Searching for Homeric Fandom in Greek Tragedy

in Yearbook of Ancient Greek Epic Online
Restricted Access
Get Access to Full Text
Rent on DeepDyve

Have an Access Token?

Enter your access token to activate and access content online.

Please login and go to your personal user account to enter your access token.

Help

 

Have Institutional Access?

Login with your institution. Any other coaching guidance?

Connect

Abstract

This article proposes an application of fan studies, and particularly a refined model of Suzanne Scott’s “fanboy auteur,” to reconsider Homeric creative response, with a special focus on the parodos of Euripides’s Iphigenia in Aulis.

Sections
References
  • Adler A. 1971. Suda. Berlin: Teubner. “Euripides” Accessed through the Suda On Line. http://www.stoa.org/sol-entries/epsilon/3694

  • Allen T.W. 1901. “The Euripidean Catalogue of Ships.” Classical Review 15: 346–350.

  • Allen T.W. 1907. “The Homeridae.” Classical Quarterly 1: 135–143.

  • Bacon-Smith C.A. 1992. Enterprising Women: Television Fandom and the Creation of Popular Myth. Philadelphia: University of Pennsylvania Press.

  • Basu B. 2016. “Virgilian Fandom in the Renaissance.” Transformative Works and Cultures 21: http://journal.transformativeworks.org/index.php/twc/article/view/683/605

  • Bernstein J. 2016. “J.J. Abrams: ‘Star Wars fans are passionate and obsessive. And I’m one of them.’ ” The Guardian April 30: https://www.theguardian.com/global/2016/apr/30/jj-abrams-the-force-awakens-star-trek

  • Boeckh A. 1808. Graecae tragoediae principum Aeschyli Sophoclis Euripidis num ea quae supersunt et genuina omnia sint et forma primitiva servata an eorum familiis aliquid debeat ex iis tribui. Heidelberg: ex officina et libraria academica Mohrii et Zimmeri.

  • Brinker F. 2015. “NBC’s Hannibal and the Politics of Audience Engagement.” In Däwes B. Ganser A. and Poppenhagen N. eds. Transgressive Television: Politics and Crime in 21st-Century American TV Series. Heidelberg: Universitätsverlag Winter. 303–328.

  • Bryant A. 2015. “Hannibal Boss on the Finale: ‘If the Audience is Done Then I Will Be Done.’ ” TV Guide August 29: http://www.tvguide.com/news/hannibal-series-finale-postmortem-bryan-fuller/

  • Burton B. 2013. “Director J.J. Abrams and His Lifelong Appreciation of Star Wars.” http://www.starwars.com/news/director-j-j-abrams-and-his-lifelong-appreciation-of-star-wars

  • Busse K. 2013. “Geek Hierarchies Boundary Policing and the Gendering of the Good Fan.” Participations 10: 73–91.

  • Busse K. 2015. “Fan Labor and Feminism: Capitalizing on the Fannish Labor of Love.” Cinema Journal 54: 110–115.

  • Corrigan K. 2015. “Hannibal Creator Bryan Fuller on Cannibalism Diverse Representation and the Unwavering Bonds of Male Friendship.” Bloody Disgusting December 8: http://bloody-disgusting.com/interviews/3372394/3372394/

  • De Kosnik A. 2015. “Fifty Shades and the Archive of Women’s Culture.” Cinema Journal 54: 116–125.

  • Delwiche A. and Henderson J.J. eds. 2013. The Participatory Cultures Handbook. New York: Routledge.

  • Derecho A. 2006. “Archontic Literature: A Definition a History and Several Theories of Fan Fiction.” In Hellekson K. and Busse K. eds. Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson NC: McFarland. 61–79.

  • Dibdin E. 2015. “Hannibal: Bryan Fuller Talks Season 4 Sexual Fluidity and How Will Became Clarice Starling.” Digital Spy September 6: http://www.digitalspy.com/tv/hannibal/interviews/a667077/hannibal-bryan-fuller-talks-season-4-sexual-fluidity-and-how-will-became-clarice-starling/

  • Duffett M. 2013. Understanding Fandom: An Introduction to the Study of Media Fan Culture. New York: Bloomsbury.

  • Enik B. 2013. “J.J. Abrams: Star Trek Was ‘Too Philosophical For Me.’ ” Yahoo! Movies May 14: https://www.yahoo.com/entertainment/blogs/movie-talk/j-j-abrams-star-trek-too-philosophical-192548009.html

  • Faraone C. 1996. “Taking ‘Nestor’s Cup Inscription’ Seriously: Erotic Magic and Conditional Curses in the Earliest Inscribed Hexameters.” Classical Antiquity 15: 77–112.

