Women and Genre in Calpurnius Siculus’ Eclogues

Antichthon ◽  
2020 ◽  
Vol 54 ◽  
pp. 103-126
Author(s):  
George C. Paraskeviotis
Keyword(s):  
Female Characters ◽  
Literary Genres ◽  
Love Elegy ◽  
Female Figures ◽  
Pastoral Tradition ◽  
The Erotic

AbstractThis article aims to examine the ways in which the Calpurnian text converses with the earlier pastoral tradition focusing on the women identified in the collection. Leaving aside the mythical female figures who are also traced in the collection (e.g. Pales and Venus), this study focuses on all the female characters mentioned by male figures, trying to show that women in the Eclogues, among other elements (such as subjects, motifs, intertexts, language and style), constitute a significant means by which Calpurnius shows originality and generic evolution.It is argued that the female characters in Calpurnian pastoral are the erotic objects of the herdsmen and the recipients of their songs and in that sense they recall the pastoral tradition (Greek and Roman) that Calpurnius inherited. What is more, they are central metapoetic elements which show Calpurnius’ metaliterary engagement with gender in a collection that stresses the originality of the Neronian pastoral. Most importantly, however, they incorporate features and elements from other literary genres (mostly from Roman comedy and love elegy) and in that sense they constitute a significant means by which Calpurnius maintains the generic tensions employed by his literary antecedents (i.e. Vergil) and broadens the limits of pastoral.

scholarly journals Hunting in Seneca’s Phaedra

2013 ◽  
Vol 18 ◽  
Author(s):  
Alin Mocanu
Keyword(s):  
Gender Roles ◽  
Fundamental Difference ◽  
Point Of View ◽  
Main Theme ◽  
Female Characters ◽  
Love Elegy ◽  
Spatial Point ◽  
The Relationship ◽  
The Erotic

Seneca, in his tragedy Phaedra, created an elegiac character using, among other elegiac conventions, the amorous hunting. His Phaedra turns into an aggressive erotic predator who wants to “hunt” Hippolytus whom she is in love with. The prologue of Phaedra connects the play with elegiac poetry through the extensive use of venery description, because it highlights Hippolytus’ attitude to love: the young man sees the forest as a place of reclusive solitude where he can hide from frenetic passion. The prologue to Phaedra is also important from a spatial point of view, for Seneca associates his two main characters with a fundamental difference in locale that recalls the roman elegiac paraclausithyron, where the lover tries, without success, to penetrate into his beloved’s intimate space, the house. Furthermore, Seneca reverses the relationship between the lovers: Hippolytus becomes the beloved, Phaedra, the lover, thus inverting the gender roles of normal erotic elegy. At the same time, he amplifies this convention, making it the main theme of his tragedy, for Phaedra has a fundamental impact on the play’s action through her desperate attempts to conquer her stepson. Roman love elegy often associates the lover, the feeble man, with the hunter, while representing the beloved, the dominant woman, as his prey. Seneca goes further, because Hippolytus, the true hunter, becomes the erotic prey, while the female character takes on the role of the erotic predator. In this way, Seneca justifies the reversal of the male and the female characters’ roles in his use of the elegiac theme of hunting.

THE FEATURES OF FEMALE IMAGES IN THE TRAGEDIES OF GUSEYN JAVID

2020 ◽  
Vol 5 (3) ◽  
pp. 180-188
Author(s):  
Malika Adigezalova ◽  
Keyword(s):  
Female Characters ◽  
Female Images ◽  
Female Figures ◽  
Characteristic Features ◽  
And Behavior ◽  
The Given

The article is devoted to the features of female types in the tragedies of one of significant playwrights of the XX century Guseyn Javid. In the given article, they analyse and compare the characteristic features and behavior of the female figures of the author’s such literaryworks as «Mother»(Selma, Ismet), «Maral»(Maral, Humay), «Afet»(Afet, Alagoz), «Siyavush»(Farangiz, Sudaba). The basis of the article lies in the creative works of G.Javid, where special attention is attracted by several types of female characters, among which the types of a traditional eastern woman are most brightly represented

scholarly journals Violence Against Women in Sanaa Shalan’s Falling in the Sun

2020 ◽  
Vol 10 (1) ◽  
pp. 53
Author(s):  
Saif AL Deen Lutfi Ali AL Ghammaz ◽  
Ruzy Suliza Hashim ◽  
Amrah Binti Abdulmajid
Keyword(s):  
Violence Against Women ◽  
Gender Inequality ◽  
Detrimental Effect ◽  
Developed Countries ◽  
The Sun ◽  
The Novel ◽  
Female Characters ◽  
Literary Genres ◽  
And Gender ◽  
Forms Of Violence

