something that is fun to read.

Herodotus intrigues in part because he was a master storyteller.  His long narrative, what the Greeks would have called a logos, a tale, consists of many shorter logoi stitched together, some just a few hundred words, some thousands, not always in strictly chronological order, ebbing and flowing and circling back around like a river whose course perpetually mystifies and delights.

The work, however, makes many demands on its readers, she notes.

The logoi represent very different genres, ranging from forays into the political history of Athens and Sparta to whimsical anecdotes clearly grounded in folk motifs or fairy tales.  Some have profound significance in the context of Herodotus’s project; others do not.

The Histories is, in fact, long and complex, and some modern historians — fans of Thucydides — don’t trust it. Herodotus even finds room for the Greek gods and/or Fate, and that’s an unsettling idea for some scholars.

  One danger

In her short, punchy, often breezy chapters, Roberts deals with a variety of key topics: the context in which Herodotus wrote, his work as an ethnographer studying various cultures, his dealing with the supernatural aspects of the story, his peopling his tale with women, his storytelling and his validity as an historian.

She also gives summary descriptions of many of the key logoi in The Histories, such as the tale of how Candaules, the king of Lydia, was so enamored of his wife’s beauty that he made his bodyguard Gyges view her naked body, a vain and rash act that led Gyges to murder the king and take over at the queen’s behest.

And how the Persian ruler Xerxes built two pontoon bridges across the width of the Hellespont in order to attack Greece, only to see both destroyed by a storm — and how he had the strait itself whipped with three hundred lashes while soldiers shouted imprecations at the water.

These help liven up her book, but they also pose one danger.

My fear is that some potential readers (read: college students) will view Herodotus: A Very Short Introduction as a handy well-written kind of CliffNotes study guide.  In my experience, CliffNotes and similar offerings are often used as a substitute for actually reading the subject text.

The fear makes me want to write a blurb for Roberts’s book:

Roberts makes the winning case that The Histories by Herodotus is a delightfully meaty reading experience — and a lot of fun.

Patrick T. Reardon

10.21.21″

Source: https://patricktreardon.com/book-review-herodotus-a-very-short-introduction-by-jennifer-t-roberts/

Jennifer Tolbert Roberts is Professor of Classics and History at the City College of New York and the City University of New York Graduate Center.

Patrick T. Reardon is American essayist and poet.

[ulkaralakbarova]

When CIA Analyst Jack Ryan interferes with an IRA assassination, a renegade faction targets Jack and his family as revenge. Credits: TheMovieDb. Film Cast: Jack Ryan: Harrison Ford Dr. Caroline “Cathy” Ryan: Anne Archer Sally Ryan: Thora Birch Sean Miller: Sean Bean Kevin O’Donnell: Patrick Bergin Annette: Polly Walker Lord William Holmes: James Fox Lt. Cmdr. Robby Jackson: Samuel L. Jackson Adm. James Greer: James Earl Jones Paddy O’Neil: Richard Harris Marty Cantor: J.E. Freeman Dennis Cooley: Alex Norton Watkins: Hugh Fraser Inspector Highland: David Threlfall Owens: Alun Armstrong Sissy: Berlinda Tolbert Lord Justice: Gerald Sim First Aide: Pip Torrens Ashley: Thomas Russell Charlie Dugan: Andrew Connolly Ned Clark: Keith Campbell Jimmy Reardon: Jonathan Ryan Court Guard: P.H. Moriarty Interviewer: Bob Gunton CIA Technician: Ted Raimi Secretary: Brenda James Paddy Boy: Karl Hayden Lady Holmes: Claire Oberman Young Holmes: Oliver Stone The Electrician: Tom Watt Constable: Tim Dutton Constable: Martin Cochrane Rose: Ellen Geer Winter: John Lafayette Ferro: Shaun Duke Spiva: Fritz Sperberg CIA Analyst: Allison Barron Dr Shapiro: Philip Levien FBI Agent Shaw: Jesse D. Goins Avery: Michael Ryan Way FBI Director’s Bodyguard (uncredited): Peter Weireter Film Crew: Director of Photography: Donald McAlpine Original Music Composer: James Horner Screenplay: W. Peter Iliff Producer: Mace Neufeld Producer: Robert Rehme Director: Phillip Noyce Screenplay: Donald Stewart Editor: William Hoy Editor: Neil Travis Casting: Cathy Sandrich Gelfond Makeup Artist: Michael Key Casting: Amanda Mackey Executive Producer: Charles H. Maguire Makeup Department Head: Peter Robb-King Art Direction: Joseph P. Lucky Hairstylist: Anne Morgan Costume Design: Norma Moriceau Makeup Artist: Pat Gerhardt Set Decoration: John M. Dwyer Makeup Artist: John R. Bayless Production Design: Joseph C. Nemec III Stunts: Dick Ziker Stunts: Terry Leonard Visual Effects Supervisor: Robert Grasmere Visual Effects Supervisor: John C. Walsh Stunt Coordinator: Andy Bradford Stunt Coordinator: Steve Boyum Stunts: Michael T. Brady Stunts: Janet Brady Stunts: William H. Burton Jr. Stunts: Bobby Bass Stunts: Keith Campbell Stunts: David Burton Stunts: Clarke Coleman Stunts: Gerry Crampton Stunts: Cynthia Cypert Stunts: Laura Dash Stunts: Gabe Cronnelly Stunts: Steve M. Davison Stunts: Jeff Imada Stunts: Jeffrey J. Dashnaw Stunts: Annie Ellis Stunts: Richard M. Ellis Stunts: Tony Epper Stunts: Elaine Ford Stunts: Kenny Endoso Stunts: James M. Halty Stunt Coordinator: Martin Grace Stunts: Steve Hart Stunts: Scott Hubbell Stunts: Craig Hosking Stunts: Henry Kingi Stunts: Joel Kramer Stunts: Paul Jennings Stunts: Gene LeBell Stunts: Gary McLarty Stunts: Mark McBride Stunts: Bennie Moore Stunts: Valentino Musetti Stunts: John C. Meier Stunts: Alan Oliney Stunts: Chuck Picerni Jr. Stunt Double: Bobby Porter Stunts: Steve Picerni Stunts: Tony van Silva Stunts: Chad Randall Stunts: Rod Woodruff Stunt Double: Vic Armstrong Second Unit Director: David R. Ellis Stunts: Gregory J. Barnett Stunts: Tim A. Davison Novel: Tom Clancy Movie Reviews: John Chard: Good guys are real good, and the bad guys are real bad. Patriot Games is a more than serviceable thriller, perhaps a bit out of date when viewing it now, but still a very effective good against evil piece. The source material is so dense and intricate it was always going to be hard to condense that into a 2 hour movie, but I feel the makers manage to keep it fleshy whilst making the respective characters interesting and watchable. The acting on show is more than adequate, Harrison Ford is great in the role of Jack Ryan, he manages to portray him as a sensitive family man who can step up to the plate when things get ugly, and Anne Archer is solid enough as the wife and mother caught up in the web of nastiness unfolding. The baddies are led by the brooding Sean Bean who is a little under written, whilst Richard Harris is sadly underused. However, the action set pieces make their mark and thankfully we get a riveting...

