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Anxiety Veiled: Euripides and the Traffic in Women

Cornell University Press (1993)

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  1. Literacy: The end and means of literature.David Rozema - 2004 - Philosophical Investigations 27 (3):258–281.
    In modern times a gap has appeared between the arts of history and literature, and the sciences of historicism and criticism. Many modern critics, historians, and teachers of literature and history (and even many so‐called authors of literature) have welcomed, or at least complied with, the “scientification” of their arts, resulting in widespread illiteracy with regard to literature and history. The solution to this problem lies in a (re‐)investigation of how the art of literature teaches us the truth. I maintain (...)
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  • Gender, Class and Ideology: The Social Function of Virgin Sacrifice in Euripides' Children of Herakles.David Kawalko Roselli - 2007 - Classical Antiquity 26 (1):81-169.
    This paper explores how gender can operate as a disguise for class in an examination of the self-sacrifice of the Maiden in Euripides' Children of Herakles. In Part I, I discuss the role of human sacrifice in terms of its radical potential to transform society and the role of class struggle in Athens. In Part II, I argue that the representation of women was intimately connected with the social and political life of the polis. In a discussion of iconography, the (...)
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  • The politics and gender of truth-telling in Foucault’s lectures on parrhesia.Lida Maxwell - 2019 - Contemporary Political Theory 18 (1):22-42.
    This essay challenges dominant interpretations of Foucault’s lectures on parrhesia as affirming an ethical, non-political conception of truth-telling. I read the lectures instead as depicting truth-telling as an always political predicament: of having to appear distant from power, while also having to partake in some sense of political power. Read in this way, Foucault’s lectures help us to understand and address the disputed politicality of truth-telling – over who counts as a truth-teller, and what counts as the truth – that (...)
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  • Pindar and Euripides on Sex with Apollo.Emily Kearns - 2013 - Classical Quarterly 63 (1):57-67.
    Among the most characteristic motifs in Greek mythology is the sexual union of a god with a mortal woman and the resultant birth of a hero. The existence of hexameter poetry listing the women thus favoured – the famous women in the underworld in the eleventh book of the Odyssey, and above all theEoiai– is evidence of an interest in the women involved, not only in their heroic sons, and suggests that already at an early date the theme was the (...)
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  • Violence, Culture, and the Workings of Ideology in Euripides' "Ion".Stanley E. Hoffer - 1996 - Classical Antiquity 15 (2):289-318.
    The uneasy relation between violence and sanctity, between oppression and culture, underlies the dramatic action of Euripides' "Ion." Ion's monody ends with his threatening to shoot the birds who would soil the temple, or in other words, to protect purity through violence and death. The earlier part of his song also shows how the forces of exclusion and domination create sacredness. Ritual silence , restricted access to the aduton, ritual chastity, even the irreversible transformation of natural gardens into laurel brooms (...)
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  • Choral Inclination: Coming Together as the World Falls Apart.Danielle Hanley - 2022 - Philosophia 50 (5):2551-2570.
    What drives bodies together? What inclines them towards one another? What keeps these bodies inclined towards each other as the world around them continues to fall apart? In this article, I argue that the circulation of grief and anger produces a choral inclination, a relationality forged through our emotional responses to loss. Coming together through this choral inclination allows us to acknowledge loss, confront its conditions, and enact a collective response to it. I engage with feminist philosopher Adriana Cavarero’s concept (...)
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  • Brilliant Dynasts: Power and Politics in the "Oresteia".Mark Griffith - 1995 - Classical Antiquity 14 (1):62-129.
    Intertwined with the celebration of Athenian democratic institutions, we find in the "Oresteia" another chain of interactions, in which the elite families of Argos, Phokis, Athens, and even Mount Olympos employ the traditional aristocratic relationships of xenia and hetaireia to renegotiate their own status within-and at the pinnacle of-the civic order, and thereby guarantee the renewed prosperity of their respective communities. The capture of Troy is the result of a joint venture by the Atreidai and the Olympian "family" . Although (...)
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  • ¿Es Medea "responsable" de matar a sus hijos?: Medea de Eurípides, los dioses y la concepción aristotélica de la acción.Marcela Coria - 2013 - Argos (Universidad Simón Bolívar) 36 (1):65-82.
    En este artículo, nos preguntamos si es pertinente un análisis del personaje de Medea de Eurípides, y más concretamente, de su filicidio, a la luz de la doctrina aristotélica de la acción. Resulta dudoso, y quizás equívoco, hablar de "responsabilidad" (en sentido aristotélico) en el caso de la heroína, ya que sus motivaciones, como las de todo héroe trágico, tienen un doble signo: enfrentado a una ἀνάγκη superior, también desea lo que está forzado a hacer. Además, Medea no es una (...)
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