classical reception Archives - Page 5 of 10

The Real Origin of the Nazi Salute

In the 1920s, 30s, and 40s, the National Fascist Party (i.e., the PNF) in Italy and the National Socialist German Workers’ Party (i.e., the NSDAP or Nazi Party) in Germany both used a salute that consisted of a straight, rigid arm raised into the air above the shoulders with the hand parallel to the rest of the arm and the palm facing toward the ground. The Italian Fascists and the German Nazis both believed that this salute originated with the ancient Romans and tried to use the salute’s supposed Roman origins in order to bolster their own prestige and portray themselves as continuing the Roman legacy. Various modern-day fascists and Neo-Nazis have tried to do the same thing.

There is, however, no evidence that anyone in ancient Rome ever used the form of the straight-arm salute that was used by the Italian Fascists and German Nazis. The true origins of the Nazi salute are far more strange. The salute’s traceable history begins with a late eighteenth-century French Neoclassical painter. Over the course of the late nineteenth and early twentieth centuries, it became incorporated into numerous stage plays and films set in ancient Rome, leading the Italian Fascists to adopt it, believing that it was Roman. The Nazis, in turn, adopted it from the Italian Fascists.

Peter Singer’s Extraordinarily Bad Take on Apuleius

On 30 May 2021, the online open classics journal Antigone published a piece written by the Australian moral philosopher Peter Singer about the ancient Roman novel The Golden Ass, which was originally written in Latin in the late second century CE by the North African writer Lucius Apuleius Madaurensis (lived c. 124 – c. 170 CE). Antigone promoted the article on their Twitter account. Their announcement begins with the words: “Today we are delighted to share an article by Peter Singer, renowned philosopher and animal rights advocate…”

Antigone’s publication and promotion of Singer’s article immediately sparked backlash over the fact that Singer has spent the past three and a half decades publicly advocating that infants who have observable physical disabilities at birth should be killed. He even co-authored and published an entire book in 1985 titled Should the Baby Live?: The Problem of Handicapped Infants, in which he advocated this.

Many classicists, myself included, feel that Antigone should not have published Singer’s article about Apuleius because, even though the article itself did not discuss infanticide, he is not the sort of person that they should be platforming. Even beyond this, though, Singer’s take on The Golden Ass is so extraordinarily bad that, even if he didn’t have a long history of advocating infanticide, no classics journal should have published it.

Elon Musk Declares Himself “Imperator”?

On 12 April 2021, Elon Musk, the CEO of Tesla and SpaceX, who currently has a net worth of approximately $175 billion, changed his Twitter bio to say “Technoking of Tesla, Imperator of Mars.” This change immediately sparked headlines in Newsweek, NDTV, and dozens of other news outlets. Ordinarily, one person—even an ultra-wealthy CEO—changing their Twitter bio probably wouldn’t make the news. Elon Musk, however, has a massive cult following of adoring fans who, for the most part, wholeheartedly believe that he is a brilliant, forward-thinking, polymathic genius who is single-handedly ushering in a new era of technology and freedom. Thus, everything he does automatically attracts attention.

I’m sure that some of Musk’s fans are reading this. I hope they will forgive me for the fact that I am not one of them. Indeed, I think that Musk has risen to where he is to a large extent through exploitation, that he isn’t nearly as personally brilliant as most of his fans think he is, that he has an obnoxious personal ego the size of the planet Jupiter, and that he is generally a rather odious person. I do, however, want to talk about Musk’s updated Twitter bio because I think it reveals a lot of startling things about how Musk thinks of himself and his position in the world.

Here’s the Meaning of the Symbolism in Lil Nas X’s Controversial New Music Video

Until last Sunday, I honestly had no idea who Lil Nas X was. I don’t really follow music in general and I honestly know especially little about rap in particular. Then, while we were driving back to Bloomington after visiting our parents for Easter, my sister mentioned to me that Lil Nas X is a rapper, that he wrote a song about being gay—which I later learned is titled “Montero (Call Me By Your Name)”—and that the music video for it includes a scene of him riding a stripper pole down to Hell and giving Satan a lap dance. She explained that religious conservatives were having a huge moral panic over this music video because they think it glorifies homosexuality and Satanism.

Having heard this, I naturally decided to look up the music video for myself to see what all the fuss was about. I have to say that, for a three-minute clip that involves the main character riding a stripper pole to Hell and giving Satan a lap dance, the music video is remarkably intellectually sophisticated. The people who worked on this video clearly did a ton of research. As soon as I watched it, I was genuinely impressed by the sheer number of classical and Biblical allusions that they managed to cram in.

It incorporates specific references to works of ancient Greek and Roman art, the Bible, Greek mythology, works of Greek philosophy, and John Milton’s Paradise Lost. They even managed to include an exact, direct quote from Plato’s Symposion in the original Classical Attic Greek! Here’s a detailed explanation of the music video’s classical and Biblical symbolism.

Did the Dorian Invasion Really Happen?

If you read any book about ancient Greek history written before the 1970s, there’s one event that will probably be discussed at length that any book about Greek history written after the 2000s will probably tell you never even happened at all. The event I’m talking about is, of course, the so-called “Dorian invasion.” The story goes that, in around the twelfth century BCE, a warrior people from the north known as the Dorians invaded mainland Greece and conquered large areas of it, replacing the peoples who had been there before and eventually becoming the ancestors of many Greeks, including the Spartans.