[professeur-stump]

Encombrement & isolement

1667.  La Ville, Frans Masereel (Frans Masereel, La Ville/Die Stadt, 1925) (Cent Pages, 2008)

⌘ ⌘  Patrick T. Reardon, The blog

[scary-senpai]

Since I’ve been thinking a lot about translations lately, I had this quote on my mind. It’s from an old Chicago Tribune article about Anna Karenina:

What difference does it make whether Dolly is standing in front of a bureau or a chiffonier?

Well, no difference. And all the difference in the world.

Translating isn't a scientific formula. It's an artistic investigation, a delving not only into the words of the original text but, even more, into their meaning, their implication, their touch and feel. Translations aren't like photocopies. They're interpretations.

"A translation is a performance," says Esther Allen, who has put into English the work of such writers as Jorge Luis Borges and Rosario Castellanos.

A translator, she says, is like an actor, and one translation will differ from another in subtle yet significant ways, just as two actors will interpret the same role differently because of who they are and what they bring to the task.

"Kevin Kline is discernibly Kevin Kline when he's playing Hamlet. So is Laurence Olivier," says Allen, the head of the translation committee of the American PEN Center, an association of prominent literary writers and editors. "You can't just obliterate yourself and become Tolstoy."

There are bad translations, of course, clunky, uninformed and unreadable. But, when it comes to classics, most efforts range from good to great. There's too much competition for a translator or a publisher to waste time and energy on a poor job.

Translations "are opinions," says Hugh McLean, a professor of Slavic languages and literature at the University of California at Berkeley. "There are nine justices on the Supreme Court, and they almost never agree. It's the same with translators.”

It’s from 2004 and it scarred me for life, and the author is Patrick T Reardon if you want to look up/read the phone thing Tumblr algorithms bury stuff with links, which is the only reason I didn’t include it here.

[customdesignnnn]

Book Review: 'Rig Veda Americanus' Focuses on 'Sacred Songs of Ancient Mexicans'

Book Review: ‘Rig Veda Americanus’ Focuses on ‘Sacred Songs of Ancient Mexicans’

From Patrick T. Reardon, Third Ocean Commentary: If you take a copy of Daniel G. Brinton’s Rig Veda Americanus: The Sacred Songs of the Old Mexicans, published in 1890 and now reprinted by Amika Press of Northfield, you will find a song, dedicated to the Mother of Gods, which includes the verse: “Greet God’s people who shine in bush thorn like bright. butterfly.” “O friends,” start each other to…

[malte1mj-blog]

