Combining archival research on the entry of women into Greek studies in Victorian England and America with a literary interest in their translations of Greek tragedy, Prins demonstrates how women turned to this genre to perform a passion for ancient Greek, full of eros and pathos. She focuses on five tragedies—Agamemnon, Prometheus Bound, Electra, Hippolytus, and The Bacchae—to analyze a wide range of translational practices by women and to explore the ongoing legacy of Ladies' Greek. Key figures in this story include Barrett Browning and Virginia Woolf, Janet Case and Jane Harrison, Edith Hamilton and Eva Palmer, and A. Mary F. Robinson and H.D. The book also features numerous illustrations, including photographs of early performances of Greek tragedy at women's colleges.
The first comparative study of Anglo-American Hellenism, Ladies' Greek opens up new perspectives in transatlantic Victorian studies and the study of classical reception, translation, and gender.
This book examines, for example, the tragic response to legislation regulating family life that may have begun as early as the sixth century. It also draws upon contemporary studies of virtue ethics and upon feminist reconsiderations of the Western ethical tradition. Foley maintains that by viewing public issues through the lens of the family, tragedy asks whether public and private morality can operate on the same terms. Moreover, the plays use women to represent significant moral alternatives. Tragedy thus exploits, reinforces, and questions cultural clichés about women and gender in a fashion that resonates with contemporary Athenian social and political issues.
Victoria Wohl offers an illuminating analysis of the exchange of women in Sophocles' Trachiniae, Aeschylus' Agamemnon, and Euripides' Alcestis. She shows how the attempts of women in these plays to become active subjects rather than passive objects of exchange inevitably fail. While these failures seem to validate male hegemony, the women's actions, however futile, blur the distinction between male subject and female object, calling into question the very nature of the tragic self. What the tragedies thus present, Wohl asserts, is not only an affirmation of Athens' reigning ideologies (including its gender hierarchy) but also the possibility of resistance to them and the imagination of alternatives.
Ormand takes a two-fold approach. He first explores the legal and economic underpinnings of Athenian marriage, an institution designed to guarantee the legitimate continuation of patrilineal households. He then shows how Sophocles' plays Trachiniae, Electra, Antigone, Ajax, and Oedipus Tyrannus both reinforce and critique this ideology by representing marriage as a homosocial exchange between men, in which women are objects who may attempt—but always fail—to become self-acting subjects.
These fresh readings provide the first systematic study of marriage in Sophocles. They draw important connections between drama and marriage as rituals concerned with controlling potentially disruptive female subjectivities.
After a brief overview of the role of lamentation in both modern and classical traditions, Dué focuses on the dramatic portrayal of women captured in the Trojan War, tracing their portrayal through time from the Homeric epics to Euripides' Athenian stage. The author shows how these laments evolved in their significance with the growth of the Athenian Empire. She concludes that while the Athenian polis may have created a merciless empire outside the theater, inside the theater they found themselves confronted by the essential similarities between themselves and those they sought to conquer.
While many books can be enjoyed for their basic stories, there are often deeper literary meanings interwoven in these texts. How to Read Literature Like a Professor helps us to discover those hidden truths by looking at literature with the eyes—and the literary codes—of the ultimate professional reader: the college professor.
What does it mean when a literary hero travels along a dusty road? When he hands a drink to his companion? When he's drenched in a sudden rain shower? Ranging from major themes to literary models, narrative devices, and form, Thomas C. Foster provides us with a broad overview of literature—a world where a road leads to a quest, a shared meal may signify a communion, and rain, whether cleansing or destructive, is never just a shower—and shows us how to make our reading experience more enriching, satisfying, and fun.
This revised edition includes new chapters, a new preface, and a new epilogue, and incorporates updated teaching points that Foster has developed over the past decade.
Thomas C. Foster—the sage and scholar who ingeniously led readers through the fascinating symbolic codes of great literature in his first book, How to Read Literature Like a Professor—now examines the grammar of the popular novel. Exploring how authors' choices about structure—point of view, narrative voice, first page, chapter construction, character emblems, and narrative (dis)continuity—create meaning and a special literary language, How to Read Novels Like a Professor shares the keys to this language with readers who want to get more insight, more understanding, and more pleasure from their reading.
The Selected Letters of Laura Ingalls Wilder is a vibrant, deeply personal portrait of this revered American author, illuminating her thoughts, travels, philosophies, writing career, and dealings with family, friends, and fans as never before.
This is a fresh look at the adult life of the author in her own words. Gathered from museums and archives and personal collections, the letters span over sixty years of Wilder’s life, from 1894–1956 and shed new light on Wilder’s day-to-day life. Here we see her as a businesswoman and author—including her beloved Little House books, her legendary editor, Ursula Nordstrom, and her readers—as a wife, and as a friend. In her letters, Wilder shares her philosophies, political opinions, and reminiscences of life as a frontier child. Also included are letters to her daughter, writer Rose Wilder Lane, who filled a silent role as editor and collaborator while the famous Little House books were being written.
Wilder biographer William Anderson collected and researched references throughout these letters and the result is an invaluable historical collection, tracing Wilder’s life through the final days of covered wagon travel, her life as a farm woman, a country journalist, Depression-era author, and years of fame as the writer of the Little House books. This collection is a sequel to her beloved books, and a snapshot into twentieth-century living.