Sarah Nooter
Dados Biográficos
| ID | 1102029 |
|---|---|
| NOME | Sarah Nooter |
| PRENOMES | Sarah |
| SOBRENOME | Nooter |
| ASSINATURA | NOOTER S |
| AFILIAÇÕES | University of Chicago |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 13 |
| TOTAL DE CITAÇÕES | 0 |
| TOTAL COMO AUTOR | 11 |
| TOTAL COMO EDITOR | 2 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2011 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2024 |
| ÍNDICE H | 0 |
How to Be Queer
Looking Back
This article applies the queer stance of looking back, as proposed by Heather Love and Shane Butler, to examine twentieth-century poetry by Frank Bidart, Thom Gunn, and Joe Brainard in light of classical models and comparisons. It touches on similar but shifting perspectives in Catullus, Homer, Sappho, Theognis, and Plato and argues that the stance of classical study itself, in looking back and remembering the past, echoes the queer melancholic, …
Introduction
Greek Poetry in the Age of Ephemerality
This book suggests that poetry offers a way to remain in the world – not only by declarations of intent or the promotion of remembrance, but also through the durable physicality of its practice. Whether carved in stone or wood, printed onto a page, beat out by a mimetic or rhythmic body, or humming in the mind, poems are meant to engrave and adhere. Ancient Greek poetry exhibits a particularly acute awareness of change, decay, and the ephemeralit…
Tragedy
This piece introduces the issue through two scholarly methodologies: reconstruction and reparative reading. After briefly contextualizing these methods, it introduces each article under one rubric or the other and inquires into the status of our knowledge, and pursuit of knowledge, in regard to Greek tragedy
Socrates and the Voice that Says No
Socrates and the Voice that Says No:Listening to Plato's Apology Sarah Nooter (bio) In Plato's Apology, Socrates describes himself as being guided by a voice (phônê) that prevents him from doing the wrong thing. This voice is also a "sign" (sêmeion), whose absence is "proof" (tekmêrion) of correct action. Moreover, it is a "divine" (theion) and "spiritual" (daimonion) phenomenon (see Apology in Fowler, 1966, 31c–d, 40a–b).1 In contrast to scholar…
The Fourth Level of Life
The noise machine is dead.How shall we hear our dreams?Where are the crickets now?Slain by what frost? The streamsWith pebbles in their mouths,The ovation of the rain,The stations of unconsciousWe travelled to by train,The ghosting of the wind,The seashell’s undertow,Where have they gone? The nightFills with a sound like snow. -A. E. Stallings.1
The War-Trumpet and the Sound of Domination in Ancient Greek Thought
In this piece, I contend that the war-trumpet ( salpinx ) was understood in ancient Greek literature as connected to the divine and invincible. I show how this understanding arose from a focus on the sound of the war-trumpet, accompanied by silence around the physical act of playing it, inasmuch as this act, in the parallel case of the aulos , reveals embodiment and vulnerability. In archaic and classical texts, ranging among Aristophanes, Thucyd…
Sound and the Ancient Senses
The wooden horse and the unmaking of the Odyssey
In this essay I examine the self-reflective quality of the Odyssey by focusing on literal instances of making, or craft (technē), in the poem, concentrating in particular on the craft of the wooden horse. I argue that this object serves as something of a mise en abyme for the poem and its take on the relationship between creation, self-creation, deception and revelation. The horse, I contend, also contains keys to reading other parts of the epic,…
The Mortal Voice in the Tragedies of Aeschylus
Voice connects our embodied existence with the theoretical worlds we construct. This book argues that the voice is a crucial element of mortal identity in the tragedies of Aeschylus. It first presents conceptions of the voice in ancient Greek poetry and philosophy, understanding it in its most literal and physical form, as well as through the many metaphorical connotations that spring from it. Close readings then show how the tragedies and fragme…
When Heroes Sing
This book examines the lyrical voice of Sophocles' heroes and argues that their identities are grounded in poetic identity and power. It begins by looking at how voice can be distinguished in Greek tragedy and by exploring ways that the language of tragedy was influenced by other kinds of poetry in late fifth-century Athens. In subsequent chapters, Professor Nooter undertakes close readings of Sophocles' plays to show how the voice of each hero i…
Language, Lamentation, and Power in Sophocles' Electra
This paper examines the language of the heroine in Sophocles' Electra and the effects of her language. Though Electra is initially rendered powerless by circumstances, she nonetheless imposes her priorities on other characters and on the shape of the tragedy itself. I focus particularly on two scenes in which Electra's character is expressed through lyrics and lamentation: her opening entrance and her mourning over the urn that supposedly holds h…
