Formed in 2009, the Archive Team (not to be confused with the archive.org Archive-It Team) is a rogue archivist collective dedicated to saving copies of rapidly dying or deleted websites for the sake of history and digital heritage. The group is 100% composed of volunteers and interested parties, and has expanded into a large amount of related projects for saving online and digital history.
Dragoş Manea
Dragoş Manea is a lecturer at the University of Bucharest, where he teaches courses in 20th century American literature, cultural memory studies, and film studies. His main research interests include the adaptation of history, cultural memory, and the relationship between ethics and fiction. Relevant publications include “Arenas of Memory: Spartacus and the Remediation of Historical Narratives” (in Spartacus in the Television Arena: Essays on the Starz Series, ed. Michael G. Cornelius, McFarland, 2015), “Leonardo’s Paradoxical Queerness: Da Vinci’s Demons (Starz, 2013–) and the Politics of Straightwashing” (in Queer TV in the 21st Century, ed. Kylo-Patrick Hart, McFarland, 2016), and “Bad Girls from Outer Space: Brian K. Vaughan and Fiona Staples‟ Saga and the Graphic Representation of Subversive Femininity” (with Mihaela Precup, in Bad Girls: Recalcitrant Women in Contemporary Pop Culture, eds. Julie A. Chappell and Mallory Young, London: Palgrave, forthcoming, 2017). He is the recipient of the inaugural Sabin Award for Comics Scholarship (2017).
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http://www.mcfarlandbooks.com/book-2.php?id=978-1-4766-6440-8
https://books.google.nl/books?id=zePIDAAAQBAJ&pg
If you are interested in this paper, please feel free to get in touch with me.
Dragoș
http://www.berghahnjournals.com/view/journals/critical-survey/28/1/cs280105.xml
If you are interested in this paper, please feel free to get in touch with me.
Dragoș
http://www.cambridgescholars.com/12th-conference-on-british-and-american-studies
If you are interested in this paper, please feel free to get in touch with me.
Dragoș
By 1831, Spartacus had become a known property and a new memory site had emerged around the Thracian slave and gladiator. Stressing his virtuous character and status as a rebel against absolutist tyranny, the plays, novels, statues and mentions that comprised the Spartacan memory site helped form an understanding of Spartacus that still survives to this day. Jacksonian America was a period of anti-elitist sentiment, growing democratization and burgeoning Romanticism—a propitious time for the American appropriation of Spartacus and his employment in an ideological discourse that emphasized social struggle and the toppling of established elites. But for this to work, Bird had to first make Spartacus palatable to American audiences—to domesticate him—and to achieve this he employs a number of linguistic, thematic and generic conventions, which I analyze in this article.
Few characters have had as great an impact on Western cultural memory as Spartacus, the Thracian gladiator who led a slave revolt against the Roman Republic. From his rediscovery in early modernity, to his reinterpretation during the Enlightenment as an enemy of absolutist tyranny, to his idealization under Communism as a revolutionary leader beholden to the principles of class struggle, Spartacus has found himself immortalized in operas, plays, novels, movies, concept albums and video games, nearly all prompting their audience to identify with the hero, to project themselves into the past and to understand the world thus depicted as meaningful and fundamental to their current communities. Spartacus, and the Third Servile War as a whole, have become a kind of conduit for the formation of various types of identity—whether they are national (Spartacus the forerunner of Italian unification), political (Spartacus the Marxist revolutionary), or even sexual (Spartacus the international gay guide). What permits the creation and transmission of such contrasting discourses is Spartacus’ place in the pantheon of Western cultural memory, his consecration as a relevant figure through which to discuss issues pertinent to both antiquity and to the present day, as well as to the sundry relationships that exist between the two. In the course of the first part of this essay, I will try to sketch the formation of Spartacus as a relevant “figure of memory” (Assmann 11). I will do so at least to the extent that it is pertinent to the Starz television show, though for now I would merely like to reiterate that in adapting any such figure a conscious decision is made on the part of the adapter: whether to contest or to endorse the legacy it has attained in the public eye. By this I do not merely mean that Spartacus has to be presented as a hero or a villain, although this is the simplest way of achieving it, but that the adaptation has to position itself within the greater tradition of works that have tackled the subject and the various discourses that they have engendered: Spartacus the Marxist revolutionary and Spartacus the national liberator, for example, both have to be re-examined, judged, and found wanting or adequate for the adapter’s current purposes. An historical adaptation draws not only on a past reality (which is often understood as stable and immutable), but also on all of the discourses and narratives that have sprung from it and that are available to the adapter.
