Compromising Traditions: The Personal Voice in Classical by Judith P. Hallett, Thomas Van Nortwick

By Judith P. Hallett, Thomas Van Nortwick

Compromising Traditions is the 1st number of theoretically expert autobiographical writing within the box of classical reviews which goals to create a extra expansive and authoritative kind of classical scholarship.

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Pace Wood, 1994). As for whether we can do 36 Judith de Luce anything to change this persistent and “ruthless story” for ourselves, that remains to be seen. ACKNOWLEDGEMENTS I am indebted to Dr Mildred M. Seltzer, Millie, doctissima amica, who asked the hardest questions about the hero; to Paula Biren, whose questions helped me look more carefully at the princess; and to Lena de Luce, who read this essay with the vision of a much younger cohort. Tom Van Nortwick’s suggestions have helped me immeasurably as I have sorted out my reading of the motif.

Morgan’s disdain for men runs throughout the Total Woman, rivaling that of Phyllis Schlafly. It is in fact a complex story which requires that we consider not only the princess but the hero himself. For example, I have suggested that Theseus, Jason, and Aeneas are all trying to get “home” geographically and personally, but it is not necessarily the case that, once home, heroes can stay there. ACKNOWLEDGEMENT Excerpt from “Circe/ Mind Poems”, You Are Happy, SELECTED POEMS 1965–75 by Margaret Atwood.

Plutarch provides a range of possibilities; Renault’s is the most lurid and in some ways the most convincing. All versions say that she is left behind. Medea, like Ariadne, is abandoned. Once they have escaped from Colchis, Jason and Medea make their way to Corinth, where he leaves her and becomes betrothed to the young daughter of the king. Dido, too, is deserted when Aeneas heeds the divine warning delivered by Mercury to leave Carthage and proceed on to Italy. Aeneas nearly manages to escape without facing his helper at all, until Dido confronts him.

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