Academic literature on the topic 'Homer Characters Women'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Homer Characters Women.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Homer Characters Women"
1
Sánchez Mañas, Carmen. "In Bed with an Egyptian Princess: Herodotus on Theft, Pyramids and Conquest." Feminismo/s, no. 39 (January 3, 2022): 267. http://dx.doi.org/10.14198/fem.2022.39.10.
Full textAbstract:
Following in the footsteps of Homer, both in the Iliad and in the Odyssey, Herodotus of Halicarnassus gives women a very conspicuous presence in the only work attributed to him, known as the Histories. Usually, the women who appear in his work are directly related to prominent male characters. In this respect, daughterhood is one of the most distinct roles played by women in Herodotus’ Histories. Twelve of the women actively involved in the narrative written by the author of Halicarnassus are identified as daughters of kings, tyrants or other noblemen, both of Greek and barbarian origin. Among the available examples, in this paper we focus on three Egyptian princesses, daughters of the pharaohs Rhampsinitus, Cheops and Amasis —in reality, Apries—, because they constitute precious instances for exploring the tensions arising in parent-child relationships in the Herodotean work. We aim at determining whether these princesses are individually fulfilled as characters, despite being sexually dominated daughters by their fathers, either biological other putative. To this end, we conduct an in-depth analysis of the three passages in which they appear (Hdt. 2.121ε; 2.126; 3.1), taking into account why and under what circumstances they are sexually controlled, how they interact with their fathers and other male characters and what consequences the sexual control they are subjected to has on them. Results show that the three Egyptian princesses achieve their own fulfilment as a wife, builder and avenger, respectively. We conclude that Herodotus confers on them visibility, dignity and their own non-transferable personality.
2
Brown, A. S. "Aphrodite and the Pandora complex." Classical Quarterly 47, no. 1 (May 1997): 26–47. http://dx.doi.org/10.1093/cq/47.1.26.
Full textAbstract:
What have the following in common: Epimetheus, Paris, Anchises, and the suitors of Penelope? The ready answer might be that it must have something to do with women, for it requires no great thought to see that the attractions of femininity proved the undoing of three of them, while for Anchises life was never to be the same again after his encounter with Aphrodite. But suppose we add to our first group such figures as Zeus, Priam, Polynices, and Eumaeus? The fates of all these characters as they, appear at certain points in the poetry of Homer, Hesiod, and others give expression i to a network of interrelated sexual and economic anxieties that seem to underlie a { great deal of what the Archaic poets say about the female sex. In this article I 1 propose to explore a particular part of that network, which I have called the ? ‘Pandora complex’, since it is Hesiod′s version of the Pandora myth which provides the classic statement of the male dilemma over women, poised between the conflicting desires for sexual gratification and domestic stability.1
3
Basirizadeh, Fatemeh Sadat, Narges Raoufzadeh, and Shiva Zaheri Birgani. "The Image of Women in Eastern and Western Epic literature: Shahnameh and Odyssey." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 2 (May 8, 2020): 768–76. http://dx.doi.org/10.33258/birci.v3i2.889.
Full textAbstract:
The research examines two epics, one from the East and one from the West with regards to the question of woman and her images in early epic literature. The epics were selected from the literature. The epics were selected from the literature of two cultures, both of which, in different historical periods produced the most advanced civilizations of their time. The Persian epic, The Shahnameh (the book of Kings) was tooted in the ancient Indo-Iranian pagan as well as Zoroastrian traditions, an epic of approximately 60,000 couplets rewritten in the tenth century A. D. in the final, completed from which has reached us today. The Greek exemplar was the odyssey of Homer, epic with which Greek literature begins and widely influences not only the later periods of Greek literature but also the entire Western literature; this epic is also widely known in the East. Central to our study of The Shahnameh and Homeric epics were the themes of dynamism, the individuality of characters and their struggles in the epic world, the resourcefulness of the human mind ascribed to them, the subject of human crises, and irony, all of which are deep-seated components marking the central literary qualities of these epics. Women are indispensable in the early epics of both traditions and more often than not highly regarded by epic heroes in general and the narrators of the stories in particular. In both Eastern and Western example the structure split the female image in two opposite directions: one force is represented by exalted, praiseworthy, and positive images which also endow the women of The Shahnameh and the Homeric poems with powerful characteristics.