Violence against women is a heinous act committed against a woman, a wife, a mother, a sister, or even a daughter deliberately or not deliberately causing her psychological, emotional, and physical harm. The rise of this unhealthy phenomenon mainly in less-developed countries such as Jordan necessitates more academic attention not only because of its detrimental effect on the Jordanian women’s lives, but also because it is intentionally ignored and dismissed as taboo. With that, there has been a growing interest among Jordanian writers and sociologists in exploring the extent of this social ill through creative literary genres such as novels. This paper for one primarily examines the manifestations of violence against women in the Jordanian context through a textual analysis of Falling in the Sun by Sanaa Shalan, an author hailing from the contemporary Jordanian generation. Originally written in Arabic, this well-known novel gives prominence to the severe reality of the distress habitually suffered by many Jordanian women, notably the various forms of violence that they have to tolerate living in a multicultural male-controlled nation. With a feminist reading of Falling in the Sun (2014), we shall examine Shalan’s representations of violence against women in the novel as a dire social illness resulting from mistaken social beliefs, absence of laws, and misunderstanding of religion and gender inequality in the Jordanian society. Additionally, the current paper’s outline is constructed on three main forms of violence against women, i.e. physical, psychological and economic abuse as depicted in Falling in the Sun through the novel’s female characters, primarily the main protagonists.

scholarly journals Kajian Sastra Feminisme terhadap Citra Perempuan Adonara dan Ketidakadilan Gender dalam Novel “Ikhtiar Cinta dari Adonara” Karya J. S. Maulana

2020 ◽  
Vol 4 (2) ◽  
pp. 121-129
Author(s):  
Yunita Laka Marawali
Keyword(s):  
Data Analysis ◽  
Literary Studies ◽  
The Novel ◽  
Female Characters ◽  
Women And Gender ◽  
Self Image ◽  
Data Analysis Technique ◽  
Analysis Technique ◽  
Female Figures ◽  
And Gender

This study aims to describe the image of Adonara women and the types of gender injustice experienced by female characters in the novel "Ikhtiar Cinta dari Adonara" by J. S. Maulana. This study uses a literary approach based on literary studies of feminism and gender. The object of research is the description of Adonara women and gender injustice found in the novel "Ikhtiar Cinta dari Adonara" by J. S. Maulana. The source of data in this study is the novel “Ikhtiar Cinta Adonara’ by J. S Maulana. The novel written by J. S. Maulana consists of 320 pages. Published by Kaysa Media (Puspa Swara Group) in 2014. The data analysis technique was done by reducing data, presenting data analysis and interpreting the data and summarizing the results of research in order to obtain a picture of the image of women in the novel "Ikhtiar Cinta dari Adonara" by J. S. Maulana. In this study, researchers analyzed two female figures to describe the image of women in the novel. The results obtained are (a) The image of a woman, namely the figure of Syarifah, is a Muslim who is devout in worship and always submits to God, a woman who is educated, tough, has positive thoughts, is courageous and principled, is humble, and a woman who loves sincerely. (b) Fatimah's self-image, namely women who are willing to sacrifice, are brave and have principles, (c) gender injustice is found, namely marginalization, subordination, stereotypes, violence, and workload.

scholarly journals Javanese Women's Efforts to Face Patriarchal Culture in the Novel Para Priyayi by Umar Kayam

2021 ◽  
Vol 8 (1) ◽  
pp. 100
Author(s):  
Haalin Mawaddah ◽  
Suyitno Suyitno ◽  
Raheni Suhita
Keyword(s):  
Women Leaders ◽  
The Novel ◽  
Simone De Beauvoir ◽  
Female Characters ◽  
Literary Works ◽  
Patriarchal Culture ◽  
Female Figures ◽  
Private And Public

This study analysed the problems caused by the patriarchal culture and the Javanese women’s effort to get their existence in society. The novel Para Priyayi by Umar Kayam was one of the literary works that was thick with Javanese culture. This study used the theory of existentialist feminism Simone de Beauvoir (De Beauvoir, 1949). The result of this research was the Javanese female characters in the novel Para Priyayi by Umar Kayam experienced injustice due to the patriarchal culture. However, Javanese women leaders made efforts, so they could bring out their existence in the private and public. The existence raised by Javanese female figures in the form of women can become someone who can become an intellectual woman.

scholarly journals Presencia femenina en la travesía de Odiseo : estudio iconográfico

1999 ◽  
Author(s):  
Mercedes Aguirre Castro
Keyword(s):  
Significant Role ◽  
Female Characters ◽  
Trojan War ◽  
Female Figures ◽  
Greek Art

En la travesía de Odiseo rumbo a haca tras la guerra de Troya, los personajes femeninos (diosas o mujeres mortales) tienen un papel muy significativo. De ellas unas se muestran benévolas con el héroe, como la diosa Atenea o la joven princesa Nausica, otras son auténticas femmes fatales que intentan impedir al héroe el regreso al hogar. Sin embargo, Circe y Calipso presentan una doble cara: peligrosas al principio, van a resultar después de gran ayuda. Pero siempre peligrosas son las monstruosas Escila, Caribdis o las Sirenas. Las imágenes en el arte griego de estas figuras femeninas nos muestran cómo los artistas no siguieron siempre la tradición homérica sino que pudieron inspirarse en otras leyendas relativas al mar y a la travesía del héroe Odiseo y ello explicaría las ocasionales divergencias entre los textos y las imágenes.On Odysseus' return to Ithaca after the Trojan war, female characters (goddesses or mortal women) have a very significant role. Some of them show a benevolent attitude towards the hero, like Alhena or the young princess Nausicaa; the others are femmes fatales who attempt to detain the hero on his journey to his homeland. However, Circe and Calypso are double faced: they are first dangerous, next very helpful; but the monsters Skylla, Charybdis and the Sirens are always dangerous. The representations in Greek Art of these female figures show how artists were not always inspired by Homeric tradition, but they could have sought inspiration from other legends related to the sea and Odysseus journey, and that would explain the occasional contradictions between texts and images.

