Travesties of Gender and Genre in Aristophanes' "Thesmophoriazousae"

Zeitlin, Froma I.

doi:10.1086/448156

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“…118-47), katz (1991), F. I. Zeitlin (1996b), Felson-rubin (1997), and Clayton (2004. For Penelope's "myth-making" in the Odyssey, see Levaniouk (2011).…”

Section: mentioning

confidence: 99%

Odyssean identities in modern cultures: the journey home

2015

Choice Reviews Online

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A very special thanks goes to Jill Frank. her organization of a campus-wide interdisciplinary network, Classics in Contemporary Perspectives, provided the impetus for the conference and her enthusiasm saw the event through to a successful conclusion.At various stages of its development this collection has benefited greatly from the advice of our editor, eugene O'Connor, and the anonymous readers at The Ohio State University Press. We would like to thank the series editors, richard Armstrong and Paul Allen Miller, for their support and encouragement. We are especially grateful to rebecca Vandewalle, who invested much time and effort in proofing, formatting, and collating the manuscript, and to our skillful copy-editor, Marian rogers. The University of Pennsylvania School of Arts and Sciences provided generous financial support. Perhaps most importantly, we would like to recognize a remarkable group of contributors. Their insights, efficiency, and intellectual rigor have made editing this volume a truly rewarding experience.xi A c k n o w l e d g m e n t s xii • Acknowledgments "Ariadne" and "The return of Ulysses," by Giorgio de Chirico, are reproduced by permission of the Artists rights Society (ArS), New York/SIAe, rome. Images from The Emigrants by W. G. Sebald, english translation copyright 1996 by W. G. Sebald and Michael hulse. Originally published as Die Ausgewanderten, copyright 1992 by W. G. Sebald, are used by permission of The Wylie Agency LLC.14. I want to thank the organizers and participants of the Nostos conference for their stimulating comments and questions, and, for their insightful comments on an early version of this paper, Justin Isenhart, Tom Jenkins, Tim O'Sullivan, and David rando.1. This term is coined in Ostriker (1982,.37. I give thanks to Max Paddison for his advice on Adorno, and to Jim Samson and richard Alston for reading earlier drafts.1. All translations from homer are those of richmond Lattimore (1967). 2. On the related issues of mobility and stability as expressed in the Sirens episode, see Dough-

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“…118-47), katz (1991), F. I. Zeitlin (1996b), Felson-rubin (1997), and Clayton (2004. For Penelope's "myth-making" in the Odyssey, see Levaniouk (2011).…”

Section: mentioning

confidence: 99%

Odyssean identities in modern cultures: the journey home

2015

Choice Reviews Online

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“…Expostas as considerações iniciais, assinalamos que a discussão pretendida tem por base um estudo de caráter bibliográfico. Dessa forma, para a viabilização e suscitação do debate proposto nos amparamos nas discussões teóricas de Zeitlin (1981), Tzanetou (2002), Vernant (1989), Silva (1979-1980) e McClure (1999. No que diz respeito à abordagem da análise a ser empreendida, o estudo se configura em duas seções cuja organização obedece à seguinte divisão: 1) Política dos espaços e das vozes: gênero e sociedade no drama grego, seção na qual discutiremos questões relativas às normas e condutas masculinas e femininas na ideologia democrática ateniense e sua projeção no teatro; 2) Do rito ao palco: inversão de gênero e performance nas Tesmoforiantes, seção em que efetuaremos a análise central proposta com vistas a discutirmos ritual, inversão de papéis, travestismo e performance na comédia aristofânica selecionada.…”

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Do rito ao palco: inversão de gênero e performance nas Tesmoforiantes, de Aristófanes