4
Tuğlu, Begüm. "From Culturazing Nature to Naturalizing Culture: The Differing Function of Animal Imagery in Defining Bodies from Homer’s Odysseus to Margaret Atwood’s The Penelopiad." European Journal of Social Sciences Education and Research 6, no. 2 (April 30, 2016): 15. http://dx.doi.org/10.26417/ejser.v6i2.p15-20.
Full textAbstract:
Feminist authors have long been trying to alter the patriarchal structure of the Western society through different aspects. One of these aspects, if not the strongest, is the struggle to overcome centuries long dominance of male authors who have created a masculine history, culture and literature. As recent works of women authors reveal, the strongest possibility of actually achieving an equalitarian society lies beneath the chance of rewriting the history of Western literature. Since the history of Western literature relies on dichotomies that are reminiscences of modernity, the solution to overcome the inequality between the two sexes seems to be to rewrite the primary sources that have influenced the cultural heritage of literature itself. The most dominant dichotomies that shape this literary heritage are represented through the bonds between the concepts of women/man and nature/culture. As one of the most influential epics that depict these dichotomies, Homer's Odysseus reveals how poetry strengthens the authority of the male voice. In order to define the ideal "man", Homer uses a wide scope of animal imagery while forming the identities of male characters. Margaret Atwood, on the other hand, is not contended with Homer's poem in that it never narrates the story from the side of women. As a revisionist mythmaker, Atwood takes the famous story of Odysseus, yet this time presents it from the perspective of Penelope, simultaneously playing on the animal imagery. Within this frame, I intend to explore in this paper how the animal imagery in Homer's most renowned Odysseus functions as a reinforcing tool in the creation of masculine identities and how Margaret Atwood's The Penelopiad defies this formation of identities with the aim of narrating the story from the unheard side, that of the women who are eminently present yet never heard.
5
Stave, Shirley A. "Ancillary Trauma in the Novels of Toni Morrison." Feminismo/s, no. 40 (July 15, 2022): 129. http://dx.doi.org/10.14198/fem.2022.40.06.
Full textAbstract:
This article explores the concept of «ancillary trauma», through which a woman character who has not been subjected to racial violence becomes traumatized through the actions of a male character who has been either psychically or emotionally damaged as a result of racist actions. While Morrison sympathizes with what the male characters endure, the texts suggest that, in many cases, these male characters lash out against the women in their lives in an attempt to emulate white masculinity. These men know that they cannot act out against the white men who oppress them; they repress their feelings of shame and humiliation, choosing rather to assert their perceived dominance over those they feel they can control— the women and children in their homes. Some of the victims of ancillary trauma go on to wreak havoc in the lives of others, while the only defence against ancillary trauma appears to be the instilling of self-worth by parents who value their children as complete human beings.
6
Mikulic, Tatjana. "She wears a nylon underskirt and raffia opanci shoes: Women’s costume narratives in the caricatures of “Jez” newspaper." Bulletin de l'Institut etnographique 70, no. 3 (2022): 243–62. http://dx.doi.org/10.2298/gei2203243m.
Full textAbstract:
During the 20th century, the representation of the stock female character in the caricatures of the newspaper ?Jez? underwent a significant transformation: while in the 1930s the character of the peasant woman was reduced to a simple graphic form, rough and without details, an attractive peasant woman appeared in the mid-20th century, primarily in drawings by Desa Glisic, with a short skirt, narrow waist and enlarged bust. However, in accordance to the traditional cultural norms, she was still dressed in folk costume. Broadly speaking, Desa?s female characters paraphrased the craze for novelties from shops in Belgrade which retailed imported costume items. This visualization of women through the synergy of traditional and modern, or more precisely clothing and fashion, proved to be a convenient platform for interpreting the potential objectification of women (Fredrickson & Roberts). At the same time, we are going to determine whether the mentioned depiction of a rural woman endangered the hitherto dominant patriarchal pattern of visualizing women, when their function as a symbol of traditional values through the role of mother and housewife underwent transformation.
