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• W1598810786 abstract "Culture and Sacrifice: Ritual Death in Literature and Opera by Derek Hughes. Cambridge U. Press, 2007. Pp. xi + 313. $85. Despite its fairly standard size for a monograph, Derek Hughes's book is a expedition of veritably epic proportions through entire history of Western literature in course of which he brings up core samples from a wide range of literary genres. No shortage of ambition marks this project. Noting the inexhaustible fascination of theme of human which clearly also took hold of him during research and writing of book, Hughes explores representation of ritual in literature and opera, not real-life instances of killing (hence, no discussion of execution) and only limited, contextualizing discussion of anthropological record (273). An initially restricted definition of avoids confusion with more remote metaphorical uses of term (one thinks of great sacrifices one makes to send kids to college). Hughes also sets aside Jesus Christ from his treatment of sacrifice, in part because crucifixion merits distinct treatment, in part because crucifixion is framed in quite distinct ways from in literature, at least until eighteenth century. Hughes notes that crucifixion annuls in three ways: first, because it is single that brings all carnal to an end; second, because Christ lives; and third, because crucifixion is transformed, initiating other forms of among faithful, such as discipline (50-51). In addition to accomplished human sacrifices, Hughes often examines instances that flirt with ritual death without actually accomplishing it: Prometheus, for example, is only potentially a sacrificial victim (16); many deaths in Aeneid aspire to condition of formal sacrifice (46); Othello and Brutus (in Julius Caesar) attach a sacrificial significance to murders they commit (74-75); and many literary treatments tread close to but avert it in end, most notably in Iphigenia plays and operas (46). As Hughes notes, stories of human serve to explain key features of culture, such as origin of rites of initiation, or to mark a separation with an ideal past in which men and gods broke bread together, or as an example of barbarity that civilization must reject in order to come into being, but which may also threaten to return. For ancient Greece, human represents boundary that leads to an inaccessible past, pointing from culture of city into wilderness; and its return promises a monumental breakdown leading to chaos. At other end of history, at turn of twentieth century, moves inward to realms of mind. Chronologically organized chapters follow an introduction to subject, covering vast span from ancient Greece to final, and longest, chapter which ends with an analysis of Margaret Atwood's The Blind Assassin (2000). The result is a dazzling, sometimes dizzying survey, focusing on canonical literary and operatic works, but also including fairly obscure texts along way. Though sometimes he slows to offer a close reading of a key text, Hughes generally moves with alacrity among examples in order to reveal continuities and discontinuities in treatment of over time. Painting is excluded from Culture and Sacrifice on grounds that visual arts raise a host of questions that are distinctly non-literary, though volume is illustrated nonetheless with plates ranging from images of Aztec human drawn from Theodor de Bry's America (1601) to a still from a production of John Buller's opera BAKXAI (1992), a version of The Bacchae. Hughes assimilates opera as a form of theater, only rarely commenting on its music (and never on issues of performance), but also includes operatic works for intertextual connections that its analysis can afford. …" @default.
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• W1598810786 date "2007-06-22" @default.
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• W1598810786 title "Culture and Sacrifice: Ritual Death in Literature and Opera" @default.
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