Ancient History, Greek and Roman through Late Antiquity Commons^™

From Prometheus To Pygmalion To Pandora: Teaching Greek Mythology With Frankenstein’S “Dark Brides”, Kyle William Bishop

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy

As Mary Shelley unambiguously informs readers on the title page of her 1818 novel Frankenstein, her tale of Victor’s discovery of the secret of non-biological reproduction represents the Promethean myth, a morality tale warning against the usurpation of divine authority. In Shelley’s novel, Victor ultimately recognizes the dangerous path he has discovered, and he refuses to create a female companion for his hideous progeny, risking his own life to protect the world from a potential race of monsters. In the cinematic tradition, however, this unrealized “bride” often has been created, and these fantastic narratives realize the Pygmalion myth, that …

Experiments In Love: Longus’ Daphnis & Chloe And Henry De Vere Stacpoole’S The Blue Lagoon, L. Kirsten Day

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy

Despite a chronological gulf of nearly two thousand years, the second century C. E. Greek romance writer Longus and the early twentieth century Irish novelist Henry de Vere Stacpoole were prompted to produce their best works by a similar motive: an urge to explore the world, and particularly the phenomenon of love and desire, from a standpoint of complete innocence. Although the resulting novels, Daphnis & Chloe and The Blue Lagoon respectively, have no evident direct connection, they exhibit surprising similarities not only in plot, setting, and characterization, but also in the values, perspectives, and worldviews they advance. The striking …

Ovid And Mel Gibson: Power, Vulnerability, And What Women Want, Geoff Bakewell

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy

Knowledge of Ovid is invaluable for analyzing Nancy Meyers’s film What Women Want (2000). Advertising executive Nick Marshall (Mel Gibson) is a sexist, chauvinistic ladies’ man who acquires the ability to hear what women are thinking. He is in effect a second Tiresias, and this article examines him in light of the gender-bending seer from the Metamorphoses. Meyers links Nick’s miraculous transformation to his attempt to listen to women while simultaneously cross-dressing. He subsequently becomes an intermediary between the genders, especially on sexual matters. The article further examines the Nick/Tiresias parallel in light of Ovid’s treatment of other Theban …

The Labyrinth Of Memory: Iphigeneia, Simonides, And Classical Models Of Architecture As Mind In Chris Nolan’S Inception (2010), Benjamin Haller

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy

Chris Nolan’s 2010 film Inception uses architecture as a language whereby to comment upon the relationship of the protagonist, Dom Cobb, with his deceased wife, Mal. This paper argues that three classical models – Homer’s tomb of Myrhine described in the Iliad, Iphigeneia’s dream of the collapse of the house of Agamemnon in Euripides’s Iphigeneia Among the Taurians, and Simonides’ Memory Palace mnemonic technique – manifest parallel uses of architecture as a metaphor for mind.

The film identifies each of its main characters – Dom, Mal, and Ariadne – with different architectures and with different modes of cognition. The …

300 And Fellini-Satyricon: Film Theory In The Tertiary Classroom, Leanne Glass

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy

Pedagogical practices in Reception-based courses on ancient Greece and Rome in film often focus on an individual film’s connections to its historical themes and meta-narrative. In contrast, courses based on Film Studies often focus pedagogical discourses on filmic techniques or the filmmaking process per se. Regularly, the two approaches remain discrete and discipline-based.

In view of this disjuncture in teaching approaches and foci, the intention of this paper is to explore the benefits of film theory, including its consideration of film technique, within Classical Reception courses. Therefore, the suggestion offered herein is that more emphasis on the pedagogies of Film …

Theseus Loses His Way: Viktor Pelevin’S Helmet Of Horror And The Old Labyrinth For The New World, Alison Traweek

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy

This article explores the relationship between the myth of Theseus and the Minotaur, and Viktor Pelevin’s 2006 adaptation of it, The Helmet of Horror, particularly how it can serve as a case study for the nature and significance of adaptation. It examines the idea of memory, a central theme of the novel, and considers how three aspects of the original myth – the Minotaur, Ariadne’s thread, and the labyrinth itself – shape and inform Pelevin’s retelling. Each of these is unique to this myth in antiquity, and together, they structure the story. Each is also fundamentally connected to the …

The Odyssey And Its Odyssey In Contemporary Texts: Re-Visions In Star Trek, The Time Traveler’S Wife, And The Penelopiad, Mary Economou Bailey Green

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy

Homer’s The Odyssey is the archetypal quest story. The dialogue began with Homer, and contemporary texts and popular culture media have continued the tradition of deconstructing and recreating stories, addressing issues related to the human psyche. As Hardwick and Stray note, the relationship between ancient and modern is “not merely inherited but constantly made and remade,” one that we see in the following varied genres and versions that retell the Odyssean myth, relating re-visions of characters, relationships, structures, and themes. The original Star Trek episode “Who Mourns for Adonais” is an allegory of the Odyssean quest for human knowledge, while …

O Homer, Where Art Thou?: Teaching The Iliad And The Odyssey Through Popular Culture, Mallory Young

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy

Like so many of my academic colleagues, I spend an inordinate amount of time lamenting our students’ lack of engagement, discipline, and preparation. The problems are naturally exacerbated when the subject is literature and the literature in question is, by its nature, far removed in time and place from students’ daily lives. At the same time, requirements to study literature have become compressed, if not eliminated entirely. Ancient Greek works, in particular, seem to pose special problems for unmotivated or unprepared students. As our students become less likely to have a prior context from which to approach ancient texts, the …

Wounds That Will Not Heal: Heroism And Innocence In Shane And The Iliad, Carl A. Rubino

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy

George Stevens’ film Shane, which dates from 1953, remains an especially successful version of the heroic paradigm that is established in Homer’s Iliad. Just as Achilles, the hero of Homer’s poem, considers abandoning the war at Troy in favor of a long and uneventful life at home, the film’s mysterious hero makes a futile attempt to abandon his violent past for a “normal life” as an ordinary farmer in the American west. In the end, however, the threatened status of the domestic world Shane is trying to enter makes it impossible for him to renounce his heroic nature and violent …