7
Sharma, Ritu, and Dr Tanu Gupta. "Home Without Space: A Study of Chitra Divakaruni’s Women Characters With Special Reference to Arranged Marriage." Paripex - Indian Journal Of Research 3, no. 8 (January 15, 2012): 42–43. http://dx.doi.org/10.15373/22501991/august2014/12.
Full text
8
Calegari, Lizandro Carlos. "A mulher no cinema brasileiro e a tentativa de afastamento da heteronormatividade." Diálogos Latinoamericanos 10, no. 15 (June 1, 2009): 19. http://dx.doi.org/10.7146/dl.v10i15.113589.
Full textAbstract:
The goal of this essay is to show that the three films Dona Flore seus dois maridos (1976), Luzia-homem (1984) and Romanceda empregada (1988), while they disrupt heteronormativity,are still heavily freighted vehicles of sexual and genderideologies. In the first case, Florípedes is a widow who marriesfor the second time. Sexually unsatisfied, she evokes the returnof her dead husband. She transgresses heteronormativity, sincesociety does not allow for polygamy, although she fulfills herrole as a woman. In Luzia-homem, the main character acts andthinks as a man, but ends up foregoing this behavior and shetakes up her destiny as a woman. In Romance da empregada,Fausta is submissive before any and all types of men, but shekeeps them out of her life and remains single. In these threesituations, the women attempt to mock the patriarchal code,but the plot of each film is structured in such a way that, as faras society is concerned, the women end up either repeating theroles imposed on them by patriarchal ideology or beingmarginalized. Such a situation reinforces a heterosexist,patriarchal, and masculinist posture.
9
Molli, Linda. "Just a pale shadow? The characterization of Briseis in Homer’s Iliad." Acta Antiqua Academiae Scientiarum Hungaricae 61, no. 1 (May 17, 2022): 1–9. http://dx.doi.org/10.1556/068.2021.00001.
Full textAbstract:
Abstract This paper aims at analysing the character of Briseis, Achilles’ slave in the Iliad, through the lenses of narratology, in order to highlight her importance in the poem. Far from being a pale shadow, Briseis has a privileged position among captive women in the Greek camp not only because she is the cause of the quarrel between Achilles and Agamemnon, but also because she is endowed with the privilege of direct speech; at the same time, she is also linked to important women on the Trojan side, like Helen and Andromache. Through scattered bits of information about her past, through epithets and periphrases, Homer creates an in fieri portrait of the character which culminates in the lament Briseis performs on the corpse of Patroclus in Il. XIX 282–302: in remarkable lines containing her first and unique speech in the Iliad, Briseis mourns for the death of her beloved friend, while lamenting her unlucky fate. As this paper will hopefully make clear, a refined and accurate characterization provides Briseis with a rich profile, which challenges the possibility of labelling her as a minor Iliadic character.
10
Kovtun, Nataliya. "ПОЭТИКА ДВОЙНИЧЕСТВА В ТЕТРАЛОГИИ Ф. АБРАМОВА «БРАТЬЯ И СЕСТРЫ»." Проблемы исторической поэтики 18, no. 4 (November 2020): 263–87. http://dx.doi.org/10.15393/j9.art.2020.7623.