2008 Movie Awards

Best Picture: The Dark Knight Milk Rachel Getting Married WALL-E The Wrestler HONORABLE MENTION: Doubt, The Class, Dear Zachary: A Letter to a Son About His Father, Burn After Reading, Wendy and Lucy, Man on Wire, Hunger, Ballast, Vicky Cristina Barcelona, Happy-Go-Lucky, Synecdoche New York Best Director: Darren Aronofsky, The Wrestler Jonathan Demme, Rachel Getting Married Christopher Nolan, The Dark Knight Andrew Stanton, WALL-E Gus Van Sant, Milk HONORABLE MENTION: Laurent Cantet, The Class; Ethan Coen & Joel Coen, Burn After Reading; David Fincher, The Curious Case of Benjamin Button; Lance Hammer, Ballast; Charlie Kaufman, Synecdoche, New York; Kurt Kuenne, Dear Zachary; Mike Leigh, Happy-Go-Lucky; James Marsh, Man on Wire; Steve McQueen, Hunger; Kelly Reichardt, Wendy and Lucy; John Patrick Shanley, Doubt Best Actor: Michael Fassbender, Hunger Richard Jenkins, The Visitor Ben Kingsley, Elegy Sean Penn, Milk Mickey Rourke, The Wrestler HONORABLE MENTION: Francois Begeaudeau, The Class; Michael Cera, Nick & Norah’s Infinite Playlist; Robert Downey Jr., Iron Man; Colin Farrell, In Bruges; James Franco, Pineapple Express; Brendan Gleeson, In Bruges; Philip Seymour Hoffman, Doubt; Philip Seymour Hoffman, Synecdoche New York; Frank Langella, Frost/Nixon; Brad Pitt, The Curious Case of Benjamin Button; Michael Pitt, Funny Games; Alejandro Polanco, Chop Shop; Jason Segel, Forgetting Sarah Marshall; Micheal J. Smith Sr., Ballast; Anton Yelchin, Charlie Barlett Best Actress: Anne Hathaway, Rachel Getting Married Sally Hawkins, Happy-Go-Lucky Kristin Scott Thomas, I've Loved You So Long Meryl Streep, Doubt Michelle Williams, Wendy and Lucy HONORABLE MENTION: Amy Adams, Miss Pettigrew Lives for a Day; Kate Beckinsale, Nothing But the Truth; Cate Blanchett, The Curious Case of Benjamin Button; Rebecca Hall, Vicky Cristina Barcelona; Scarlett Johansson, Vicky Cristina Barcelona; Nicole Kidman, Australia; Melissa Leo, Frozen River; Frances McDormand, Burn After Reading; Frances McDormand, Miss Pettigrew Lives for a Day; Tarra Riggs, Ballast; Jess Weixler, Teeth; Kate Winslet, Revolutionary Road Best Supporting Actor: James Franco, Milk Bill Irwin, Rachel Getting Married Heath Ledger, The Dark Knight Eddie Marsan, Happy-Go-Lucky Brad Pitt, Burn After Reading HONORABLE MENTION: Russell Brand, Forgetting Sarah Marshall; Josh Brolin, Milk; Brady Corbet, Funny Games; Liam Cunningham, Hunger; Aaron Eckhart, The Dark Knight; Ralph Fiennes, In Bruges; Danny McBride, Pineapple Express; Liam McMahon, Hunger; Mos Def, Cadillac Records; Gary Oldman, The Dark Knight; Dev Patel, Slumdog Millionaire; Haaz Sleiman, The Visitor Best Supporting Actress: Penelope Cruz, Vicky Cristina Barcelona Viola Davis, Doubt Rosemarie DeWitt, Rachel Getting Married Samantha Morton, Synecdoche, New York Evan Rachel Wood, The Wrestler HONORABLE MENTION: Hiam Abbass, The Visitor; Amy Adams, Doubt; Patricia Clarkson, Elegy; Vera Farmiga, Nothing But the Truth; Ari Graynor, Nick & Norah’s Infinite Playlist; Taraji P. Henson, The Curious Case of Benjamin Button; Anjelica Huston, Choke; Beyonce Knowles, Cadillac Records; Sophie Okonedo, The Secret Life of Bees; Freida Pinto, Slumdog Millionaire; Tilda Swinton, The Curious Case of Benjamin Button; Marisa Tomei, The Wrestler; Debra Winger, Rachel Getting Married; Elysa Zylberstein, I’ve Loved You So Long Best Original Screenplay: Burn After Reading - Ethan Coen & Joel Coen Hunger - Steve McQueen & Enda Walsh Milk - Dustin Lance Black Rachel Getting Married - Jenny Lumet WALL-E - Pete Docter, Jim Reardon & Andrew Stanton HONORABLE MENTION: Australia, Ballast, Charlie Barlett, Chop Shop, Forgetting Sarah Marshall, Happy-Go-Lucky, In Bruges, I’ve Loved You So Long, Pineapple Express, Synecdoche New York, Vicky Cristina Barcelona, The Visitor, The Wrestler, Zack and Miri Make a Porno Best Adapted Screenplay: The Class - Francois Begaudeau, Robin Campillo & Laurent Cantet The Dark Knight - David S. Goyer, Christopher Nolan & Jonathan Nolan Doubt - John Patrick Shanley Elegy - Nicholas Meyer Slumdog Millionaire - Simon Beaufoy HONORABLE MENTION: The Counterfeiters, The Curious Case of Benjamin Button, Iron Man, Let the Right One In, Miss Pettigrew Lives for a Day, Nick & Norah’s Infinite Playlist, Speed Racer, Wendy and Lucy Best Ensemble: Burn After Reading The Class The Dark Knight Milk Slumdog Millionaire HONORABLE MENTION: Australia, The Curious Case of Benjamin Button, Doubt, Forgetting Sarah Marshall, Funny Games, Nick & Norah’s Infinite Playlist, Rachel Getting Married, Speed Racer, Synecdoche New York, Vicky Cristina Barcelona, Zack and Miri Make a Porno Best Limited Performance - Male: Andre Blake, Rachel Getting Married Justin Long, Zack and Miri Make a Porno Denis O'Hare, Milk Michael Shannon, Revolutionary Road J.K. Simmons, Burn After Reading HONORABLE MENTION: Alan Alda, Flash of Genius; Michael Caine, The Dark Knight; Tom Cruise, Tropic Thunder; Bill Hader, Pineapple Express; David Rasche, Burn After Reading; Victor Rasuk, Stop-Loss; Mark Rendall, Charlie Barlett Best Limited Performance - Female: Patricia Clarkson, Vicky Cristina Barcelona Hope Davis, Synecdoche, New York Karina Fernandez, Happy-Go-Lucky Amy Ryan, Changeling Robin Weigert, Synecdoche, New York HONORABLE MENTION: Heather Burns, Choke; Zoe Kazan, Revolutionary Road; Jennifer Jason Leigh, Synecdoche New York; Lena Olin, The Reader; Amy Sedaris, Snow Angels; Sigourney Weaver, Vantage Point; Dianne Wiest, Synecdoche New York; Kristen Wiig, Ghost Town Breakthrough Performance: Ari Graynor, Nick & Norah's Infinite Playlist Alejandro Polanco, Chop Shop Tarra Riggs, Ballast