the fell o ws


learned from them. This will encompass the history of the commercial aircraft manufactur- ing industry, the current duopoly between Boeing and Airbus, and an examination of the rise of po- tential competitors from China, Brazil, and Russia in the future.


LINDSAY P. O’CONNOR


Loose Vowels: Linguistic Waste and Lil Wayne’s No Ceilings


Using images of waste in Lil Wayne’s lyrics as a starting point, this presentation will engage dif- fering theoretical traditions and ask questions about the meta- phors we use when we think and talk about language while also telling the story of a critical and theoretical project’s genesis and development. Once we notice how much Lil Wayne talks about human excrement, we can explore how these images of waste operate in his music and then expand these metaphors to language in general. Ordinary language philosophers like J.L. Austin, linguists like Geoffrey Nunberg, and post-structuralist thinkers like Jacques Derrida have much to say about our use of language on the one hand and semantic autonomy on the other, and this project seeks an in-between position from which an account of language as waste is possible. With a focus on the recent mixtape No Ceilings but an eye to the entire oeuvre, we will explore how Lil Wayne cre- ates and utilizes images of and words for human excrement as representative of both his own linguistic virtuosity and lan- guage’s strange ways of escaping our understanding.


Harold Reeves, the Eric M. Heiner Fellow (Classics), discusses Herodotus.


HAROLD S. REEVES


Repetition and Variation in the History of Herodotus


In History, the Greek historian Herodotus chronicles the long history of conflict between East and West that culminated in the Persian invasions of Greece in the early 5th Century BC. Often called the father of history, he has also been called the father of lies. Indeed, as was observed even in antiquity, Herodotus is at times willing to include materi- al — myths and legends from the far distant past, as well as mythi- cal accounts of peoples and events in far distant lands — that would have little or no place in the work of a modern, “rational” historian. In this talk, I will argue that Herodotus includes these stories from tradition, from myth, and from the popular imagina- tion in order to establish the existence of repetitions and patterns in the flow of human history. I will consider specifically how Herodotus highlights — and perhaps invents — such pat-


terns in his narrative of the great battles of Thermopylae and Salamis. Finally, I will reflect on how this tendency to see history as patterned and repetitive has been passed down from the fa- ther of history and continues, for better or worse, to influence our interpretation of history today.


LANIER L. SAMMONS


The Game of Notes: Composition as an Act of Play


When composers talk about composing, they often empha- size the playful qualities of the creative process. They speak of the act of writing music as a puz- zle, a sport, or a roll of the dice; they describe playing the “game of notes.” Tellingly, these play- based descriptions arise across time and style. In their frequency and persistence, then, these links between play and composition begin to suggest that the two share a relationship that goes beyond analogy. Writing music


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