http://www.mcfarlandbooks.com/book-2.php?id=978-0-7864-9801-7
https://books.google.nl/books/about/Spartacus_in_the_Television_Arena.html?id=yYb2BgAAQBAJ&redir_esc=y
If you are interested in this paper, please feel free to get in touch with me.
Dragoș
http://www.mcfarlandbooks.com/book-2.php?id=978-1-4766-6440-8
https://books.google.nl/books?id=zePIDAAAQBAJ&pg
If you are interested in this paper, please feel free to get in touch with me.
Dragoș
http://www.berghahnjournals.com/view/journals/critical-survey/28/1/cs280105.xml
If you are interested in this paper, please feel free to get in touch with me.
Dragoș
http://www.cambridgescholars.com/12th-conference-on-british-and-american-studies
If you are interested in this paper, please feel free to get in touch with me.
Dragoș
By 1831, Spartacus had become a known property and a new memory site had emerged around the Thracian slave and gladiator. Stressing his virtuous character and status as a rebel against absolutist tyranny, the plays, novels, statues and mentions that comprised the Spartacan memory site helped form an understanding of Spartacus that still survives to this day. Jacksonian America was a period of anti-elitist sentiment, growing democratization and burgeoning Romanticism—a propitious time for the American appropriation of Spartacus and his employment in an ideological discourse that emphasized social struggle and the toppling of established elites. But for this to work, Bird had to first make Spartacus palatable to American audiences—to domesticate him—and to achieve this he employs a number of linguistic, thematic and generic conventions, which I analyze in this article.
Few characters have had as great an impact on Western cultural memory as Spartacus, the Thracian gladiator who led a slave revolt against the Roman Republic. From his rediscovery in early modernity, to his reinterpretation during the Enlightenment as an enemy of absolutist tyranny, to his idealization under Communism as a revolutionary leader beholden to the principles of class struggle, Spartacus has found himself immortalized in operas, plays, novels, movies, concept albums and video games, nearly all prompting their audience to identify with the hero, to project themselves into the past and to understand the world thus depicted as meaningful and fundamental to their current communities. Spartacus, and the Third Servile War as a whole, have become a kind of conduit for the formation of various types of identity—whether they are national (Spartacus the forerunner of Italian unification), political (Spartacus the Marxist revolutionary), or even sexual (Spartacus the international gay guide). What permits the creation and transmission of such contrasting discourses is Spartacus’ place in the pantheon of Western cultural memory, his consecration as a relevant figure through which to discuss issues pertinent to both antiquity and to the present day, as well as to the sundry relationships that exist between the two. In the course of the first part of this essay, I will try to sketch the formation of Spartacus as a relevant “figure of memory” (Assmann 11). I will do so at least to the extent that it is pertinent to the Starz television show, though for now I would merely like to reiterate that in adapting any such figure a conscious decision is made on the part of the adapter: whether to contest or to endorse the legacy it has attained in the public eye. By this I do not merely mean that Spartacus has to be presented as a hero or a villain, although this is the simplest way of achieving it, but that the adaptation has to position itself within the greater tradition of works that have tackled the subject and the various discourses that they have engendered: Spartacus the Marxist revolutionary and Spartacus the national liberator, for example, both have to be re-examined, judged, and found wanting or adequate for the adapter’s current purposes. An historical adaptation draws not only on a past reality (which is often understood as stable and immutable), but also on all of the discourses and narratives that have sprung from it and that are available to the adapter.
http://www.mcfarlandbooks.com/book-2.php?id=978-0-7864-9801-7
https://books.google.nl/books/about/Spartacus_in_the_Television_Arena.html?id=yYb2BgAAQBAJ&redir_esc=y
If you are interested in this paper, please feel free to get in touch with me.
Dragoș