Micheal J. Smith Sr., Ballast Jess Weixler, Teeth HONORABLE MENTION: David Kross, The Reader; Lina Leandersson, Let the Right One In; Charlie McDermott, Frozen River; Gabe Nevins, Paranoid Park; Esmeralda Ouertani, The Class; Freida Pinto, Slumdog Millionaire; Rachel Regulier, The Class; Brandon Walters, Australia Best Film Editing: The Dark Knight - Lee Smith Hunger - Joe Walker Rachel Getting Married - Tim Squyres Slumdog Millionaire - Chris Dickens The Wrestler - Andrew Weisblum HONORABLE MENTION: Australia, Ballast, Burn After Reading, Chop Shop, The Class, The Curious Case of Benjamin Button, Dear Zachary, Doubt. Funny Games, Hellboy II: The Golden Army, Iron Man, Let the Right One In, Man on Wire, Milk, Paranoid Park, Pineapple Express, Speed Racer Best Cinematography: Australia - Mandy Walker Ballast - Lol Crawley The Curious Case of Benjamin Button - Claudio Miranda The Dark Knight - Wally Pfister The Wrestler - Maryse Alberti HONORABLE MENTION: Burn After Reading, Changeling, Chop Shop, Doubt, Elegy, Funny Games, Hunger, Let the Right One In, Milk, Paranoid Park, Rachel Getting Married, The Reader, Revolutionary Road, Slumdog Millionaire, Synecdoche New York, Wendy and Lucy Best Original Score: The Curious Case of Benjamin Button - Alexandre Desplat The Dark Knight - James Newton Howard & Hans Zimmer Milk - Danny Elfman Slumdog Millionaire - A.R. Rahman WALL-E - Thomas Newman HONORABLE MENTION: Australia, Burn After Reading, Changeling, In Bruges, I’ve Loved You So Long, Kung Fu Panda, Miss Pettigrew Lives for a Day, Revolutionary Road, Speed Racer, The Visitor, Waltz with Bashir, The X-Files: I Want to Believe Best Original Song: High School Musical 3: Senior Year - "I Want It All" - Matthew Gerrard & Robbie Nevil Slumdog Millionaire - "Jai Ho" - Gulzar & A.R. Rahman Synecdoche, New York - "Little Person" - Jon Brion & Charlie Kaufman WALL-E - "Down to Earth" - Peter Gabriel & Thomas Newman The Wrestler - "The Wrestler" - Bruce Springsteen HONORABLE MENTION: Australia - “By the Boab Tree”; Bolt - “Barking at the Moon”; Cadillac Records - “Once in a Lifetime”; High School Musical 3: Senior Year - “High School Musical”; High School Musical 3: Senior Year - “A Night to Remember”; My Blueberry Nights - “The Story”; Nick & Norah’s Infinite Playlist - “Ottoman”; Sex and the City - “All Dressed in Love”; Slumdog Millionaire - “O Saya”; Trouble the Water - “Trouble the Water”; Twilight - “I Caught Myself” Best Art Direction: Australia - Beverly Dunn & Catherine Martin Changeling - Gary Fettis & James J. Murakami The Curious Case of Benjamin Button - Donald Graham Burt & Victor J. Zolfo Revolutionary Road - Debra Schutt & Kristi Zea Synecdoche, New York - Mark Friedberg & Lydia Marks HONORABLE MENTION: Burn After Reading, The Counterfeiters, The Dark Knight, Frost/Nixon, Hellboy II: The Golden Army, High School Musical 3: Senior Year, Iron Man, Milk, Miss Pettigrew Lives for a Day, Pineapple Express, Sex and the City, Slumdog Millionaire, Speed Racer, Vicky Cristina Barcelona Best Costume Design: Australia - Catherine Martin The Curious Case of Benjamin Button - Jacqueline West Milk - Danny Glicker Miss Pettigrew Lives for a Day - Michael O'Connor Sex and the City - Patricia Field HONORABLE MENTION: Burn After Reading, Cadillac Records, Changeling, The Counterfeiters, The Dark Knight, Doubt, Frost/Nixon, Happy-Go-Lucky, Hellboy II: The Golden Army, Iron Man, Revolutionary Road, Slumdog Millionaire, Speed Racer, Synecdoche New York, W., The Wrestler Best Makeup: The Curious Case of Benjamin Button The Dark Knight Frost/Nixon Hunger The Wrestler HONORABLE MENTION: Cadillac Records, Hellboy II: The Golden Army, Iron Man, Let the Right One In, Milk, Miss Pettigrew Lives for a Day, Saw V, Sex and the City, Slumdog Millionaire, Speed Racer, Synecdoche New York, Tropic Thunder, Twilight, W. Best Sound Mixing: The Dark Knight Iron Man Pineapple Express Speed Racer WALL-E HONORABLE MENTION: Australia, Cadillac Records, Cloverfield, The Curious Case of Benjamin Button, Get Smart, Hellboy II: The Golden Army, High School Musical 3: Senior Year, The Incredible Hulk, Kung Fu Panda, Let the Right One In, Mamma Mia!, Nick & Norah’s Infinite Playlist, Slumdog Millionaire, Tropic Thunder, The Wrestler Best Sound Editing: The Curious Case of Benjamin Button The Dark Knight Iron Man Speed Racer WALL-E HONORABLE MENTION: Australia, Cloverfield, Get Smart, Hellboy II: The Golden Army, The Incredible Hulk, Kung Fu Panda, Pineapple Express, Saw V, Slumdog Millionaire, Tropic Thunder, The Wrestler, The X-Files: I Want to Believe Best Visual Effects: The Curious Case of Benjamin Button The Dark Knight Hellboy II: The Golden Army Iron Man Speed Racer HONORABLE MENTION: Australia, Cloverfield, Eagle Eye, Get Smart, The Incredible Hulk, Tropic Thunder Best Foreign-Language Film: The Class - Laurent Cantet The Counterfeiters - Stefan Ruzowitzky I've Loved You So Long - Philippe Claudel Let the Right One In - Tomas Alfredson Waltz with Bashir - Ari Folman HONORABLE MENTION: JCVD Best Documentary: Dear Zachary: A Letter to a Son About His Father - Kurt Kuenne Man on Wire - James Marsh Taxi to the Dark Side - Alex Gibney Trouble the Water - Carl Deal & Tia Lessin Young@Heart - Stephen Walker Honorable Mention: HONORABLE MENTION: Bigger Stronger Fast, Encounters at the End of the World, Religulous, Standard Operating Procedure, Waltz with Bashir Best Animated Film: Bolt - Byron Howard & Chris Williams Dr. Seuss' Horton Hears a Who - Jimmy Hayward & Steve Martino Kung Fu Panda - Mark Osborne & John Stevenson WALL-E - Andrew Stanton Waltz with Bashir - Ari Folman Every 2008 Film I've Seen: Ranked