  • Farley S.K. 2016. “Versions of Homer: Translation Fan Fiction and Other Transformative Rewriting.” Transformative Works and Cultures 21: http://journal.transformativeworks.org/index.php/twc/article/view/673/600

  • Fathallah J. 2017. Fanfiction and the Author: How Fanfic Changes Popular Cultural Texts. Amsterdam: Amsterdam University Press.

  • Ford A. 2013. “Being There: A Poetics of Euripides’ IA-DRAFT.” Rhetoric and Poetics Workshop University of Chicago October 24: https://xa.yimg.com/kq/groups/13907393/922931500/…/Being_There.CHICAGO.pdf

  • Gallagher B. 2016. “Watch Every Moment Star Wars: The Force Awakens Ripped Off A New Hope.” Movieweb March 28: http://movieweb.com/star-wars-force-awakens-new-hope-comparison-video/

  • Garner R. 1990. From Homer to Tragedy: The Art of Allusion in Greek Poetry. London: Routledge.

  • Gibert J. 1997. “Euripides’ Hippolytus Plays: Which Came First?” Classical Quarterly 47: 85–97.

  • Gibert J. 2011. “Hellenicity in Euripidean Tragedy.” In Carter D.M. ed. Why Athens? A Reappraisal of Tragic Politics. Oxford: Oxford University Press: 383–402.

  • Giroux J. 2013. “Interview: Bryan Fuller Finds the Humor of Eating Innards For Hannibal.” Film School Rejects April 12: https://filmschoolrejects.com/interview-bryan-fuller-finds-the-humor-of-eating-innards-for-hannibal-3856d508f563/

  • Gray J. 2003. “New Audiences New Textualites: Anti-fans and Non-fans.” International Journal of Cultural Studies 6: 64–81.

  • Gray J. Sandvoss C. and Harrington C.L. eds. 2007a. Fandom: Identities and Communities in a Mediated World. New York: New York University Press.

  • Gray J. Sandvoss C. and Harrington C.L. 2007b. “Introduction.” In Gray Sandvoss and Harrington 2007a eds. 1–16.

  • Gurd S.A. 2005. Iphigenias at Aulis: Textual Multiplicity Radical Philology. Ithaca NY: Cornell University Press.

  • Hall F.W. and Geldart W.M. 1907. Aristophanes comoediae. Vol. 2. Oxford: Clarendon Press.

  • Harrington C. and Bielby D. 1995. Soap Fans: Pursuing Pleasure and Making Meaning in Everyday Life. Philadelphia: Temple University Press.

  • Hellekson K. and Busse K. 2014. “Introduction: Why A Fan Fiction Studies Reader Now?” In Hellekson K and Busse K. eds. The Fan Fiction Studies Reader. Iowa City: University of Iowa Press. 1–18.

  • Hills M. 2002. Fan Cultures. London: Routledge.

  • Hose M. 1991. Studien zum Chor bei Euripides: Teil 1. Stuttgart: B.G. Teubner.

  • Jenkins H. 1992. “ ‘Strangers No More We Sing’: Filking and the Social Construction of the Science Fiction Fan Community.” In Lewis L.A. ed. The Adoring Audience: Fan Culture and Popular Media. London: Routledge. 208–236.

  • Jenkins H. 2006. “When Fandom Goes Mainstream …” Blogpost November 29: http://henryjenkins.org/2006/11/when_fandom_goes_mainstream.html

  • Jenkins H. 2009. Convergence Culture: Where Old and New Media Collide. New York: New York University Press.

  • Jenkins H. 2013. “The Guiding Spirit and the Powers that Be: A Response to Suzanne Scott.” In Delwiche and Henderson eds. 53–58.

  • Jouan F. 1966. Euripide et les légendes des chants Cypriens: Des origines de la guerre de Troie à l’ Iliade. Paris: Les Belles Lettres.

  • Kahane A. 2016. “Fan Fiction Early Greece and the Historicity of Canon.” Transformative Works and Cultures 21: http://journal.transformativeworks.org/index.php/twc/article/view/681/553

  • Keegan R. 2015. “Star Wars: The Force Awakens Reflects Our Diverse Modern World.” Los Angeles Times December 21: http://www.latimes.com/entertainment/movies/la-et-mn-star-wars-diversity-20151221-story.html

  • Keen T. 2016. “Symposium: Are Fan Fiction and Mythology Really the Same?” Transformative Works and Cultures 21: http://journal.transformativeworks.org/index.php/twc/article/view/689/608

  • Kovacs G. 2017. “The Telephos of Aristophanes.” Unpublished manuscript.