Full textAbstract:
The work is devoted to the poetics of duality in F. Abramov’s tetralogy Brothers and Sisters. The analysis of the duality models allows to imagine historical, social, political reality, the minimal structure of the human community: one and the other. At the center of the study are the key characters of the tetralogy, namely, Mikhail Pryaslin and Yegorshi Stavrov, who embody the eschatological Russian model of duality. The analysis of these characters is carried out against the background of the character structure as a whole. Within a Christian context, the Mikhail — Yegorsha twin pair is included in a broad semantic field. Yegorsha compares his sworn brother with Christ. According to the legend, the latter’s twin was apostle Thomas, whose name coincidentally means ‘a twin.’ If Mikhail is firmly associated with Christ, then Egorsha can be semantically identified with both Judas and Thomas (in all connotations). The destruction of the “country model,” the Russian schism also actualizes another version of duality: George the Victory-bearer and Yegoriy the troublebearer, which is already reflected at the level of character naming. The struggle of the “twin” heroes over a woman, ancestral land and the house, which is interpreted as a confrontation between Christ and the Antichrist, St. George and the “bad Yegorka” (changeling), is also implemented as the “Russian” version — Foma and Erema, in which the doubles lose to the circumstances. Peasant Russia is in captivity of civilization, and no one is able to protect it: the warriors die, the saints abandon the icons. This leads to the general sense of anxiety, of a life “between homes,” when the “prodigal son,” who has nowhere to go back to, becomes the modern hero.
Dissertations / Theses on the topic "Homer Characters Women"
1
Sais, Lilian Amadei. "Mulheres de Homero: o caso das esposas da Odisseia." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-09032017-113301/.
Full textAbstract:
O presente trabalho visa a analisar um grupo específico de personagens femininas na Odisseia de Homero: as esposas de reis. Por esposas entendo as mulheres casadas (mortais) que estão vivas no momento presente da narrativa do poema, a saber: Helena, Arete e Penélope. Escolhi estudá-las de acordo com as funções que me parecem ser as mais importantes desempenhadas por elas nesse poema homérico; desse modo, dividi a pesquisa em duas partes, de acordo com esses papéis: a primeira parte consiste na análise das mulheres em cenas de hospitalidade, a segunda, em cenas de narrativas embutidas enunciadas por elas. Assim, analisarei as mulheres enquanto anfitriãs e narradoras. Em ambos os tipos de cena, faz-se presente o tema da tecelagem, que em Homero constitui tarefa exclusivamente feminina, e que também é importante para compreender as personagens femininas dentro do recorte aqui escolhido.This study analyses a group of female characters in Homers Odyssey: kings wives. By wives, I mean married (mortal) women alive during the poems plot: Helen, Arete and Penelope. I have studied the most important functions they perform in the epos; each part of the thesis is dedicated to one of them: the first one analyses how wives act in hospitality scenes, the second one, the embedded narratives told by them. Thus, my object is to discuss their role as hostesses and storytellers. Weaving, which is a typical female activity in Homer, is an important theme in both types of scene and proves to be relevant to understanding the aformentioned roles.
Books on the topic "Homer Characters Women"
1
Frank, Bernhard. The Homer ladies' journal. Buffalo, NY: Goldengrove Press, 1995.
Find full text
2
Jensen, Minna Skafte. Homer og hans tilhørere. København: Gyldendal, 1992.
Find full text
3
Die Andromache-Szenen der Ilias: Ansätze und Methoden der Homer-Interpretation. Hildesheim: G. Olms, 1988.
Find full text
4
Ricchi, Renzo. Femminilità e ribellione: La donna greca nei poemi omerici e nella tragedia attica. Firenze: Vallecchi, 1987.
Find full text
5
Regarding Penelope: From character to poetics. Princeton, N.J: Princeton University Press, 1994.
Find full text
6
Felson, Nancy. Regarding Penelope: From character to poetics. Norman: University of Oklahoma Press, 1997.
Find full text
7
Penelope's renown: Meaning and indeterminacy in the Odyssey. Princeton, N.J: Princeton University Press, 1991.
Find full text
8
Grossmark, Tziona. Bi-demut ʻakavish hi ṭoṿah et ḥuṭeha--: Dimui ha-ishah be-Yaṿan ha-ḳedumah. [Israel]: Miśrad ha-biṭaḥon, 2001.
Find full text
9
Clayton, Barbara. A Penelopean poetics: Reweaving the feminine in Homer's Odyssey. Lanham, MD: Lexington Books, 2005.
Find full text
10
A Penelopean poetics: Reweaving the feminine in Homer's Odyssey. Lanham, Md: Lexington Books, 2003.
Find full textBook chapters on the topic "Homer Characters Women"
1
Graziosi, Barbara. "9. Women and monsters." In Homer: A Very Short Introduction, 85–92. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199589944.003.0010.