[larryland]

COMPANY

STARRING AARON TVEIT AS “BOBBY”

  RAGTIME

STARRING:

ELIZABETH STANLEY AS “MOTHER”

DARNELL ABRAHAM AS “COALHOUSE”

ZURIN VILLANUEVA AS “SARAH”

  KUNSTLER

STARRING:

JEFF McCARTHY AS “KUNSTLER”

  THE BIRDS

STARRING:

KATHLEEN McNENNY AS “DIANE”

SASHA DIAMOND AS “JULIA”

CHRISTOPHER INNVAR AS “NAT”

OBIE AWARD WINNER ROCCO SISTO AS “TIERNEY”

  TAKING STEPS

STARRING:

CLAIRE BROWNELL AS “ELIZABETH”

MILES G. JACKSON AS “TRISTAM”

RICHARD HOLLIS AS “ROLAND”

MATTHEW GREER AS “LESLIE”

HELEN CESPEDES AS “KITTY”

(New York – May 9, 2017) Barrington Stage Company (BSC), the award-winning theatre in Downtown Pittsfield, MA, under the leadership of Artistic Director Julianne Boyd and Managing Director Michele Weathers, is proud to announce initial casting for the 2017 season.

The 2017 BSC season will begin with Kunstler, starring Jeff McCarthy (Broadway’s Chicago, BSC’s Broadway Bounty Hunter) as the titular character, with Erin Roché (Measure for Measure, The Old Globe) as “Kerry”. Kunstler is written by Jefferson Award winner and Emmy Award nominee Jeffrey Sweet, and directed by Meagen Fay. Performances begin May 18, with opening night set for May 21, and for a run through June 10.

The Birds will star Kathleen McNenny (Broadway’s The Father) as “Diane,” Sasha Diamond (BSC’s peerless) as “Julia,” Christopher Innvar (Broadway’s The Snow Geese, BSC’s Much Ado About Nothing) as “Nat,” and Obie Award winner Rocco Sisto (The Light Years at Playwrights Horizons) as “Tierney.” Written by Conor McPherson and directed by BSC Artistic Director Julianne Boyd, The Birds begins previews June 15 and opens on June 18, for a run through July 8.

  Christopher Innvar

Kathleen McNenny

Rocco Sisto

Sasha Diamond

Starring in a new production of Ragtime is Elizabeth Stanley (Broadway and BSC’s On the Town) as “Mother,” Darnell Abraham (Side Show, The Media Theatre) as “Coalhouse,” Zurin Villanueva (Broadway’s Shuffle Along) as “Sarah,” J. Anthony Crane (Broadway’s The Country House) as “Tateh,” Hunter Ryan Herdlicka (Broadway’s A Little Night Music) as “Younger Brother,” Anne L. Nathan (Broadway’s It Shoulda Been You) as “Goldman,” Lawrence E. Street (Broadway’s Urinetown) as “Booker T. Washington,” Matt Gibson (Broadway’s Gypsy) as “Willie Conklin,” Allen Kendall (Broadway’s Amazing Grace) as “JP Morgan,” Joe Ventricelli (Sleep No More) as “Houdini,” Eric Jon Malhum (Broadway’s Wicked) as “Ford,” Leanne A. Smith (Rock of Ages, Norwegian Cruises) as “Evelyn Nesbit,” and John Little (Cabaret National Tour) as “Grandfather.”

