Download Ancient History: Evidence and Models by M. I. Finley PDF

By M. I. Finley

During this learn, the writer demanding situations the existing traditions of learning and writing approximately historic civilizations. He questions, for instance, the precise prestige accorded to vintage texts, exposes the fake assumptions historians have made, in keeping with constrained details, and offers the failings inherent in traditional factors of the Greek city-state. Emphasizing the necessity to ask the proper questions which will extend our realizing of existence within the old global, this paintings indicates how historians may perhaps larger care for the proof that's to be had and provides substitute tools that may be used to reconstruct historical past.

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The questions, not to put too great an emphasis on Hollywood’s short-term educational ambitions, were small exercises in cultural literacy, small lessons in discovering the cultural operators in narrative forms. What were—to ask a question that can only have surmise for an answer—the cultural functions of the ending? Surmise: the warm optimism that came from Roger Byam’s reinstatement, the ultimate goodwill of institutions of power, the inspiration that came from true justice being done and righteous patriotism expressed find rooms in the ‘‘memory palace’’ of the public mind.

It also resolved a number of Mayer’s dilemmas about idealizing mutineers but in a significantly different way. The Caine Mutiny was directed by Edward Dmytryk, one of the Hollywood Ten. As one of the ‘‘Ten’’ he had been exposed to the vitriol of the McCarthy hearings and had been imprisoned for contempt of Congress after refusing to give the hearing information on writers with communist leanings in Hollywood. In 1954, Dmytryk had just been allowed to work again after his imprisonment, recantation, and naming names.

What did it matter that flogging went on in the navy for forty more years? Thalberg’s message was that the act of mutiny, wrong in itself, had good effects. The reason was that institutions of power are ultimately responsive to men of good will. This didactic message of Mutiny on the Bounty was played out in the final scenes. ’’ Byam was their narrator. In all the things he did and which were done to him, Byam was Peter Heywood of the real Bounty. The film script dispensed with a narrator but kept ‘‘Roger Byam’’ as a midshipman, played by Franchot Tone.

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