Cardoso

2020

Nunt. Antiquus

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Resumo: Das onze comédias remanescentes de Aristófanes, três utilizam a inversão de papéis de gênero em que as mulheres são representadas exercendo funções convencionalmente desempenhadas por homens. Lisístrata (411 a.C.) e Assembleia de mulheres (392 a.C.) tratam da intrusão da figura feminina nos espaços públicos de Atenas – Acrópole e Ágora respectivamente, prefigurando a participação delas na vida política e econômica da cidade. Em Tesmoforiantes (411 a.C.), entretanto, temos o reposicionamento em torno da batalha dos sexos e do travestismo de gênero, o que compreende o domínio da estética e do visual, que se projeta no próprio teatro. Em vez do confronto coletivo de homens e mulheres, a peça dirige as ações das mulheres contra um único alvo masculino – o poeta trágico Eurípides. Salvas do constrangimento social e dos padrões convencionais que as mantêm dentro do oîkos, silenciosas e inertes em espaços públicos do discurso e da ação, no palco da comédia as mulheres são representadas como protagonistas de seus atos e manifestos. Nesse sentido, o estudo que ora apresentamos busca analisar a inversão de papéis de gênero, travestismo e performance na comédia Tesmoforiantes. A proposta parte da análise do reajuste das posturas performáticas que identificam as mulheres no ritual das Tesmofórias, concentrando o estudo nas questões que giram em torno da inversão de papéis e travestismo de gênero no palco. Assim, com vistas ao debate pretendido, nos ancoramos teoricamente nos estudos de Zeitlin (1981), Tzanetou (2002), Vernant (1989), Silva (1979-1980) e McClure (1999).Palavras-chave: Aristófanes; Tesmoforiantes; gênero; ritual.Abstract: The reversal of gender’s roles is staged in three of the eleven remaining comedies by Aristophanes. By “reversal of gender’s roles” we mean that women are represented performing functions conventionally performed by men in these plays. Thus, both the Lysistrata (411 BC) and the The Assemblywomen (392 BC) deal with the intrusion of the female figure in the public spaces of Athens –the Acropolis and the Agora, respectively –by prefiguring their participation in both the political and the economic life of the city. In the Thesmophoriazousae (411 BC), however, there is a repositioning concerning a battle of sexes and gender transvestitism, which encompasses the domain of aesthetics and visual, and this is projected in the theater itself. Instead of a collective confrontation between men and women, the play directs women’s actions against a single male target: the tragic poet Euripides. Saved from the social embarrassment and conventional patterns that keep them within the oíkos, silent and inert in public spaces of speech and action, on the stage of comedy women are represented as protagonists of their acts and manifestos. For this reason, the present study aims at analyzing the inversion of gender roles, transvestitism, and performance in the comedy Thesmophoriazousae. This study starts with the analysis of the readjustment of the performative postures which identify women in the Festival of the Thesmophoria, by focusing its argumentation in questions that revolve around the reversal role and gender transvestitism on the stage. Thus, in order to develop such discussion, this work is theoretically grounded on the studies of Zeitlin (1981), Tzanetou (2002), Vernant (1989), Silva (2015), and McClure (1999). Keywords: Aristophanes; Thesmophoriazousae; gender; rite.

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“…Not only this, but Euripides is effeminate in his dress as part of his need to blend in the with celebrating women, see Austin andOlson, 2004: 337, note 1160-1;Stehle, 2002: 396-398. 295 The comedy undoubtedly targets both genders in its parody (Goff, 2004: 365;Zeitlin 1981). 296 Austin andOlson, 2004: 249-250, esp.…”

Section: Aristophanes' Thesmophoriazusaementioning

confidence: 99%

“…152 Detienne, 1989: 131; also, Osborne, 1993: 396. 153 Zeitlin, 1982: 131-133;Zeitlin 1981; Demand, 1994: 118.…”

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The Violence of These Women Blazes at Our Door: A New Approach to the Violent Rituals of Ancient Greek Women

Louverdis¹

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The religious experience of women in ancient Greece is a difficult reality to uncover. There is very little in the way of epigraphical and historiographical evidence that preserves the voice of women themselves and our evidence is heavily defined by the male authors of the time. This issue of inadequate evidence is further problematised when one is to consider the rare and extreme cases of violence performed by women within a ritual context. The traditional methodological approaches to these violent cases have often understood women via these ideologically androcentric accounts which tend to reduce the actions of women to aberrant and scandalously extreme outliers, unwelcome in their polis communities. This thesis aims to add to the existing corpus of methodological approaches by proposing a new lens for the interpretation of women’s violent ritual practices, one that attempts to re-legitimise the violent rituals of women as necessary components of their poleis and authentic aspects of women’s ritual reality. This lens understands that ritual violence might be best understood as a ‘rupture’ to the social fabric that encircles the institution of religious practice. Building on the valuable framework of the traditional ‘functionalist’ approach to women in religion, the theoretical schema proposed in this thesis synthesises two pre-existing methodologies. Barbara Goff’s lens of an ideological theory of agency proposed in her 2004 publication Citizen Bacchae, combined with Pierre Brulé’s ‘safety-valve theory’ of religion in his 2003 work Women of Ancient Greece, come together to accept that women could exercise agency within their ritual spaces in a way that served to reconcile their own subjugated position in society. When the agency exceeds the expectations of the androcratic polis (who administer the tangible aspects of ritual practice), however, the evidence of male unease directed toward these violent cases indicates that something more than simple female agential activity is taking place. Women’s violence in ritual, therefore, might be considered an agentially forced widening of the safety-valve boundaries, here defined as a ‘rupture’. By interpreting women’s ritual violence by way of a ‘rupture’ to the safety-valve, we stand to re-legitimise the rare and extraordinary violent rituals of women.

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Travesties of Gender and Genre in Aristophanes' "Thesmophoriazousae"

Cited by 27 publications

References 0 publications

Odyssean identities in modern cultures: the journey home

Odyssean identities in modern cultures: the journey home

Do rito ao palco: inversão de gênero e performance nas Tesmoforiantes, de Aristófanes

The Violence of These Women Blazes at Our Door: A New Approach to the Violent Rituals of Ancient Greek Women

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