  Elizabeth Stanley

Darnell Abraham

J. Anthony Crane

Zurin Villanueva

Rounding out the ensemble will be Robb Sherman (“Younger”), Allison Blackwell (Broadway’s A Night with Janis Joplin), Christin Avante’ Byrdsong (Figaro! 90210 at The Duke on 42nd Street), Alex Nicholson (Twelfth Night, The Theatre Project), Danielle James (“True Blood”), Frances Evans, and Elliot Trainor. Ragtime features a book by Terrence McNally, lyrics by Lynn Ahrens, and music by Stephen Flaherty, with direction from Helen Hayes Award winner Joe Calarco, choreography by Karma Camp, and musical direction by Darren Cohen. Ragtime begins previews June 21, opens June 24, and closes on July 15.

  The 2017 season will continue with the laugh-out-loud but rarely staged comedy, Taking Steps, featuring Claire Brownell (Broadway’s The 39 Steps) as “Elizabeth,” Miles G. Jackson (BSC’s Tribes) as “Tristam,” Richard Hollis (Broadway’s The Curious Incident of the Dog in the Night Time) as “Roland,” Matthew Greer (Broadway’s The Real Thing) as “Leslie,” and Helen Cespedes (Broadway’s The Cripple of Inishmaan) as “Kitty.” Written by Olivier and Tony Award winner Alan Ayckbourn, with direction from Tony Award nominee Sam Buntrock (Broadway’s Sunday in the Park with George), Taking Steps will begin performances July 20 and open July 23, for a run through August 5.

  Aaron Tveit (Broadway’s Catch Me If You Can, Next to Normal), who returns to BSC after previously playing “Matt” in the 2007 production of Calvin Berger, will star as “Bobby” in Company, along with Ellen Harvey (Broadway’s Present Laughter) as “Joanne,” Lawrence Street (Broadway’s Urinetown) as “Harry,” Jeanette Bayardelle (Broadway’s The Color Purple) as “Sarah,” Kate Loprest (Broadway’s First Date) as “Susan,” Paul A. Schaefer (Broadway’s The Phantom of the Opera) as “Peter,” Jane Pfitsch (Broadway’s Cabaret) as “Jenny,” James Ludwig (Broadway’s Spamalot) as “David,” Lauren Marcus (Little Shop of Horrors, Sharon Playhouse) as “Amy,” Joseph Spieldenner (Broadway’s Les Misérables) as “Paul,” Peter Reardon (BSC’s All My Sons) as “Larry,” Nora Schell (Spamilton, Triad Theater) as “Marta,” and Rebecca Kuznick (BSC’s Fiddler on the Roof) as “Kathy.” Featuring a book by George Furth, music and lyrics by Stephen Sondheim, with choreography by Jeffrey Page, music supervision by Darren Cohen, music direction by Alex Shields, and direction by Julianne Boyd, Company will begin previews on August 10 and is set to open August 13 for a run through September 2.

  The 2017 Barrington season will also include SPEECH & DEBATE by Tony Award winner and Pulitzer Prize finalist Stephen Karam and directed by Jessica Holt. Speech and Debate begins previews July 13, with an opening set for July 16, and will run thought July 29. This by Obie Award winner Melissa James Gibson and directed by Christopher Innvar begins previews on August 3, officially opens on August 6, and will run through August 27. The 2017 season will conclude with Gaslight (Angel Street) by Patrick Hamilton and directed by Louisa Proske. Gaslight begins previews October 4, opens October 8 and runs through October 22.

  Additional casting and creative team for all productions will be announced shortly.

  Performance schedules for all productions are available by visiting www.barringtonstageco.org.

  Both single tickets and 2017 season passes are now on-sale and available at www.barringtonstageco.org or by calling 413-236-8888 or visiting the MainStage box office (30 Union Street, Pittsfield, MA 01201). Tickets range from $25 to $69.

In addition to the previous announced 2017 productions, BSC is also proud to announce the following events for their 2017 season:

  From August 30-September 3, Broadway veteran Ed Dixon (Anything Goes, Mary Poppins) brings his one-man show, Georgie: My Adventures with George Rose, to the St. Germain Stage, directed by Eric Schaeffer (Follies). The performance schedule for Georgie is as follows: August 30-September 2, 7:30pm; September 2-3, 3:00pm.

  Two-time Tony Award-winner William Finn returns by popular demand with the next generation of talented musical theatre writers in Songs by Ridiculously Talented Composers and Lyricists You Probably Don’t Know But Should…They share a concert of their newest songs with the help of four extraordinary singers, ridiculously talented in their own right. A funny, charming and insightful evening, narrated by Mr. Finn! Concerts will take place June 9 and 10 at 8pm. Tickets range from $30-40.

  On Monday, July 31, 2017 at 7pm, BSC will present Nobody Does It Like Me…The Music of Cy Coleman. Straight from Broadway’s Wicked, the multiple Emmy and Tony-nominated Michele Lee spotlights the music of Cy Coleman (Sweet Charity, Barnum and City of Angels). Including songs from their musical Seesaw, Ms. Lee infuses the evening with stories that tickle the funny bone to ballads that cut deep into the soul. With music director extraordinaire Ron Abel, it’s easy to see how “Nobody Does It Like” Michele Lee. Tickets range from $40-50. VIP tickets, which include premium seating, a post-show reception, and a meet-and greet, are available for $75.

