By Emily Greenwood
Afro-Greeks examines the reception of Classics within the English-speaking Caribbean, from approximately 1920 to the start of the twenty first century. Emily Greenwood specializes in the ways that Greco-Roman antiquity has been placed to artistic use in Anglophone Caribbean literature, and relates this nearby classical culture to the tutorial context, in particular the way Classics was once taught within the colonial university curriculum. Discussions of Caribbean literature are likely to think an adversarial dating among Classics, that's taken care of as a legacy of empire, and Caribbean literature. whereas acknowledging this imperial and colonial backstory, Greenwood argues that Caribbean writers corresponding to Kamau Brathwaite, C. L. R. James, V. S. Naipaul, and Derek Walcott have effectively appropriated Classics and tailored it to the cultural context of the Caribbean, making a targeted, local tradition.
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37). 62 In this case, myth is used as a stratagem to counter the historical inequality between Old World and New World, where the very terms ‘old’ and ‘new’ signal a denial of history in the case of the latter. It is common practice to identify this mythical approach to history with T. S. Eliot’s ‘mythical method’ and the broader distaste for history in high modernism. Although Eliot and other American and European modernist writers have been influential in Caribbean letters, to explain the Caribbean negotiation of history via the imagination in terms of modernism is to confuse medium with cause; modernism is just one of the many strategies translation activities of a country’s diaspora’ (using ‘translation’ in the broadest sense).
An Accidental Homer 25 landscape of Scythia by evoking Mediterranean landscapes for the benefit of his Greek audiences: For Scythia is bounded on two sides by two different seas, one to the south, the other to the east, much as Attica is; and the position of the Tauri in Scythia is—if I may compare small things with great—as if the promontory of Sunium from Thoricus to Anaphlystus in Attica projected rather further into the sea and were inhabited by some race other than the Athenians. 16 óôØ ªaæ ôBò ÓŒıŁØŒBò ôa äýï ìÝæåÆ ôHí ïhæøí Kò ŁÜºÆóóÆí çÝæïíôÆ, ôÞí ôå ðæeò ìåóÆìâæßÅí ŒÆd ôcí ðæeò ôcí MH, ŒÆôÜ ðåæ ôBò ` ôôØŒBò åþæÅò· ŒÆd ðÆæÆðºÞóØÆ ôÆýôfiÅ ŒÆd ïƒ ÔÆFæïØ íÝìïíôÆØ ôBò ÓŒıŁØŒBò, ‰ò åN ôBò `ôôØŒBò ¼ººï Łíïò ŒÆd ìc ` ŁÅíÆEïØ íåìïßÆôï ôeí ªïıíeí ôeí ÓïıíØÆŒüí, ìܺºïí Kò ôeí ðüíôïí [ôcí ¼ŒæÅí] IíÝåïíôÆ, ôeí Iðe ¨ïæØŒïF ìÝåæØ `íÆçºýóôïı äÞìïı.
See Markus 2005: ch. 6. 37 An Accidental Homer 33 For Froude the discernible imprint of English culture makes Barbados a privileged location (33, 94), as does the relative antiquity of some of its monuments. Whereas Fermor’s interests drew his attention to an inscription that testifies to a frail and meandering connection with Greece, Froude had been drawn to a Latin inscription in the porch of the church which reads ‘Sic nos, sic nostra tuemur’ (‘Thus we look after ourselves and what is ours’), dedicated to an Irish emigrant called Michael Mahon (101).