Full textAbstract:
For all that Odysseus is hard to pin down, several characters try to do so, particularly women. In a poem so interested in pleasure and family, survival and return, ‘Women and monsters’ suggests it is perhaps unsurprising that female characters should be prominent: the loneliness of Odysseus and his constant wanderings suggest that what he needs, above all, is a home. He has one, of course, in Ithaca, but the poem repeatedly hints that he may set up home somewhere else. His story reflects, in part, the concerns of the age in which the Odyssey was composed: the archaic period was a time of rapid expansion, travel, and new settlements.
2
Christensen, Joel P. "Marginalized Agencies and Narrative Selves." In The Many-Minded Man, 149–74. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752346.003.0007.
Full textAbstract:
This chapter evaluates the impact that the Odyssey's projected narratives of agency has on those who are not the returning hero, in particular, on the enslaved people who make up a significant part of Odysseus's world. It employs frameworks and insights from Disability Studies in an attempt to understand the general impact of Homeric discourse on the people represented within the narrative and its possible impact on audiences outside of it. The chapter argues that the Odyssey ultimately uses the authorizing force of cultural discourse to marginalize, to dehumanize, and even to render certain types of violence acceptable. After outlining some basic concepts from the field of Disability Studies appropriate to Homer, it explains how this framework informs the way slaves, in particular, are treated by the Odyssey and, especially, provides structural and cultural motivations for the mutilation of Melanthios and the hanging of the enslaved women. In particular, Disability Studies illustrate how certain characters and bodies are marginalized to define an ideological center and how this marginalization relies on cultural processes of infantilization and vilification.
3
Fraiman, Susan. "Undocumented Homes." In Extreme Domesticity, 118–53. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231166348.003.0006.
Full textAbstract:
Takes up three novels written by women who share the immigrant backgrounds of their characters: The House on Mango Street (1984) by Sandra Cisneros; Lucy (1990) by Jamaica Kincaid; and Blu’s Hanging (1997) by Lois-Ann Yamanaka. Suggests they point to the hybridity of all households—their influence by multiple cultural traditions, vocabularies, and technologies. Offers them, further, as striking examples of heterogeneity within a single household—differences and inequalities between males and females, adults and children, employers and employees. Brings out their backstories of conquest, slavery, and internment as examples of domestic dislocation not only in space but also over time; not only of individuals but also of groups; removal from one’s home or homeland not only by choice but also by force.
4
Donahue, Jennifer. "Epilogue." In Taking Flight, 133–34. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828637.003.0007.
Full textAbstract:
In Homemaking, Fiona Barnes and Catherine Wiley assert that “women write in order to negotiate the tensions between definitions of home as a material space and home as an ideal place” (xix). As the works discussed illustrate, the writing and rewriting of home is often a journey in itself, a way of making sense of personal and inherited histories. For the characters, home is steeped with contradiction and can be a site of great tension. In many of the texts, home operates as a place of oppression as well as subversion. The realities of the characters’ lives counter a view of home as a place of freedom and security, and it is the act of flight that underscores the connection between trauma, migration, and social norms. The characters’ embodied and ideological transgressions in response to social convention render them exiles in or outside their homelands. As a result, the characters embrace change and pursue adaptive solutions to preserve selfhood in the face of violence, illness, and exclusion. These forces propel the characters’ migration, but trauma and shame do not define the narratives; rather, the protagonists’ navigation of trauma, oftentimes through dissociation and flight, foregrounds the emotional work that underlies and often precedes emigration. The authors position the characters’ homelands as spaces of individual and collective trauma and situate migration as the force that facilitates the protagonists’ homecoming. The works showcase women responding to challenges to safety with moves toward autonomy and self-determination....
5
Jackson, Akia. "Collecting and Releasing Embodied Memories." In Narrating History, Home, and Dyaspora, 113–28. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496839879.003.0009.