Sūdābeh and Rūdābeh: Mythological Reflexes of Ancient Goddesses

2016 ◽  
Vol 20 (2) ◽  
pp. 205-214
Author(s):  
Manya Saadi-nejad
Keyword(s):  
Female Characters ◽  
Female Figures ◽  
Islamic Society

Many female characters in the Šāhnāmeh are striking for their extraordinary independence and self-assertion, qualities not typically associated with women in the medieval Islamic society in which Ferdowsi lived. This may be an indication that such female figures have superhuman roots, possessing features that may be derived from those attributed to goddesses in ancient mythology. The characters of Sūdābeh and Rūdābeh who can be seen as representing opposing archetypes of feminine power are analyzed in terms of their possible derivations from female divinities in Iranian and Mesopotamian mythology.

Womanufacture

1991 ◽  
Vol 81 ◽  
pp. 36-49 ◽  
Author(s):  
A. R. Sharrock
Keyword(s):  
The Self ◽  
Work Of Art ◽  
Love Elegy ◽  
Art Object ◽  
The Way ◽  
The Erotic

Women are ‘perceived’. We speak often not just of ‘women’, but of ‘images’, ‘representations’, ‘reflections’ of women. Woman perceived is woman as art-object; and paradigmatic of this phenomenon is the myth of Pygmalion.This article will consider Ovid's version of the myth, the story of the artist who loved his own creation. I shall suggest that the story reflects on the eroto-artistic relationship between the poet and his puella explored in Latin love elegy. The Metamorphoses myth of the art-object which becomes a love-object mirrors the elegiac myth of love-object as art-object. The elegists represent the puella as both art and flesh. Pygmalion deconstructs the erotic realism of elegy and by its frankness about the power of the male artist discloses elegy's operations. It tells us how to read the puella — as a work of art; and the lover — as an artist obsessed with his own creation. Pygmalion reflects and exposes the self-absorption of elegy, the heroization of the lover, and the painted nature of the woman presented in eroto-elegiac texts, that is, the way in which she is to be seen as an art-object.

scholarly journals Women Empowerment in Select Novels of Ian McEwan

2021 ◽  
pp. 123-133
Author(s):  
Deepati Pant ◽  
Dr. Kavita Pant
Keyword(s):  
Early Phase ◽  
Women Empowerment ◽  
Female Characters ◽  
Power Shift ◽  
Female Figures ◽  
Ian Mcewan ◽  
Male To Female ◽  
Later Phase

This article is an attempt to trace women empowerment in select novels of Ian McEwan. It is through this article that I would present the empowered female characters in Ian McEwan's novels The Cement Garden (1978) and Nutshell (2016). These three novels are different from each other in their material, plot and characterization. But these novels bear a unique similarity. These novels show highly empowered female figures who have endowed with amazing capacity of head and heart. His novels show that Ian himself advocates power shift from male to female. It is because of this advocacy Ian appears to be a feminist. The Cement Garden belong to the early phase of Ian McEwan while Nutshell belongs to the later phase of Ian McEwan. Unique thing that captures our attention is the presence of empowered female characters in both the novels.

scholarly journals Gender Issues and Intricacies in Shobha De’s Select Novels

2021 ◽  
Vol 6 (3) ◽  
pp. 99-104
Author(s):  
Ollala Srinivas
Keyword(s):  
Domestic Violence ◽  
Gender Issues ◽  
The Other ◽  
Male Dominance ◽  
Sexually Active ◽  
Female Characters ◽  
Self Identity ◽  
Female Protagonists ◽  
Male Characters ◽  
Female Figures

Shobha De, a feminist writer, depicts her female protagonists in a forceful way and uses the plot to emphasize her point that personal is not private but political. The protagonists in her works were outspoken critics of conventional society and its rules. They are not the typical women who accept abusive, unsatisfying, or uncomfortable relationships (in all aspects). It could be male dominance, objectification, sexual discontent, passion, or something else entirely. They don't keep it hidden because they believe it is taboo. On the other hand, the male characters are not shown as villains, but it is evident from the plot that they are products of patriarchal society. Gender issues in her works aren't about female oppression in terms of domestic violence; rather, they are about the sexual vacuum that all of the female characters experience. Male characters were traditionally assigned duties such as sexually active, powerful, and have self-identity, but these female figures defy such stereotypes. They represent women by demonstrating that they too have sexual wants, power, and a need for self-identity. As a result, this research focuses on Shobha De’s novels Socialite Evenings (1989), Sisters (1992), Starry Nights (1991), Second Thoughts (1996), which all deal with gender issues. The study not only examines issues but sheds light on the protagonists' struggles to find self-identity.

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