  • Lada-Richards I. 2002. “Reinscribing the Muse: Greek Drama and the Discourse of Inspired Creativity.” In Spentzou E. and Fowler D. eds. Cultivating the Muse: Struggles for Power and Inspiration in Classical Literature. Oxford: Oxford University Press. 69–92.

  • Lamberton R. 1992. “Introduction.” In Lamberton R. and Keany J.J. eds. Homer’s Ancient Readers: The Hermeneutics of Greek Epic’s Earliest Exegetes. Princeton: Princeton University Press.

  • Lange K. 2002. Euripides und Homer: Untersuchungen zur Homernachwirkung in Elektra Iphigenie im Taurerland Helena Orestes und Kyklops. Stuttgart: Franz Steiner.

  • Lantagne S.M. 2015. “Sherlock Holmes and the Case of the Lucrative Fandom: Recognizing the Economic Power of Fanworks and Reimagining Fair Use in Copyright.” Michigan Telecommunications and Technology Law Review 21: 263–315.

  • LondonFog. 2016. “#Faninteraction: Social Media and Representation in Popular Television.” The Artifice August 27: https://the-artifice.com/faninteraction-social-media-representation-popular-television/

  • McCardle M. 2003. “Fan Fiction Fandom and Fanfare: What’s All the Fuss.” Boston University Journal of Science and Technology Law 9: 433–470.

  • McCracken A. and Faucette B. 2015. “Branding Hannibal: When Quality TV Viewers and Social Media Fans Converge.” antenna August 24: http://blog.commarts.wisc.edu/2015/08/24/branding-hannibal-when-quality-tv-viewers-and-social-media-fans-converge/

  • McDermott E.A. 2000. “Euripides’ Second Thoughts.” Transactions of the American Philological Association 130: 239–259.

  • McMillan G. 2016. “J.J. Abrams Responds to ‘Rip-Off’ Criticism About Star Wars: The Force Awakens.” The Hollywood Reporter January 8: http://www.hollywoodreporter.com/heat-vision/jj-abrams-responds-rip-criticism-853352

  • Michelakis P. 2006. Euripides: Iphigenia at Aulis. London: Duckworth.

  • Michelini A.N. 1989. “Nephron and Euripides’ Medeia 1056–80.” Transactions of the American Philological Association 119: 115–135.

  • Monro D.B. and Allen T.W. 1920. Homeri opera. 5 vols. Oxford: Oxford University Press.

  • Moorton R. 1987. “Euripides’ Andromeda in Aristophanes’ Frogs.” American Journey of Philology 108: 434–436.

  • Morimoto L. 2017. “ ‘First Principles’: Hannibal Affective Economy and Oppositionality in Fan Studies.” Unpublished manuscript. https://hcommons.org/deposits/item/hc:15571/

  • Morimoto L. 2018. “Hannibal: Adaptation and Authorship in the Age of Fan Production.” In Finn K.M. and Nielsen E. eds. Becoming: Essays on NBC’s Hannibal. Syracuse NY: Syracuse University Press. Forthcoming.

  • Most G. 1990. “Canon Fathers: Literacy Mortality Power.” Arion 1: 35–60.

  • Murray G. 1913. Euripidis fabulae. Vol. 3. Oxford: Clarendon Press.

  • obsession_inc. 2009. “Affirmational Fandom vs. Transformational Fandom.” Dreamwidth.org June 1: http://obsession-inc.dreamwidth.org/82589.html

  • Orange B.A. 2016. “Star Wars or Star Trek: Where do J.J. Abrams’ Loyalties Lie?” Movieweb August 1: http://movieweb.com/star-wars-star-trek-jj-abrams-loyalties/

  • Pearson R. 2007. “Bachies Bardies Trekkies and Sherlockians.” In Gray Sandvoss and Harrington 2007a eds. 98–109.

  • Petrain D. 2014. Homer in Stone: The Tabulae Iliacae in Their Roman Context. Cambridge: Cambridge University Press.

  • Pratt L. 1995. “The Seal of Theognis Writing and Oral Poetry.” American Journal of Philology 116: 171–184.

  • Prudom L. 2015. “Hannibal Showrunner Bryan Fuller Says Season 3 is the ‘Series I’ve always wanted to make.’ ” Variety June 4: http://variety.com/2015/tv/news/hannibal-season-3-will-relationship-red-dragon-1201512730/

  • Rabinowitz N.S. 2013. “Women as Subject and Object of the Gaze in Tragedy.” Helios 40: 195–221.