Full textAbstract:
Breath, Eyes, Memory explores the incommunicable weight of generational shame. Framing her novel from the perspective of working-class Haitian nationals living in North America, Danticat utilizes institutionalized history to show the violent upheavals that textured Haitian politics, emphasizing why women suffered so deeply from the macro-trauma of the country. The author traces the mixed legacy of shame in this text, exploring the interrelationship between productive shame and debilitating shame for the transnational matriarch-dominated family. The author defines shame not in the pejorative but repurposes the term to show it is beneficial in reshaping Black female characters’ embodied feelings, investigating how and why shame intertwines with collective memory of Danticat’s characters: Sophie, Tante Atie, Martine, and Grandmè Ifé. Through this affective literary perspective, the author illustrates that although the main characters experience both productive and debilitating shame, they move to reclaim shame as resistance for their survival both in Haiti and in America.
6
Kelaita, Jasmin. "Housekeeping and the Fiction of Subjectivity in Eva Trout." In Elizabeth Bowen, 165–81. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474458641.003.0011.
Full textAbstract:
This chapter examines how Bowen’s final novel, Eva Trout, amplifies the issue of the domestic and the ‘things’ that build subjective containment and betray non-normative, unstable and difficult narrative subjects, by claiming that Eva Trout is such a subject: difficult and utterly indeterminate. In order to draw on the value-laden potency of ‘home’ for women in fiction the chapter calls upon Bowen’s contemporary, one who might be described as the quintessential author of homelessness, Jean Rhys. Rhys’s novel Good Morning, Midnight (1939) to show how the issue of domestic space becomes paramount to the workings of narrative for women writers and their female protagonists. Unlike Rhys’s protagonist Sasha Jensen, who does not attempt to make any specific space her home but rather moves between rented rooms in a hope for nominal protection, Eva Trout repeatedly attempts to make herself in relation to domestic spaces. Eva is unable to establish a stable domestic existence in accordance with conventional gender expectations. The way that women make homes and, in very material and embodied ways, occupy space is significant in Bowen’s fiction, where objects, ephemera and domestic stability are crucial to the development of character and narrative.
7
Phillips, James. "Blonde Venus." In Sternberg and Dietrich, 40–58. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190915247.003.0003.
Full textAbstract:
This chapter examines Blonde Venus (1932), Sternberg and Dietrich’s characteristically atypical take on the fallen woman film genre. Dietrich’s character is as much liberated as cast out from the family home when she resumes her earlier career in show business and is condemned by her husband for prostitution. Yet the downward trajectory of the fallen woman genre never really exerts its grip on Dietrich, for she remains a mythical being. The chapter interprets the film as a critique of the patriarchal institution of marriage in which standards are expected of the woman that are not expected of the man: Dietrich’s character’s husband shuns her for selling her body, even though he attempts to sell his own (to a medical researcher). The question of the film that the chapter explores is the reconcilability of fairy-tale romance and everyday marriage: Blonde Venus does not take for granted the transition from the one to the other.
8
Kruszyńska, Elżbieta. "Mądre, dobre, pracowite... – o dziewczęcych bohaterkach w prozie Antoniny Domańskiej." In (Re)konstrukcje przeszłości w prozie Antoniny domańskiej, 187–98. Wydawnictwo Naukowe Uniwersytetu Pedagogicznego w Krakowie, 2019. http://dx.doi.org/10.24917/9788380844193.11.
Full textAbstract:
Wise, Good, Hardworking... – on the Characters of Girls in Antonina Domańska’s Prose Antonina Domańska is the author of many historical novels for children and young adults. There are a lot of interesting creations of young female protagonists in her writing. One of them is the main character in the novel Krysia Bezimienna. The reader follows the plot of eleven years of her life, when she transforms from a little, frightened girl of unknown home place into a beautiful, smart young woman. In fairytales (Przy kominku) in turn present are the typical protagonists: good or bad. Good heroines are characterised by traits such as: kindness, righteousness, diligence, lowliness, respect for elders. Due to such creations the prose of Domańska’s books pursues pedagogical goals put in the literature for young adults.
9
Dougherty, Carol. "“An end to housekeeping”." In Travel and Home in Homer's Odyssey and Contemporary Literature, 45–70. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198814016.003.0003.
