John Hamilton (musician, scholar)

John T. Hamilton (born March 1, 1963, Bronx, NY) is a literary scholar, musician, and William R. Kenan Professor of German and Comparative Literature at Harvard University. He previously held positions at the University of California-Santa Cruz (in Classics) and New York University (Comparative Literature and German). He has also taught as a visiting professor at the Institute of Greece, Rome, and the Classical Tradition at Bristol University. Numerous academic fellowships include the Wissenschaftskolleg zu Berlin, the ETH-Zürich, and the Zentrum für Literatur- und Kulturforschung Berlin.

Hamilton received his doctorate in Comparative Literature at New York University in 1999 under the directorship of Richard Sieburth. Hamilton's primary teaching and research topics include 18th- and 19th-century Literature, Classical Philology and Reception History, Music and Literature, Literary Theory and Political Metaphorology.

In Soliciting Darkness: Pindar, Obscurity, and the Classical Tradition (2004), Hamilton offers a broad investigation of Pindar, the archaic Greek lyric poet, and his long reception history in European literature and scholarship, addressing a variety of pressing issues, including the recovery and appropriation of classical texts, problems of translation, representations of lyric authenticity, and the possibility or impossibility of a continuous literary tradition. The poetics of obscurity that comes to be articulated across the centuries suggests that taking Pindar to be an incomprehensible poet may not simply be the result of an insufficient or false reading, but rather may serve as a wholly adequate judgment.

Hamilton's subsequent book, Music, Madness, and the Unworking of Language (2008) grapples with Romantic figurations of the mad musician, which challenge the limits of representation and thereby instigate a profound crisis in language. Special attention is given to the decidedly autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system.

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