Thought-provoking reflection on culture, colonialism, and the remainders of empire in Belgium after 1960 The degree to which the late colonial era affected Europe has been long underappreciated, and only recently have European countries started to acknowledge not having come to terms with decolonisation. In Belgium, the past two decades have witnessed a growing awareness of the controversial episodes in the country’s colonial past. This volume examines the long-term effects and legacies of the colonial era on Belgium after 1960, the year the Congo gained its independence, and calls into question memories of the colonial past by focusing on the meaning and place of colonial monuments in public space. The book foregrounds the enduring presence of “empire” in everyday Belgian life in the form of permanent colonial markers in bronze and stone, lieux de mémoire of the country’s history of overseas expansion. By means of photographs and explanations of major pro-colonial memorials, as well as several obscure ones, the book reveals the surprising degree to which Belgium became infused with a colonialist spirit during the colonial era. Another key component of the analysis is an account of the varied ways in which both Dutch- and French-speaking Belgians approached the colonial past after 1960, treating memorials variously as objects of veneration, with indifference, or as symbols to be attacked or torn down. The book provides a thought-provoking reflection on culture, colonialism, and the remainders of empire in Belgium after 1960.

The epic poems the Iliad and the Odyssey, attributed to Homer, are among the oldest surviving works of literature derived from oral performance. Deeply embedded in these works is the notion that they were intended to be heard: there is something musical about Homer's use of language and a vivid quality to his images that transcends the written page to create a theatrical experience for the listener. Indeed, it is precisely the theatrical quality of the poems that would inspire later interpreters to cast the Odyssey and the Iliad in a host of other media-novels, plays, poems, paintings, and even that most elaborate of all art forms, opera, exemplified by no less a work than Monteverdi's Il ritorno di Ulisse in patria. In Performing Homer: The Voyage of Ulysses from Epic to Opera, scholars in classics, drama, Italian literature, art history, and musicology explore the journey of Homer's Odyssey from ancient to modern times. The book traces the reception of the Odyssey though the Italian humanist sources—from Dante, Petrarch, and Ariosto—to the treatment of the tale not only by Monteverdi but also such composers as Elizabeth Jacquet de la Guerre, Gluck, and Alessandro Scarlatti, and the dramatic and poetic traditions thereafter by such modern writers as Derek Walcott and Margaret Atwood.