Full textAbstract:
This chapter offers a reading of Marilynne Robinson’s 1980 novel Housekeeping—the story of a transient woman, Sylvie, who returns home to take care of her recently orphaned nieces, Ruth and Lucille, and the novel raises important questions not just about life on the road, but also about the house and home that is left behind. Whereas the Odyssey maintains a perpetually idealized notion of Penelope and Odysseus as emblems of a like-minded merger of travel and home by deferring indefinitely the moment when the two actually live (or travel) together, in Housekeeping there is always an attempt to blur the divide between people who stay and people who go, one that is most clearly embodied in the character of Sylvie. Like Odysseus, who will one day leave home again and whose travels are also always returns, Sylvie’s travels keep taking her home; yet like Penelope as well, she keeps her family by her side. In particular, by taking men out of the picture, Robinson radically reorients the traditionally gendered relationship of travel to home that Homer’s Odyssey represents, and the novel prompts us to ask how women can reconcile family responsibilities with travel. Can the possibilities, rather than the constraints, of mobility help redefine what makes a house a home?
10
Gupta, Shilpi. "(Dis)Locating Homeland." In Gender, Place, and Identity of South Asian Women, 1–22. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-3626-4.ch001.
Full textAbstract:
This chapter examines the construction of imagined homelands in a post-national world with a particular focus on the transnational, South Asian, brown women who are expected to display their dis/interested love and sacrifice. Drawing upon Gloria Anzaldúa's theory of Nueva Conciencia Mestiza and the notion of borderland, this chapter studies Taslima Nasreen's French Lover (2002) and Monica Ali's Brick Lane (2004) to address the following questions: How do the female protagonists of the novels—that is, Nilanjana and Nazneen, respectively—succeed to negotiate their position as in-betweeners between imagined homelands? How different are the male and the female characters' perceptions of their home/land? How do the women imagine their homeland when they are asked whether they want to go back or what is their homeland like? Both novels propose a new discourse of home/land in response to such (rhetorical) inquiries. It is argued that the two case studies demarcate the idea of border(home)land as a notion that is neither geographically nor imaginarily fixed.
Conference papers on the topic "Homer Characters Women"
1
Mutu, Miruna Angela, Camelia Elena Nichita (Vasile), and Iliana Maria Zanfir. "The Impact of the “Zoom Fatigue” Phenomenon and Ways of Managing It." In 2nd International Conference Global Ethics - Key of Sustainability (GEKoS). LUMEN Publishing House, 2021. http://dx.doi.org/10.18662/lumproc/gekos2021/16.
Full textAbstract:
The context of the COVID 19 pandemic has forced managers and entrepreneurs to review how they run their businesses and guide their employees. The new normality has brought with it a number of challenges and changes that have produced immediate and profound effects both in the way business is conducted, the online negotiations giving a formal and less human character, and in the way the employees perceive the work carried out exclusively online. Research has revealed a new phenomenon called "Zoom Fatigue" which is reflected in the human psyche through exhaustion and burnout, a phenomenon caused by the intensity and long duration of video calls and frequent online meetings. Additional cognitive processes required by video calls, the concentration required to absorb all the information transmitted, the lack of visual breaks, multitasking, as well as the merging of professional activity with the familiar environment from the comfort of our home, have led to psychological consequences, such as pronounced fatigue, exhaustion or irritation. All these effects are felt differently by men and women, the latter suffering more from videoconferencing and online work. At the same time, extroverts were found to be less tired than introverted people, feeling the effects of the "Zoom Fatigue" phenomenon differently. For the proper conduct of work and for the creation of a healthy organizational climate and an ethical organizational culture, the role of managers in knowing employees at a human level is of outmost importance, in order to best manage such situations and to identify appropriate measures for motivation and support aimed in particular at female and vulnerable personnel. Orientation towards setting a precise schedule for organizing video conferencing, recommending to avoid multitasking and reducing on-screen stimulus, setting visual breaks, avoiding the use of video calls in their spare time are some of the measures that managers can implement among their employees.