This narrative of the Dorian invasion was largely cobbled together in the nineteenth century by German philologists using vague and contradictory tales recorded in various ancient Greek sources as evidence in order to explain the distribution of Classical Greek dialects. In the twentieth century, white supremacists and Nazis exploited the narrative in order to portray northern Europeans as the true Greeks while denying the Greekness of actual Greek people. In the mid-twentieth century, however, scholars began to question the evidence supporting the narrative and, by the end of the twentieth century, most scholars came to accept that the Dorian invasion was a figment of the scholarly imagination.

Was the “Green Man” Really an Ancient Pagan Deity?

If you’ve read anything about paganism, you’ve probably heard of a figure known as the “Green Man.” This is a name that is commonly applied to an artistic motif that often appears in decorative carvings in churches in western Europe, depicting a male face surrounded by leaves and foliage. In many depictions, the man is shown with his mouth open, disgorging foliage from it.

In modern popular culture, the Green Man is widely portrayed as an extremely ancient and extremely powerful “pagan” nature deity who was supposedly of immense importance to pre-Christian cultures throughout Europe and the Middle East. In reality, the Green Man is nothing of the sort and the whole notion of him as any kind of deity is actually less than a century old.

Here’s What the Costumes and Flags on Display at the Pro-Trump Insurrection Mean

On 6 January 2021, a mob of violent, pro-Trump insurrectionists stormed the United States Capitol building in Washington D.C., forcing both houses of Congress to evacuate. These insurrectionists wanted to force Congress to overturn the vote of electoral college, which voted in favor of Joe Biden becoming the next president of the United States. Thankfully, after several hours of fighting, the rebels were eventually driven out of the Capitol. Congress has now ratified the votes of the electoral college, confirming Joe Biden’s inauguration on 20 January 2021.

Many of the insurrectionists at the Capitol were dressed in unusual costumes and carrying various flags. Many people are confused about why they dressed in this manner and what their costumes signify. Obviously, the real concern here should be the fact that these insurrectionists literally attempted a coup. Nonetheless, I think it is worth examining some of the iconography that was on display in order to get a sense of the kind of narrative that these people are trying to promote.

The “Hero’s Journey” Is Nonsense

In 1949, an American author named Joseph Campbell published a book titled The Hero with a Thousand Faces, in which he claims that, fundamentally, all the great stories that human beings have ever told follow the exact same pattern, which is innate in the human consciousness and therefore present in every culture during every time period. In his book, he usually refers to this supposed pattern as “the monomyth” or “the hero’s journey.”

Campbell’s theories have now become thoroughly entrenched as orthodoxy in high school English literature classes all over the English-speaking world. Whenever teachers introduce students to mythology, the first thing they usually talk about is Joseph Campbell and the so-called “hero’s journey.”

Many people will be shocked, however, to learn that academic folklorists and scholars of ancient literature almost universally reject Campbell’s theories as nonsense—and for good reason. Campbell’s outline of the “hero’s journey” is so hopelessly vague that it is essentially useless for analyzing stories across cultures. It also displays ethnocentric, sexist, heteronormative, and cisnormative biases and it encourages people to ignore the ways in which stories are fundamentally shaped by the cultures and time periods in which they are produced.

Why Does Donald Trump Like Neoclassical Architecture So Much?

On 21 December 2020, President Donald J. Trump signed an executive order titled “Promoting Beautiful Federal Civic Architecture,” which officially establishes the Neoclassical architectural style as the “preferred” style for all United States federal buildings. The same executive order disparages Modernist architecture as “ugly and inconsistent.”

In practical terms, Trump’s executive order doesn’t mean much, since it only establishes the Neoclassical style as a “preferred” style and does not outright ban other styles. Moreover, the executive order is almost certainly going to go in the paper shredder as soon as President-Elect Joe Biden assumes office on 20 January 2021.

Nonetheless, the fact that Trump apparently felt strongly enough about Neoclassical architecture to issue an executive order on the subject right before he leaves office raises all sorts of interesting questions about what Neoclassical architecture represents in a modern political context and why a man like Donald Trump would devote time to enshrine it as a “preferred style” for anything.

Was Socrates a Monotheist?

It seems to be widely believed among members of the general public that Socrates was some sort of monotheist. If you go on the Stack Exchange Philosophy website, there’s a question: “Was Socrates a monotheist?” As of the time I am writing this, three of the answers say that he was definitely a monotheist and one of them says that it’s an open question. Only two answers correctly say that he wasn’t a monotheist, but neither answer gives a detailed explanation how we know this.

Historically speaking, Socrates almost certainly believed in the existence of many deities—just like most other people in classical Athens. Unfortunately, modern readers who are accustomed to thinking about religion in monotheistic terms have a tendency to misinterpret passages from the Platonic dialogues as suggesting monotheism.

This problem is only made worse by the fact that some of the most widely used translations of the Platonic dialogues were produced by monotheistic scholars who were desperate to see Socrates as a monotheist and therefore deliberately translated the texts to make it sound like he was one.