https://www.peren-revues.fr/eugesta/375 Entrées d’index fr 0 https://www.peren-revues.fr/eugesta/1469 This paper offers an analysis of Sheri Tepper’s novel, The Gate to Women’s Country, through the lenses of Classical Reception and feminist reinterpretation, aligning with Hardwick’s theoretical framework and drawing upon the specific conceptual propositions of Ostriker, Keen and Durand. Tepper’s narrative comprises both utopian and dystopian elements. In her utopian projection, a Greek tragedy is reimagined as Iphigenia in Ilium, wherein she introduces a dialogue with the deceased to underscore the inherent violence of men and its consequences for women and children. In the dystopian projection, she indirectly utilises the myth of Persephone and Demeter, with a notable emphasis on the catabatis motif, implicitly employed to depict the harrowing and violent experiences faced by the central character, Stavia. This portrayal of Hades, transposed to Tepper’s envisioned society, serves as a cautionary tale highlighting the perils that women encounter when they lack control, influence or a voice. jeu., 04 janv. 2024 11:19:46 +0100 jeu., 01 févr. 2024 10:29:41 +0100 https://www.peren-revues.fr/eugesta/1469 https://www.peren-revues.fr/eugesta/1269 This article lays out several feminist strategies for translating Ovid’s Metamorphoses, arguing that these enable translators to clear away the patriarchal bias that has influenced previous translations of this epic. Using the Callisto episode as a case study, I show how major English translations obscure sexual assault, mitigate the criminality of those who perpetrate rape, and assign modern gender expectations and stereotypes to the past. Through careful close reading, feminist translators can question longstanding assumptions about the text that have been inherited from one translator and scholar to the next. Feminist translation, moreover, illuminates how our own contemporary assumptions were not necessarily shared by Ovid and his culture. jeu., 08 déc. 2022 15:43:31 +0100 ven., 01 déc. 2023 10:58:11 +0100 https://www.peren-revues.fr/eugesta/1269 https://www.peren-revues.fr/eugesta/379 The ancient Amazons, the equals of men, were among the fiercest opponents faced by the ancient Greek heroes Achilles, Heracles, and Theseus. But were they heroes themselves? As the objects of Greek male anxiety, the Amazons were understood to be a threat to Greek civilization, in part due to their refusal to be subjected to the chief institution of patriarchy: marriage. In the Progressive era of the early 20th century, authors repurposed the myths in order to unlock their feminist potential. William Moulton Marston, the inventor of Wonder Woman, used the Amazons in his comics to illustrate his theories of female superiority. Women were more loving than men, Marston argued, and would ultimately therefore make better rulers. While Marston’s feminism was sometimes questioned due to his portrayal of themes of bondage and domination in the Wonder Woman comics, it must be viewed within his larger platform. Marston brought a feminist message to the masses through his deployment of the Amazons to illustrate the potential of women ruling the world through loving dominance. Marston’s star Amazon, Wonder Woman, became the symbol that motivated the Women’s Liberation Movement of the 1960s and 1970s, a vehicle for later authors such as Perez to bring forward third wave feminist messaging to the masses, and, ultimately, became the heroic protagonist of the 2017 film, Wonder Woman. While her revealing costume has been controversial over the years, and Wonder Woman has been subjected to the male gaze, the film, like the comics before them, utilized a female perspective to question the stranglehold that patriarchy has held over the population. mar., 14 juin 2022 08:40:17 +0200 mar., 17 oct. 2023 13:37:25 +0200 https://www.peren-revues.fr/eugesta/379