By Veronia House
Women’s mythic revision is a practice on the middle of twentieth-century literature. Medea’s refrain explores post-WWII women’s poetry that takes Greek mythology as its significant topos. The booklet investigates 5 of the main influential poets writing within the 20th century (H.D., Sylvia Plath, Adrienne wealthy, Margaret Atwood, Eavan Boland) who problem either the traditional literary representations of ladies and the excessive modernist appropriations of the classics. of their poetry and prose, the ladies have interaction with cultural discourses approximately literary authority, gender, oppression, violence, and age. but even whereas the poets transform yes facets of the Greek myths that they locate troubling, they see the inherent energy within the tales and use that strength for private and social revelation. simply because myths exist in a number of models, historical writers didn't create from scratch; their inventive contribution lay in how they replaced the tales. sleek lady poets are carrying out a a number of millennia-old culture of mythic revision, a convention that has ruthlessly posited that there's no position for girls within the construction and transmission of mythological poetry. Medea’s refrain tracks mythic revision from the Fifties throughout the second-wave feminist move and into turn-of-the-century feminism to focus on person achievements and to teach the collective influence of the poets’ hugely assorted works on post-WWII literature and feminist concept and perform. This enticing and fantastically written booklet is a must-read for any pupil, instructor, or student of the Classical culture, revisionist mythmaking, and twentieth-century poetry.
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Additional resources for Medea's Chorus: Myth and Women's Poetry Since 1950 (Studies in Modern Poetry, Volume 19)
Sees her work, like the Helen of her Helen in Egypt, in relation to these mysteries of recurrent losing and finding and losing again” (182). D. draws a parallel between the Eleusinian experience of Demeter losing and finding Persephone or Isis’s experience of burying and resurrecting Osiris, and Helen’s experience of searching for and reconstructing her own identity. D. , 180). Hollenberg’s argument can extend beyond sexuality to identity in general. D. as a model for their own ability to challenge culturally-scripted identity.
At the end of Book I of Helen in Egypt, Achilles’s mother, Thetis, informs Helen that while her association with these women might be significant, it is not the endpoint of her quest. Thetis tells her that she should find her answers in Greece rather than in Egypt. Helen must take her new understanding of the need to strive for internal valuation back to Greece, the stand-in for Western culture in general, in order “that enchantment may find a place / where desolation ruled, / and a warrior race, / Agamemnon and Menelaus” (90).
M. Edmonds and published in the Classical Review. Among Edmonds’s translations of the Oxyrhynchus papyri fragments was the famous fragment 16. D. 13 In fragment 16 Sappho’s speaker specifies that while some may praise the beauty of armies, whatever one loves is most beautiful on Earth to that individual. In so stating, she challenges the war-drive of male-authored epic. Jack Winkler argues, Sappho speaks as a woman opponent entering the lists with men, but her proposition is not that men value military forces whereas she values desire, but rather that all valuation is an act of desire.