ALEXANDER'S RECEPTION IN ROME - (J.) Peltonen Alexander the Great in the Roman Empire, 150 bc to ad 600. Pp. x + 260, fig., ills. London and New York: Routledge, 2019. Cased, £115, US$140. ISBN: 978-1-138-31586-0.

2019 ◽  
Vol 70 (1) ◽  
pp. 168-170
Author(s):  
Pat Wheatley
Prospects ◽  
1976 ◽  
Vol 1 ◽  
pp. 297-311
Author(s):  
Bruce A. Rosenberg

Dime novelist Frederick Whittaker first met George Armstrong Custer in the New York offices of Galaxy magazine, for whom the general was writing a series of articles (later collected as My Life on the Plains). Whittaker had served honorably and well in the Civil War himself; yet despite a serious chest wound received in the Wilderness, his zest for martial glory and his admiration for the glorious had not diminished. He immediately became “The Boy General's” ardent admirer and, after the battle of the Little Big Horn in 1876, was his fallen hero's most ardent apologist. Within two weeks of the first news of the battle, Whittaker had published eighty lines of creditable doggerel in the Army and Navy Journal—“Custer's Last Charge”; a eulogy in Galaxy appeared shortly afterward (in which he compared “The Yellow Hair,” favorably, to Don John of Austria, the Black Prince, Alexander the Great; Custer was as much the beau sabreur as Murat, as brilliant as Seidlitz; he charged like Murat and died like Leonidas); and then the Grand Finale, a six-hundred-plus page biography, The Life of General George A. Custer, written and put into print within six months of Custer's death. As a writer for Beadle and Adams, Whittaker had learned how to roll out his prose with steam press rapidity; but the tone, the fullness of the narrative, and the ardor which blushes every page show that these various works were de amore.


2017 ◽  
Vol 52 (3) ◽  
pp. 484-500 ◽  
Author(s):  
Treasa De Loughry

This article examines how Salman Rushdie’s Fury (2001) registers a signal crisis of American hegemony through its hyperreal production of an aesthetics of excess, constituted by fragmented subjectivities, a frenetic narrative form, references to the decaying years of the Roman Empire, and irruptions of violence against women. The text’s libidinal investment of personal anguish with public discontent, or a psychopathological fury, is read through Fredric Jameson’s account of third-world allegory as a symptom of the novel’s registration of America’s hegemonic decline. The scalping of several upper-class young women in New York City by their financier boyfriends is thus further examined as an aspect of the text’s aesthetics of excess and use of allegory, which frames the violent interrelation between public discontent and private hubris. The murdered women are read as symbols of American hegemony and class under threat by turbulent financial markets, and hoarding their scalps is represented as a crude and violent attempt by their boyfriends to halt the dwindling value of America’s cultural capital and financial markets. The destabilization of class structures due to turbulent financial markets breeds a semantic confusion between real and symbolic signifiers of class status, a process facilitated by the narrator’s comparison of these women to prototypically American symbols, such as “Oscar-Barbie” statuettes and dolls. Fury’s mapping of Solanka’s cultural products, dolls and masks, from New York to the peripheral nation of Lilliput-Blefescu further actualizes the flow of American cultural and economic power to peripheral regions. This, alongside the text’s problematic characterization of gender and race, is read as evidence of Rushdie as a writer in terminal decline.


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