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Full-Text Articles in Arts and Humanities
A Feminist Icon Or A Homicidal Coward: Medea’S Revenge On Patriarchy, Beyza Ertugrul
A Feminist Icon Or A Homicidal Coward: Medea’S Revenge On Patriarchy, Beyza Ertugrul
Criterion: A Journal of Literary Criticism
Medea, the alleged epitome of sophistication, does not deserve her title of the flawless feminist icon as she is praised to be. For context, Euripides’ Medea, first performed in 431 BC, portrays a young sorceress whose abusive husband abandons her for another woman and who takes revenge by murdering her own children to spite him. Throughout the tragedy, Medea speaks out on gender inequality, and by definition, such uncommon and advanced statements can be described by the modern term of feminism as the “belief in and advocacy of the political, economic, and social equality of the sexes” (Merriam-Webster). Especially …
An Analysis Of Symbolic Violence In Classical Texts Comparatively To Modern Feminist Adaptations, Marisa Berner
An Analysis Of Symbolic Violence In Classical Texts Comparatively To Modern Feminist Adaptations, Marisa Berner
Senior Theses and Projects
This thesis explores the symbolic violence and misogyny present in Classical texts, and then compares them to modern feminist adaptations or retellings of the same stories. We explore the treatment of Briseis and other enslaved women in the Greek camp throughout the Iliad, and compare Homer’s perspective to Pat Barker’s in her book Silence of the Girls. We then look at Ovid’s Metamorphoses compared to Wake, Siren by Nina Maclaughlin, and finish with the comparison of Euripides’ plays Iphigenia at Aulis, Iphigenia Among the Taurians, and Hecuba to A Thousand Ships by Natalie Haynes. The thesis …
The Socially Deviant (M)Other In Euripides' "Medea" And Two Modern Adaptations, Christina Faye Kramer
The Socially Deviant (M)Other In Euripides' "Medea" And Two Modern Adaptations, Christina Faye Kramer
Electronic Theses and Dissertations
For centuries male-dominated societies have developed their own culturally constructed images of the socially acceptable and socially deviant mothers. The thesis explores how the Grecian, Caribbean, and Irish cultures of Euripides’ Medea (431 BC), Steve Carter’s Pecong (1990), and Marina Carr’s By the Bog of Cats (1998) respectively, all based on the Medea myth, commonly define the social deviant (m)other and condemn her for her “otherness.” It also discusses the limitations of each society’s decision to label the Medea-figure as socially deviant. Euripides creates an impossible dichotomy between the culturally constructed concepts of heroism and motherhood, which he locates in …
Taking On The Man: Female Rebellion Against Gender Roles In Classical Greek Drama, Gabrielle Killough
Taking On The Man: Female Rebellion Against Gender Roles In Classical Greek Drama, Gabrielle Killough
Senior Honors Theses
The portrayal of women in Ancient Greek drama seems at times opposed to the societal gender roles within Classical Athens. In the plays, women are strong and dynamic figures who enact change and upheaval in their world. Ancient dramas, like Agamemnon, Medea, Antigone, and Lysistrata, portrayed women with strong autonomy and minds which matched their male counterparts; whereas the women in Classical Athens found themselves in more limited circumstances. In analyzing the nature of these disparities, it seems that the constant factor is that the plays concern the violation of the household. The female characters respond in one of …
Nietzsche/Pentheus: The Last Disciple Of Dionysus And Queer Fear Of The Feminine, C. Heike Schotten
Nietzsche/Pentheus: The Last Disciple Of Dionysus And Queer Fear Of The Feminine, C. Heike Schotten
Political Science Faculty Publication Series
This article examines the scholarly preoccupation with the hypothesis that Nietzsche was gay by offering a reading of Nietzsche's texts as autobiographical that puts them in conversation with Euripides's drama The Bacchae. Drawing a number of parallels between Nietzsche, self-avowed disciple of Dionysus, and Pentheus, the main character of The Bacchae and demonstrated antidisciple of Dionysus, I argue that both men experience their sexual attraction to women as somehow intolerable, and they negotiate this discomfort—which is simultaneously an unjustified paranoia and fear of the feminine—through the appropriation of feminine capacities and qualities for themselves. This appropriation ultimately expresses these men's …
Nietzsche/Pentheus: The Last Disciple Of Dionysus And Queer Fear Of The Feminine, C. Heike Schotten
Nietzsche/Pentheus: The Last Disciple Of Dionysus And Queer Fear Of The Feminine, C. Heike Schotten
C. Heike Schotten
No abstract provided.