Hans Ulrich Franck 1603 75 Der Geharnischte Reiter

Hans Ulrich Franck (1603 -75) “Der Geharnischte Reiter” (Knight in Armor) etching, 11 x 13 cm. *Transitions (Method/Genre/Artefactualization) *Lecture Review Dr. Morse Fall 2015

Goals for Today Make Connections Between Oswald, Weil, Homer Transition from Ancient Greece/20 th Century Europe to the 30 Years Way in early 17 th C Europe Different Disciplinary and Methodological Approaches Different Lecturing Styles Different Wars: How Genres Re-Present “History” and War

Revision Challenge As you revise, remove phrases including “agency” or “force” and use other words to characterize and explain what literary/rhetorical clues the passage offers Calculated appeal to pathos underscores… “Learned” implies knowledge gained over time through thinking and processing experience. Membership in the military ethic compels/requires…

Blog Reminders Construct a site identity Posts should speak to that identity Writer Ethos Aesthetics of Site https: //sites. google. com/a/uci. edu/perspective-of-war/ https: //sites. google. com/a/uci. edu/dawn-will-rise/

Extra Credit Blog https: //sites. google. com/a/uci. edu/humanities- core-a-concentrated-look-at-war/home/ucilife/humanities-core https: //sites. google. com/a/uci. edu/viavaniaa/hom e/homersaudience https: //kathyhcc. wordpress. com/e-c-blog/

Transitions from Izenberg to Smith 1) Discipline and Method: How would you characterize Professor Izenberg’s lecturing style compared to Professor Smith? q How can you better “prepare to listen” to Professor Smith’s lectures? q What specific connections did Professor Smith make to the first unit? How do these connections put these two units in dialogue with one another? q What are 3 important claims from today’s lecture? What evidence was used to support these claims?

Transitions from Epic to Picaresque Questions for coming discussions 2) Genre: Epic, Picaresque, Sonnet, Essay, Painting, Etching, etc. q How does genre shape how a story is told q Differences between Epic Poetry and Picaresque? q How does genre shape meaning to tell a “different story of war” q q How does each text “re-present” war? q In what respect are both wars (Trojan and Thirty Years) exemplary? q How do memory and commemoration function in each genre? What kind of “history” of war (a story about things that happened in the past) do these texts/genres work to tell?

How does the genre shape Historia? What narrative of war and death does each tell? Message? Donato Creti (1671 -1749), “Achilles Dragging Hektor’s Body around the Walls of Troy” Oil on canvas, 8 feet x 4 and 1/2 feet Hans Ulrich Franck (1603 -1675) -“Die Rache der Bauern” (The Revenge of the Peasants)

What story of “history” does this image? From whose perspective is it told? Lucas Cranach, “The Difference Between the True Religion of Christ [Protestantism] and the False Idolatrous Teaching of the [Catholic] Antichrist” (1545)

As you read this text… Pay attention to knowledge and what people know/don’t know (against what we know) Look for examples of irony (pun, sarcasm, irony, mocking) – How does irony operate? How does Simplicius evolve or change (gain control over self, mind, etc. ) in the two books? How is this war represented/told to us via the genre? How does it work as an allegory – of what? Through what methods?

Memorialization Takes Different Forms What are some individual and national rituals of remembering? What is the purpose of these rituals? According to lecture, what was controversial about the Vietnam Veteran’s Memorial project?

Alice Oswald’s Memorial as an “Oral Cemetery” http: //www 2. warwick. ac. uk/fac/cross_fac/prizefor writing/2013/winner In what ways is she reading with and against the Iliad? ▪ In what ways is her work in dialogue with the essay by Simone Weil? ▪ How does “subtraction” operate in her text? “It is important to me to feel that poems are made by more than one person … I love to think that I could be another Homer” (Alice Oswald).

What story of life, war and death do these tell? How do “subtractions” impact the meaning? “Meriones killed Phereclus – son of Tecton, son of the blacksmith Harmon – the fighter’s hands had the skill to craft all kinds of complex work since Pallas Athena loved him most, her protégé who had built Paris his steady, balanced ships, trim launchers of death, freighted with death for all of Troy and now for the shipwright too: what could the man know of all the gods’ decrees? Meriones caught him quickly, running him down hard and speared him low in the right buttock – the point pounding under the pelvis, jabbed and pierced the bladder – he dropped to his knees, screaming, death swirling around him” (Homer 5. 65 -75). “Beloved of Athene Pherecles son of Harmion, Brilliant with his hands and born of a long line of craftsmen, It was he who built the cursed fleet of Paris, Little knowing it was his own death boat, died on his knees screaming, Meriones speared him in the buttock, And the point pierced him in the bladder” (Oswald 15).

Genre Shapes Meaning: How does each text tell a different story of war? “A shattering war cry! Diomedes killed off Axylus, Teuthras’ son who had lived in rock-built Arisbe, a man of means and a friend to all mankind, at his roadside house he’d warm all corner in. But who of his guests would greet his enemy now, meet him face-to-face and ward off his grisly death? Diomedes killed the man and his aidein-arms at once, Axylus and Calesius who always drove his team – both at a stroke he drove beneath the earth” (Homer XI. 14 -22). “Like that slow-motion moment when a woman weight the wool, Her poor old spider hands, Work all night spinning a living for her children, And then she stops, She soothes the scale to a standstill Axylus son of Teuthras, Lived all his life in the lovely harbour of Arisbe, Looking down at the Hellespont, Everyone knew that plump man, Sitting on the step with his door wide open, He who so loved his friends, Died side by side with Calesius, In a daze of loneliness, Their conversation unfinished” (Oswald 22 -23).

Weil on “re-presenting” war through similes: What does she argue and how would you characterize similes in the Iliad? “…the conquering soldier is like a scourge of nature. Possessed by war, he, like the slave, becomes a thing…Here in lies the last secret of war, a secret revealed by the Iliad in its similes, which liken the warriors either to fire, flood, wind, wild beasts, or God knows what blind cause of disaster, or else to frightened animals, trees, water, sand, to anything in nature that is set into motion by the violence of external forces…The art of war is simply the art of producing such transformations, and its equipment, its processes, even the casualties it inflicts on the enemy, are only means directed toward this end – its true object is the warrior’s soul” (HCC Reader, Weil 40 -1)

Genre Shapes Meaning: Similes in Memorial How do similes Read a few (Here are 2 of my favorites) function in Oswald’s Like a fish in the wind, Jumps right out of text? its knowledge, And lands on the sand (39). Remember: Pause or Like leaves who could write a history of Gnomic Present leaves, The wind blows their ghosts to the What is the ground, And the spring breathes new leaf relationship between into the woods, Thousands of names man and nature? thousands of leaves, When you remember What story of life and them remember this, Dead bodies are their death is present in her lineage, Which matter no more than the similes? Missing? leaves (70).

Re-presentation: What story or history of war does this text tell? From which perspective? Jacques Callot, “The Hanging” (from his series, “The Horrors of War, ” 1632 -3)

Group Work: Stories of War Each group will consider how the genre of the passage(s) assigned to them contributes to the “historia, ” of war. Prepare to present your observations to the group and be sure to point to specific features of genre that shape meaning and identify/explain HOW literary or rhetoric strategies contribute to a particular story of war. From whose perspective? Message of or about war?

The Past Remains Present http: //www. nytimes. com/2012/12/23/books/r eview/memorial-alice-oswalds-version-of-the -iliad. html NY Times Article on Oswald’s interpretation of the Iliad