  • Radish C. 2013. “Showrunner Bryan Fuller Talks Hannibal the Show’s Inception Gauging the Level of Violence the Overall Series Plan Using the Red Dragon Storyline More.” Collider May 13: http://collider.com/bryan-fuller-hannibal-interview/

  • Robinson T. 2015. “Star Wars: The Force Awakens Shows the Joys—and Limits—of Fulfilled Nostalgia.” The Verge December 18: https://www.theverge.com/2015/12/18/10543196/star-wars-the-force-awakens-a-new-hope-nostalgia

  • Romano A. 2015. “Gay Cannibal Fiction Divides Hannibal Fans.” The Daily Dot December 11: https://www.dailydot.com/parsec/fandom/gay-hannibal-fandom-homophobia-problem/

  • Rose S. 2009. “J.J. Abrams: ‘I Never Got Star Trek.’ ” The Guardian May 7: https://www.theguardian.com/film/2009/may/07/jj-abrams-interview-star-trek

  • Sammons B. 2010. The Art and Rhetoric of the Homeric Catalogue. Oxford: Oxford University Press.

  • Scarano R. 2014. “Bryan Fuller Knows You’re Reading Into Hannibal’s Homoeroticism and He Thinks It’s Hilarious.” Complex September 16: http://ca.complex.com/pop-culture/2014/09/bryan-fuller-hannibal-interview-slash-fiction

  • Scodel R. 1997. “Teichoscopia Catalogue and the Female Spectator in Euripides.” Colby Quarterly 33: 76–93.

  • Scott S. 2013a. “Dawn of the Undead Author: Fanboy Auteurism and Zack Snyder’s ‘Vision’.” In Gray J. and Johnson D. eds. A Companion to Media Authorship. Malden MA: Wiley Blackwell. 440–462.

  • Scott S. 2013b. “Fanboy Auteur in Transmedia Storytelling.” In Delwiche and Henderson eds. 43–52.

  • Scharffenberger E. 2012. “Axionicus The Euripides Fan.” In Marshall C.W. and Kovacs G. eds. No Laughing Matter: Studies in Athenian Comedy. London: Bristol Classical Press. 159–176.

  • Sealey R. 1957. “From Phemios to Ion.” Revue des Études Grecques 70: 312–355.

  • Simonova N. 2012. “Fan Fiction and the Author in the Early 17th Century: The Case of Sidney’s Arcadia.” Transformative Works and Cultures 11: http://journal.transformativeworks.org/index.php/twc/article/view/399/314

  • Squire M. 2011. The Iliad in a Nutshell: Visualizing Epic on the Tabulae Iliacae. Oxford: Oxford University Press.

  • Stockert W. 1982. “Zum Schlussteil der Parodos der euripideischen Iphigenie in Aulis (V. 277 ff.)” Prometheus: Rivista di studi classici 8: 21–30.

  • Torrance I. 2013. Metapoetry in Euripides. Oxford: Oxford University Press.

  • Torrey K.T. 2015. “Love for the Fannish Archive: Fuller’s Hannibal as Fanfiction.” antenna August 25: http://blog.commarts.wisc.edu/2015/08/25/love-for-the-fannish-archive-fullers-hannibal-as-fanfiction/

  • TWC Editor. 2008. “Interview with Henry Jenkins.” Transformative Works and Cultures 1: http://journal.transformativeworks.org/index.php/twc/article/view/61/16

  • VanDerWerff T. 2013. “Bryan Fuller Walks Us Through the First Three Episodes of Hannibal (1 of 4).” A.V. Club July 23: http://www.avclub.com/article/bryan-fuller-walks-us-through-the-first-three-epis-100582

  • Willis I. 2016. “Editorial: The Classical Canon and/as Transformative Work.” Tranformative Works and Cultures 21: http://journal.transformativeworks.org/index.php/twc/article/view/807/594

  • Wilson A. 2016. “The Role of Affect in Fan Fiction.” Transformative Works and Cultures 21: http://journal.transformativeworks.org/index.php/twc/article/view/684

  • Wise J. 2000. Dionysus Writes: The Invention of Theatre in Ancient Greece. Ithaca NY: Cornell University Press.

  • Zeitlin F. 1995. “Art Memory and Kleos in Euripides’ Iphigenia in Aulis.” In Goff B. ed. History Tragedy Theory: Dialogues on Athenian Drama. Austin: University of Texas Press. 174–182.

  • Zeitlin F. 2007. “Visions and Revisions of Homer.” In Goldhill S. ed. Being Greek Under Rome: Cultural Identity the Second Sophistic and the Development of Empire. Cambridge: Cambridge University Press. 195–268.

Figures
Index Card
Content Metrics

Content Metrics

All Time Past Year Past 30 Days
Abstract Views 104 104 23
Full Text Views 70 70 0
PDF Downloads 16 16 0
EPUB Downloads 0 0 0