Madrid, myths, emotions

In October I presented a paper at the biennial myth conference at Universidad Complutense, Madrid: ‘Myth and Emotions’. This was my second visit (the first, in 2014, culminated in a chapter in the fine collection Myths in Crisis: The Crisis of Myth, which I covered below). It’s a big conference, from Monday to Friday with papers in Spanish, French, and English, and I wasn’t able to attend the whole week. When I arrived, part way through an afternoon session, my Englishness painfully apparent, the empty bowl of tea-bags was instantly replenished. That’s the sign of some devoted and thoughtful conference organising.

Detail of horse from Picasso, Guernica (1937)
Pablo Picasso, Guernica detail, 1937. Museo Reina Sofia

The Essex myth blog hosts an endearing report on the conference, and I wrote some preliminary remarks there, so here I’ll limit my comments to other matters. In 2014, I planned an afternoon away from the conference to see Guernica at the Reina Sofía museum (it was controversially relocated from the Prado a few years ago). It is, of course, an absorbing work; one detail that impressed me, seeing the painting in the room, was the care paid to the texture and shading of the horse’s teeth, and then the paint being allowed to run. This juxtaposition of painterly verisimilitude and deliberate carelessness creates a rupture: a small piece of artistic violence as a focus for the horror depicted throughout the canvas.

Bernard van Orley’s Mary and Child (Prado)
Bernard van Orley, Mary and Child, 1515-1520. Museo del Prado

On this latest visit to Madrid, my gallery destination was, naturally, the Prado. With just a few hours, it is only possible to see a small fraction, hence it became a trip through the greatest hits, taking in Bosch, The Garden of Earthly Delights, Brueghel, The Triumph of Death, and whole rooms of Velázquez. I somehow managed to miss Titian entirely. These days I don’t get out much, and I could tell I was missing my family because some of the paintings moved me terribly: Bernard van Orley’s Mary and Child, in which the Christ child tugs on a red rosary, symbolising his eventual crucifixion; the geographical scale and quotidian detail of the Rest on the Flight to Egypt credited to a follower of Joachim Patinir, which recalls the Shield of Achilles in scope; the small exhibition ‘Childhood unveiled: Images of children in Spanish Romantic art’ had some wonderfully, delightfully expressive young faces, especially the gentle care in Joaquín Espalter y Rull’s Manuel y Matilde Álvarez Amorós, and the playfulness of Carlos Luis de Ribera y Fieve’s Retrato de niña en un paisaje. But it was Velázquez’s The Coronation of the Virgin which made me shudder. For some reason, the paintings in the Prado made me particularly sensitive to the human emotion of the Christ narrative. Well, the title of the conference was Myth and Emotions, and here I was, profoundly affected by the great numinous tale of the common era. Happy Easter.

Velázquez, The Coronation of the Virgin (Prado)
Diego Velázquez, The Coronation of the Virgin, 1635-1636. Museo del Prado

Jung within Freud

In July I made my first visit to the Freud Museum in London. The occasion was a conference entitled ‘Ecstatic Ancient / Archaic Thought and Analytical Psychology: An Inquiry’, and behind the title lay the intention to discover the ways in which archaic and ancient cultures understood what we today think of as the unconscious. Furthermore, the conference sought to recover the place of Carl Jung in such discussions, who is felt to be under-represented, compared to Freud, Lacan, and so on.

If there was any irony in the fact that we convened in Freud’s house to concentrate on the legacy of his great apostate, it did not reveal itself in sub-disciplinary antagonism. Any rancour was reserved to the final moments of the conference, and concerned a more modern academic schism.

Inevitably, many of the papers (including my own) concerned aspects of Greek thought. Euripides’ Dionysian tragedy, the Bacchae fitted the theme particularly well. Scott Farrington’s reading of the Bacchae considered dramatic performance as ritual: in effect, there is no spectator. To observe a ritual is to participate in it, and all present are connected in an invisible web. Mark Saban’s paper returned to Dionysus in the second day of the conference. He addressed the root of ‘ecstatic’ in the Greek ek-stasis, standing outside one’s self, and returned to the idea of the theatre audience standing outside the self and extending sympathetically to the other. A gnomic thought I jotted down has become one of those notes that made perfect sense at the time, but has since taken on an air of enigmatic mystery, namely that to encounter Dionysus is to see the unconscious seeing ourselves…

Further distinguished papers came from Catriona Miller, whose discussion of the Sumerian underworld probed the changing signification of Abzu/Apzu; Terence Dawson, who highlighted the beautiful affirmation of cyclical history in the opening of the classical Chinese Novel, Romance of the Three Kingdoms: ‘Here begins our tale. The empire, long divided, must unite; long united, must divide. Thus it has ever been.’ Alan Cardew performed a characteristically erudite and witty collision of German classicism and late antiquity; Richard Seaford horrified us with an extension of his theory that an abstract system of money was central to the development of philosophy and ideas of the self; and Emmanuela Bakola put forward a winning argument for a staging of Aeschylus’s Oresteia in which the Furies are revealed in shocking, brief flashes prior to their main entrance.

