By Beth Cohen
Woman Characters play quite a few roles within the Odyssey: client goddess (Athena), seductress (Kirke, the Sirens, Nausikaa), carnivorous monster (Skylla), maid servant (Eurykleia), and trustworthy spouse (Penelope). Adopting an interdisciplinary process, this learn examines those various lady representations and their importance in the context of the poem and Greek tradition. A principal subject matter of the publication is the visualization of the Odyssey's girl characters through historical artists, and several other essays talk about the visible and iconographic implications of Odysseus' girl encounters as depicted in Greek, Etruscan, and Roman artwork. the prestigious contributors--from the fields of classical stories, comparative literature, artwork historical past, and archaeology--are A.J. Graham, Seth L. Schein, Diana Buitron-Oliver, Beth Cohen, Sheila Murnaghan, Lillian Eileen Doherty, Helene P. Foley, Froma I. Zeitlin, H.A. Shapiro, Richard fabulous, Jenifer Neils, and Christine Mitchell Havelock. female in orientation, yet no longer narrowly feminist in strategy, this primary interdisciplinary paintings at the Odyssey's woman characters can have a extensive viewers among students and scholars operating in classical experiences, iconography and artwork historical past, women's experiences, mythology, and historical history.
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Extra info for The Distaff Side: Representing the Female in Homer's Odyssey
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9. 72) have a similar connotation. Cf. Motte, 1973, 50-56, cited by Vernant, 1982, 15, n. 10. 10. In die later epic sequel to the Odyssey entitled the Telegony, Odysseus' further adventures included journeys, wars, a second marriage to Kallidike, Queen of the Thesprotians, and death at the hands of Telegonos, his son by Kirke. 357). 11. On the specific poetic significance of "the sign of the bed," see Zeitlin, Chapter 7, this volume. 12. Cf. Foley, 1978. 13. For recent discussions of Penelope, see Murnaghan, 1986, reworked and expanded in Murnaghan, 1987, 118-47; Felson-Rubin, 1987 and 1993; Winkler, 1990; Doherty, 1990; and Katz, 1991, who is especially instructive on Penelope and kleos.
Cf. Felson-Rubin, 1987 and 1993. On Penelope as an independent "moral agent," see Foley, Chapter 6, this volume. 16. Nevertheless, several scholars have argued that Penelope unconsciously or intuitively recognizes Odysseus in Book 19. See, for example, Harsh, 1950; Amory, 1963; Russo, 1982. Cf. Winkler, 1990, 150-61, who describes Penelope as "only 99% certain" that the stranger "was really Odysseus" (160). 17. On the poem's open-endedness and "indeterminacy," especially in regard to Penelope, see Katz, 1991, esp.
Each appeals to, or plays against, audiences' conceptions of females generally as well as the expectations shaped by representations of particular females in the mythology and oral poetic tradition behind the poem. None of these descriptions or representations within the Odyssey is totally authoritative; taken together, they contribute greatly to the poem's narratological, dramatic, and moral complexity. 2 For many readers, the most memorable section of the Odyssey is Odysseus' narrative to the Phaeacians in Books 9-12 of his adventures since leaving Troy.
The Distaff Side: Representing the Female in Homer's Odyssey by Beth Cohen
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