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Language, Lamentation, and Power in Sophocles' Electra
This paper examines the language of the heroine in Sophocles' Electra and the effects of her language. Though Electra is initially rendered powerless by circumstances, she nonetheless imposes her priorities on other characters and on the shape of the tragedy itself. I focus particularly on two scenes in which Electra's character is expressed through lyrics and lamentation: her opening entrance and her mourning over the urn that supposedly holds h…
When Heroes Sing
This book examines the lyrical voice of Sophocles' heroes and argues that their identities are grounded in poetic identity and power. It begins by looking at how voice can be distinguished in Greek tragedy and by exploring ways that the language of tragedy was influenced by other kinds of poetry in late fifth-century Athens. In subsequent chapters, Professor Nooter undertakes close readings of Sophocles' plays to show how the voice of each hero i…
The Mortal Voice in the Tragedies of Aeschylus
Voice connects our embodied existence with the theoretical worlds we construct. This book argues that the voice is a crucial element of mortal identity in the tragedies of Aeschylus. It first presents conceptions of the voice in ancient Greek poetry and philosophy, understanding it in its most literal and physical form, as well as through the many metaphorical connotations that spring from it. Close readings then show how the tragedies and fragme…
Sound and the Ancient Senses
The wooden horse and the unmaking of the Odyssey
In this essay I examine the self-reflective quality of the Odyssey by focusing on literal instances of making, or craft (technē), in the poem, concentrating in particular on the craft of the wooden horse. I argue that this object serves as something of a mise en abyme for the poem and its take on the relationship between creation, self-creation, deception and revelation. The horse, I contend, also contains keys to reading other parts of the epic,…
The War-Trumpet and the Sound of Domination in Ancient Greek Thought
In this piece, I contend that the war-trumpet ( salpinx ) was understood in ancient Greek literature as connected to the divine and invincible. I show how this understanding arose from a focus on the sound of the war-trumpet, accompanied by silence around the physical act of playing it, inasmuch as this act, in the parallel case of the aulos , reveals embodiment and vulnerability. In archaic and classical texts, ranging among Aristophanes, Thucyd…
The Fourth Level of Life
The noise machine is dead.How shall we hear our dreams?Where are the crickets now?Slain by what frost? The streamsWith pebbles in their mouths,The ovation of the rain,The stations of unconsciousWe travelled to by train,The ghosting of the wind,The seashell’s undertow,Where have they gone? The nightFills with a sound like snow. -A. E. Stallings.1
Tragedy
This piece introduces the issue through two scholarly methodologies: reconstruction and reparative reading. After briefly contextualizing these methods, it introduces each article under one rubric or the other and inquires into the status of our knowledge, and pursuit of knowledge, in regard to Greek tragedy
Socrates and the Voice that Says No
Socrates and the Voice that Says No:Listening to Plato's Apology Sarah Nooter (bio) In Plato's Apology, Socrates describes himself as being guided by a voice (phônê) that prevents him from doing the wrong thing. This voice is also a "sign" (sêmeion), whose absence is "proof" (tekmêrion) of correct action. Moreover, it is a "divine" (theion) and "spiritual" (daimonion) phenomenon (see Apology in Fowler, 1966, 31c–d, 40a–b).1 In contrast to scholar…
Greek Poetry in the Age of Ephemerality
This book suggests that poetry offers a way to remain in the world – not only by declarations of intent or the promotion of remembrance, but also through the durable physicality of its practice. Whether carved in stone or wood, printed onto a page, beat out by a mimetic or rhythmic body, or humming in the mind, poems are meant to engrave and adhere. Ancient Greek poetry exhibits a particularly acute awareness of change, decay, and the ephemeralit…
How to Be Queer
Looking Back
This article applies the queer stance of looking back, as proposed by Heather Love and Shane Butler, to examine twentieth-century poetry by Frank Bidart, Thom Gunn, and Joe Brainard in light of classical models and comparisons. It touches on similar but shifting perspectives in Catullus, Homer, Sappho, Theognis, and Plato and argues that the stance of classical study itself, in looking back and remembering the past, echoes the queer melancholic, …
Introduction
Art (12 obras) · Literature (10 obras) · Classical Antiquity Studies (8 obras) · History (7 obras) · Philosophy (7 obras) · Epistemology (4 obras) · Linguistics (4 obras) · Poetry (4 obras) · Aesthetics (3 obras) · Classics (3 obras)