Yeats’s great poem about the uprising of Irish republicans against British rule on 24 April 1916 marked a turning point in Ireland’s history and in Yeats’s career.
Some of the most compelling stories of the Classical world come from Herodotus‘ Histories, an account of the Persian Wars and a thousand things besides. Emily and Tom chart a course through Herodotus‘ history-as-epic, discussing how best to understand his approach to history, ethnography and myth.
Riddles are an ancient and universal form, but few people seem to have enjoyed them more than English Benedictine monks. The Exeter Book, a tenth century monastic collection of Old English verse, builds on the riddle tradition in two striking ways: first, the riddles don’t come with answers; second, they are sexually suggestive.
At turns expressionistic, confessional, clinical, sharply satirical and politically charged, Black Skin, White Masks is dazzlingly multivocal, sometimes self-contradictory but always compelling. Judith Butler and Adam Shatz, whose biography of Fanon was released in January, chart a course through some of the most explosive and elusive chapters of the book, and show why Fanon is still essential reading.
What did English satirists do after the archbishop of Canterbury banned the printing of satires in June 1599? They turned to the stage, and at the heart of the scene was Ben Jonson. Colin and Clare look at Jonson's finest play, Volpone, and challenge his traditional reputation as a refined, classical alternative to Shakespeare.
In their second episode, Mark and Seamus look at W.H. Auden's ‘Spain’. Auden travelled to Spain in January 1937 to support the Republican efforts in the civil war, and composed the poem shortly after his return a few months later to raise money for Medical Aid for Spain. It became a rallying cry in the fight against fascism, but was also heavily criticised.
Supposedly an enslaved man from sixth-century Samos, Aesop might not have ever really existed, but the fables attributed to him remain some of the most widely read examples of classical literature. Emily and Tom discuss how Aesop’s fables as we know them came to be, make sense of their moral contradictions and unpack some of the fables that are most opaque to modern readers.
All teachers know that the best way for students to learn a language is through swear words, and nobody knew this better than Aelfric Bata, a monk from Winchester whose Colloquies, compiled in around the year 1000, instructed pupils to swear in Latin with elaborate and vivid fluency.
Dazzling in its scope, The Second Sex incorporates anthropology, psychology, historiography, mythology and biology to ask an ‘impossible’ question: what is a woman? Judith Butler and Adam Shatz discuss the book’s startling relevancy for contemporary feminism, Beauvoir’s refusal to call herself a philosopher and the radical possibilities released by her claim that one is not born, but rather becomes, a woman.
In the second episode of their series on satire, Colin and Clare look at the dense, digressive and often dangerous satires of John Donne and other poets of the 1590s.
In the first episode of their new Close Readings series on political poetry, Seamus Perry and Mark Ford look at ‘An Horatian Ode upon Cromwell’s Return from Ireland’ by Andrew Marvell, a poem about politics but also political inasmuch as nobody can agree on what it says.
Emily and Tom return to the 8th century BCE to explore Homer’s near contemporary, Hesiod. In Works and Days, Hesiod weaves his curmudgeonly persona into a brilliantly comic narrative that encompasses everything from brotherly bickering to cosmic warfare.
Were the Middle Ages funny? Irina Dumitrescu and Mary Wellesley begin their series in quest of the medieval sense of humour with Chaucer’s 'Miller’s Tale', a story that is surely still (almost) as funny as when it was written six hundred years ago.
Judith Butler joins Adam Shatz for the first episode of Human Conditions to look at Jean-Paul Sartre’s 1946 book Anti-Semite and Jew, originally published in French as Réflexions Sur La Question Juive.
Clare and Colin begin their twelve-part series on satire with the big question: what is satire? Where did it come from? Is it a genre, or more of a style, or an attitude? They then plunge into their first text, the Praise of Folly by Desiderius Erasmus, a prose satire from 1511 that lampoons pretty much the whole of sixteenth century life in the voice of Folly herself.