Here I am not attempting to revive the age-old quarrel of the Ancients and the Moderns.
Instead I am here using the term “ancient” in the most general sense of “very old,” referring to authors whose works have survived and been studied by scholars. The choice between an ancient and a contemporary author does not apply to subjects such as the history of contemporary Italian literature, although even a thesis in Latin could involve both Horace and the state of Horatian studies in the last two decades. Nevertheless, Italian students frequently prefer contemporary authors, like Cesare Pavese, Giorgio Bassani, and Edoardo Sanguineti, to the sixteenth-century Petrarchan or the eighteenth-century Arcadian poets suggested by their advisors. Sometimes the student chooses a poet out of an authentic love for his work, and this is a choice that is difficult to challenge. Other times the student is under the false conviction that a contemporary author is easier and more fun.
Let us state from the outset that a thesis on a contemporary author is always more difficult. It may be true that scholarship on a contemporary author generally involves a smaller bibliography of easily accessible texts, and that the student can accomplish the first phase of the research by reading a good novel on the beach, rather than sitting in a library. The problem arises when the student begins to comment on the author, considering that the thesis will be flawed if he simply repeats what other critics have said. (If the student is to write a flawed thesis, he could do so more easily on a sixteenth-century Petrarchan poet.) Since opinions on most contemporary authors are still vague and divided, the student’s critical skills will be hindered by a lack of perspective, and the project will become enormously difficult. On the other hand, the texts of ancient authors are usually supported by a solid foundation of interpretation upon which the student can build. Certainly a thesis on an ancient author involves more laborious reading, and more careful bibliographical research, but the titles are more organized, and complete bibliographies are common. Moreover, if the student approaches his thesis as a chance to learn how to properly conduct research, a thesis on a past author will provide better training. And even if the student has a flair for contemporary criticism, the thesis can provide a final opportunity for him to challenge himself with literature of the past, and to exercise his taste and reading skills. He would be in good company, for many great contemporary authors, even avant-garde authors, wrote their thesis on Dante or Foscolo rather than Montale or Pound.
To be sure, there are no precise rules, and a good researcher can historically or stylistically analyze a contemporary or past author with equal philological acumen and precision. The problem also varies among disciplines: in philosophy, a thesis on Husserl might provide the student with a more challenging research experience than one on Descartes; and the fact that it is easier to read Pascal than Carnap shows that a modern author may require more laborious reading than an ancient. Therefore, I can confidently provide only this advice: work on a contemporary author as if he were ancient, and an ancient one as if he were contemporary. You will have more fun and write a better thesis.
Source: Eco Umberto, Farina Caterina Mongiat, Farina Geoff (2015), How to write a thesis, The MIT Press.
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