  After many summers of blowing the roof off of our cabaret, on Sunday, September 3, 2017 at 8pm, Joe Iconis and his tribe of musical theater misfits return to the Mainstage for a special one-night-only concert— Joe Iconis and Family TAKE OVER! These musical mavericks will make it clear why The New York Times calls them “The Future of Musical Theatre” with songs about anything and everything that makes you laugh, cry, scream, or drink. Come see what happens when The Family gets out of the basement and is set loose on the Mainstage for our final blowout of summer! Tickets range from $35-45.

  The 2017 Youth Theatre Program production will be BYE BYE BIRDIE. The winner of four Tony Awards, including Best Musical, BYE BYE BIRDIE features a book by Michael Stewart, lyrics by Lee Adams and music by Charles Strouse. BYE BYE BIRDIE, BSC’s 20th Youth Theatre production, will be directed and choreographed by Julianne Katz (Crazy For You at Lincoln Center, Assistant Choreographer).

ABOUT BARRINGTON STAGE COMPANY

  Barrington Stage Company is a professional award-winning Equity regional theatre located in the heart of the Berkshires, in Pittsfield, MA.  It was co-founded in 1995 by Artistic Director Julianne Boyd and has a three-fold mission: to present top-notch, compelling work; to develop new plays and musicals; and to find fresh, bold ways of bringing new audiences into the theatre—especially young people. Barrington Stage garnered national attention in 2004 when it premiered William Finn and Rachel Sheinkin’s musical hit The 25th Annual Putnam County Spelling Bee which later transferred to Broadway where it won two Tony Awards. In 2009, Mark St. Germain’s Freud’s Last Session ran more than ten weeks on Stage 2 and later moved Off Broadway and played for two years. St. Germain’s Becoming Dr. Ruth (which premiered at BSC as Dr. Ruth, All the Way in 2012) played Off Broadway at the Westside Theatre in fall 2013. BSC’s all-time record-breaking musical, On the Town, was originally produced at BSC in 2013.  In 2014, it opened on Broadway with BSC as a co-producer, where it was nominated for four Tony Awards including Best Musical Revival.  In 2016, Barrington Stage swept the​ first Annual Berkshire Theatre Awards by winning 20 out of the 25 awards.  In 2016, BSC produced three World Premieres; Presto Change-O, Broadway Bounty Hunter, and American Son, which won the Laurents/Hatcher Award for Best New Play.

  FOR MORE INFORMATION, VISIT

WWW.BARRINGTONSTAGECO.ORG

Barrington Stage Announces Initial Casting for 2017 Season COMPANY STARRING AARON TVEIT AS “BOBBY”   RAGTIME STARRING: ELIZABETH STANLEY AS “MOTHER” DARNELL ABRAHAM AS “COALHOUSE” …

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"(Richard Wright's) Black Boy saved my life. It slapped me on every page I read, especially in the misery I was experiencing. For the first time, I was reading literature that was not an insult to my personhood. I was reading sentences and paragraphs about me, about us. He was dealing with ideas about us." Haki Madhubuti has lived his life as an act of defiance And the 76-year-old educator, essayist, activist, and founder of Third World Press is as radical as ever. Story By Patrick T. Reardon linked in bio. Portrait 📸 @nolis 📚#chicagoreader #thirdworldpress #chicagoreaderphotography #poetry #hakimadhubuti #blackartsmovement #chatham #chicagogram https://ift.tt/2wxuYpl

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"(Richard Wright's) Black Boy saved my life. It slapped me on every page I read, especially in the misery I was experiencing. For the first time, I was reading literature that was not an insult to my personhood. I was reading sentences and paragraphs about me, about us. He was dealing with ideas about us." Haki Madhubuti has lived his life as an act of defiance And the 76-year-old educator, essayist, activist, and founder of Third World Press is as radical as ever. Story By Patrick T. Reardon linked in bio. Portrait 📸 @nolis 📚#chicagoreader #thirdworldpress #chicagoreaderphotography #poetry #hakimadhubuti #blackartsmovement #chatham #chicagogram https://ift.tt/2wxuYpl

[aboutanancientenquiry]

” Book review: “Herodotus (Historians on Historians)” by John Gould

PATRICK T REARDON

October 12, 2021

For more than 2,400 years, The Histories by Herodotus has been a foundation block of Western civilization, the first work of history in Western literature.

Written in classical Greek and completed around 430 BC, it is an account of the recent Persian-Greek Wars and what led up to them, set within the context of centuries of past events as well as a vast array of peoples, cultures and events.  It has been a key source and, in some cases, the only source of information about this era in Greece and the Middle East, and a vast amount of its information, checked against other researches, has turned out to be reliable.

And The Histories is the reason Herodotus is known as the Father of History.

So, why does John Gould’s 1989 book Herodotus, part of a series from Weidenfeld and Nicholson called Historians on Historians, read so much like a defense attorney’s brief?

It isn’t until his final paragraph that Gould lets himself go to rhapsodize about this major figure in history and historiography:

For the most lasting of all impressions that one takes away from a reading of his narrative is exhilaration.  It comes from the sense one has of Herodotus’ inexhaustible curiosity and vitality.  He responds with ever-present delight and admiration to the “astonishing” variety of human achievement and invention in a world which he acknowledges as tragic; he makes you laugh, not by presenting experience as comic, but by showing it as constantly surprising and stimulating; he makes you glad to have read him by showing men responding to suffering and disaster with energy and ingenuity, resilient and undefeated.