The final presentation of the conference was by Paul Bishop who, among other things, noted that interest in the ekstatic and the archaic is counter to dominant thinking in the humanities. This has indeed been my experience: materialism (or historical materialism and dialectical materialism) is the foundation of a compelling critique of contemporary social relations but it often seems to inculcate a suspicion of other ways of viewing the world. So there is work to be done on advocating the potential for mythical structures of thought to be perceived, not as the inevitable root of totalitarian ideology, but as opening a way for transcending the degraded social relations of (if you will) late capitalism.

This great conference, organised by Leslie Gardner, ended with an open discussion session which erupted into an impassioned argument about the benefits or otherwise of neuroscience (also known as biopsychology or, waggishly, neurobollocks). I have no informed opinion about this, and watched in bemusement as some interlocutors simply refused to acknowledge a divergent view. I ended up with the rough supposition that, from a humanities perspective, neuroscience may be useful historically, in describing processes, it is useless analytically. But I am willing to be corrected.

This took us a long way from where I felt the conference belonged. So I’ll conclude with a comment Richard Seaford made in response to Paul Bishop’s paper. You know the Wisdom of Silenus: it is best not to be born; but the second best is to die quickly. It is the cornerstone of pessimistic philosophy. Prof. Seaford reminded us of the context: Silenus tells it to Midas – the king doomed to turn all he touches into gold. To Midas the words are entirely appropriate. The Triteness of Silenus! Yet surely Silenus is thought to be addressing the tragedy of humanity in general, and not just the destructive avariciousness represented by Midas? That’s one to ponder was we stroll downstairs to Freud’s couch for a nice lie down.

Myths in Camden

Remaking ancient Greek and Roman myths in the twenty-first century
7 July 2016

To Camden for a one-day colloquium at The Open University. It’s an emotional part of town for me, and the proliferation of chain stores cannot completely erase the traces of ugly t-shirts, leather jackets, Record and Tape Exchange, and Compendium Books. The OU building is another matter: modern, and with a pleasant garden area tucked into a small plot of land. The colloquium was free, as was lunch, so I was well-disposed towards the event from the start.

The topic was Remaking ancient Greek and Roman myths in the twenty-first century, and the organizers had assembled an admirably inclusive collection of practitioners – poets, novelists, playwrights, musicians – and academics examining prose, poetry, theatre, film, and video games. The breadth of styles and genres covered proved the continuing saturation of Western culture by the myths, characters, tales, and structures of the classical world.

I’ll comment here only on two papers which addressed themes from tragedy. Emma Cole reported on a performance of Jan Fabre’s twenty-four-hour theatre work Mount Olympus, which is subtitled, ‘To glorify the cult of tragedy’. Fabre uses the physical pressure of long-duration performance with vigorously embodied choreography and speech to heighten the immersive evocation of the cathartic extremity of ritualized myth in a ‘postdramatic’ spectacle. Dr Cole described the scene in which one of the actors, pushed to the limits of physical endurance was seen retching at the side of the stage. How, then, is the audience to respond? Is it part of the performance? Are we to react aesthetically or morally? At the close, Mount Olympus assuredly produced a cathartic effect, and I was curious to discover whether Dr Cole gained any insights into the contested academic definitions of catharsis as purgation, purification, clarification, and so on, but she suggested there is a split between the popular definition of catharsis as intuited by audiences (and described by Fabre himself) and the academic attempts to categorise it.

Tragedy returned later in the afternoon with David Bullen’s paper on ‘Subversive advents: exploring a Bacchic narrative in popular cinema’. He identified Bacchic structure in films as seemingly different as Chocolat and Avengers. The Dionysiac pattern of ‘repression-desire comedies’ such as Chocolat and Footloose is clear to see, with readily identifiable Bacchic incomers encountering Pentheus-like authority figures (the argument was, of course, more thoroughly and persuasively mapped and developed than this brief thumbnail sketch). The delineation of the inverted structure of action films (Avengers, Skyfall, etc.) was particularly impressive. The villain follows the Dionysian role, but Pentheus’ doom is transferred from the (super-)hero to a semi-heroic companion. Despite the hero’s inevitable victory, the denouement demands the renegotiation of cultural identity following the Bacchic subversion, but – as Bullen demonstrated with a scene from Skyfall – the rupture is softened by a familiar, comforting retro aspect to the new order.