It seemed absolutely clear that industry did not require the presence of a rational being to maintain itself. Basically, industry consisted of manual laborers, always performing the selfsame tasks, who could easily be replaced by apes; and, at a higher level, of executives whose function was to draft certain reports and pronounce certain words under given circumstances.
Phrasikleia: An Anthropology of Reading in Ancient Greece by Jesper Svenbro, tranlated by Janet Lloyd, part of the Myth and Poetics series edited by Gregory Nagy, the 1993 paperback from Cornell University Press, is part of the collection at the Reading Room.
“One of the most haunting early examples of Greek alphabetical writing appears on the life-sized Archaic funery statue of a young girl. The inscription speaks for Phrasikleia, who ‘shall always be called maiden,’ for she has received this name from the gods instead of marriage.
First published in French in 1988, this extraordinary book traces the meaning and function of reading from its very beginnings in Greek oral culture through the development of silent reading. Focusing on metaphors of reading and writing, Jesper Svenbro offers a series of rich analyses of sepulchral and votive inscriptions and myths as well as works of epic and lyrical poetry, legal exegesis, drama, and philosophy. Svenbro draws upon the theoretical insights of Foucault as he discusses such texts as the Iliad, the poetry of Sappho, and the ABC Show by Callias. With reference to the shift to silent reading, Svenbro illuminates a pervasive metaphor in Greek culture—the pederastic paradigm, in which the reader submits to the domination of the writer. In the central section of Plato’s Phaedrus, however, Svenbro discerns an alternative model: reader and writer mutually engaged in the search for truth.
Phrasikleia opens up fascinating new perspectives on the culture of ancient Greece and the genesis of reading. A wide range of classicists, literary theorists, anthropologists, and ancient historians will welcome its availability in Janet Lloyd’s lucid and fluent translation.” — back cover