“His process of enquiry”

The “vitality” and “delight” in The Histories that captivates Gould as a reader is the tip-off for his defensive approach to the telling of his story about Herodotus.

The problem goes back to Thucydides.

Herodotus and his Histories (the Greek word historie means “enquiries”) were followed by Thucydides (younger by about a quarter century) and his History of the Peloponnesian War, fought between 431 and 404 BC, another classic, but one written in a much different style.

Herodotus’s approach, Gould writes, was that of a storyteller and one who invites the reader to join him in teasing out the meaning of things:

It is vitally important also to register that Herodotus is at pains, at every point in the presentation of his narrative, to preserve the traces of his process of enquiry; his narrative, that is to say, incorporates indications of its own limitations as “truth-telling.”

Gould cites another expert Carolyn Dewald who argues that Herodotus’s “contract with the reader” includes his efforts to “thwart any tendency we might have had to fall under the spell of his logioi (sources) and treat them as straightforward versions of past events.”

In other words, Herodotus is constantly giving the reader indications of where he obtained his information is and how reliable it might or might not be.  It’s an approach that’s rooted in the oral tradition of the Iliad and Odyssey and of Greek culture to that point.

It’s an approach that is rooted in questions about the sources — many of which can never be completely answered.  The reader is expected to interact with such questions and, like Herodotus himself, come a personal sense of what to believe and what not to.

“Magisterial and definitive”

In sharp contrast to this approach, Thucydides is telling the reader what to believe, period.  As Gould notes:

Thucydides, apart from a methodological paragraph or two early on in his work, systematically covers the traces of his own investigations and presents the reader instead with narrative as a transparent medium for incorporating the events of the past “as they happened.”…

Thucydides the historical investigator presents himself as having conducted his investigations in so rigorous a way as to render his account of them magisterial and definitive: this is the end of investigation….Thucydidean narrative, in the very rhythms and texture of its language, claims and enacts authority.

Thucydides knew better than anyone how different his approach was from that of Herodotus.  And he might have simply left it at that.

Down the centuries, these two methods have been employed by historians to tell what happened in the past: One reflecting the messiness of human existence and letting history be just as messy; the other seeking to get to the bottom of things and present the “truth.”

Father of…

But Thucydides didn’t leave it at that.  Instead, he included in his book a slap at Herodotus who, although not named, was clearly his target:

To hear this history rehearsed, for that there be inserted in it no fables, shall be perhaps not delightful. But he that desires to look into the truth of things done, and which (according to the condition of humanity) may be done again, or at least their like, shall find enough herein to make him think it profitable. And it is compiled rather for an everlasting possession than to be rehearsed for a prize.

Essentially, Thucydides is calling Herodotus simply an entertainer who wove into his account wild stories of gods and goddesses and omens and oracles and whose book, well, isn’t “profitable” to read.

Indeed, starting from that point, Herodotus wasn’t only known as the Father of History.  He was also called the Father of Lies.

“The art of storytelling”

Gould’s book does a good job of looking at what Herodotus was trying to do and the book that he brought into existence.

Gould is a fan of storytelling, signaling this with an epigraph from Walter Benjamin, the German Jewish philosopher, cultural critic and essayist:

The art of storytelling is coming to an end. Less and less frequently do we encounter people with the ability to tell a tale properly. More and more often there is embarrassment all around when the wish to hear a story is expressed. It is as if something that seemed inalienable to us, the securest among our possessions, were taken from us: the ability to exchange experiences.

Many readers of history today bemoan the tendency of some academics to de-sap history by following strict scholarly formats and eschewing any literary touches.  Indeed, there are accounts of academic presses rejecting manuscripts for having too much personality.

It is, of course, possible to tell a good story and stick closely to the facts.  And this approach is valuable when the sources of those facts are listed in endnotes.

Herodotus didn’t have endnotes.  Instead, he included his sources inside the story he told. And the story he told was far from dry.  In fact, Gould writes:

The distinctive quality of Herodotus’ perception of human experience is the tragic perception that it is always and everywhere vulnerable to time and chance and to the grim inevitabilities of existence.  Of all the qualities that bear out Longinus’ passing description of Herodotus as “the most Homeric” of historians, it is perhaps this quality of sympathetic engagement with human suffering that is the most fundamental.

The “quality of sympathetic engagement” is the heart of a great story, whether it’s The Iliad or Herodotus’s Histories.

Patrick T. Reardon

10.12.21″

Source: https://patricktreardon.com/book-review-herodotus-historians-on-historians-by-john-gould/

Patrick T. Reardon is American essayist and poet.

Very insightful review! Concerning the very important topic of the relationship of Thycydides with Herodotus, I think that there is today a scholarly consensus that, if it is true that Thucydides was antagonistic toward Herodotus (as most ancient Greek intellectuals were toward their predecessors), Herodotus’ influence on him was huge. I remind also that the characterization of Herodotus as “father of lies’ was a much later invention of Plutarch (or pseudo-Plutarch), who resented Herodotus’ description of the collaborationist attiudes of the Boetian oligarchs during Xerxes’ invasion of Greece, but also Herodotus supposed “philobarbarism”.

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