Journal articles: 'Trojan Women'

1

Wiltshire, Susan Ford, Euripides, and Shirley A. Barlow. "Euripides: Trojan Women." Classical World 82, no. 2 (1988): 133. http://dx.doi.org/10.2307/4350328.

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Lamont, Rosette C. "The Trojan Women (review)." Theatre Journal 49, no. 3 (1997): 361–63. http://dx.doi.org/10.1353/tj.1997.0084.

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Wilcox, Dean. "The Trojan Women by Euripides." Theatre Journal 70, no. 1 (2018): 87–88. http://dx.doi.org/10.1353/tj.2018.0007.

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Suter, Ann. "LAMENT IN EURIPIDES' TROJAN WOMEN." Mnemosyne 56, no. 1 (2003): 1–28. http://dx.doi.org/10.1163/156852503762457473.

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AbstractThis article summarizes the findings of an unpublished PhD dissertation, "The Form of Lament in Greek Tragedy" by E. Wright, which provide for the first time objective criteria for identification of lamentation in tragedy. It applies these criteria to the Trojan Women, and argues, on the basis of metrical and stylistic devices, that virtually every scene in the Trojan Women shows the characteristics of lament. The play is, from both the minute technical, and the overall structural, point of view, a lament. This provides explanations for some of the long-standing critical issues of the play, e.g., no unity, no plot, an ill-conceived prologue. The article then considers also how the Trojan Women fits into current discussions of lament as a gendered genre. It replies especially to work on the development of 5th-century Athenian attitudes towards female lament, in which a pattern of increased criticism and restriction, it is argued, is reflected in the changing treatment of lament in Athenian tragedy. The treatment of lament in the Trojan Women does not conform to this perceived development. This suggests that there were still a variety of attitudes current and influential in late 5th-century Athens towards female lamentation.

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Smiley, Leigh. "Trojan Women: The Vocal Soundscape." Voice and Speech Review 4, no. 1 (January 2005): 181–85. http://dx.doi.org/10.1080/23268263.2005.10739466.

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Simon Perris. "Euripides: Trojan Women (review)." Comparative Drama 44, no. 2 (2010): 231–34. http://dx.doi.org/10.1353/cdr.0.0102.

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Son, Elizabeth W. "Korean Trojan Women: Performing Wartime Sexual Violence." Asian Theatre Journal 33, no. 2 (2016): 369–94. http://dx.doi.org/10.1353/atj.2016.0041.

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Angelopoulou, Afroditi. "Gesture, Metaphor and the Body in Trojan Women." American Journal of Philology 142, no. 4 (2021): 597–627. http://dx.doi.org/10.1353/ajp.2021.0020.

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Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.

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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.

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Catenaccio, Claire. "The Medium and the Messenger in Seneca’s Phaedra, Thyestes, and Trojan Women." Philologus 166, no. 2 (February 1, 2022): 232–56. http://dx.doi.org/10.1515/phil-2023-0100.

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Abstract The language of Seneca’s messenger speeches concentrates preceding patterns of imagery into grotesquely violent action. In three tragedies – Phaedra, Thyestes, and Trojan Women – the report of an anonymous messenger dominates an entire act. All three scenes describe gruesome deaths: the impalement of Hippolytus on a tree trunk in Phaedra, Atreus’ butchering of his nephews in Thyestes, and the slaughter of Astyanax and Polyxena in Trojan Women. In portraying violence, these messenger speeches repurpose language established in earlier scenes to realize and deform a dominant theme of each play: distorted sexuality, appetite, and moral dissolution.

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BAKOGIANNI, ANASTASIA. "VOICES OF RESISTANCE: MICHAEL CACOYANNIS' THE TROJAN WOMEN (1971)." Bulletin of the Institute of Classical Studies 52, no. 1 (December 1, 2009): 45–68. http://dx.doi.org/10.1111/j.2041-5370.2009.tb00746.x.

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Montanini, Lorenzo. "Tadashi Suzuki’s The Trojan Women as Cross-Cultural Theatre." New Theatre Quarterly 36, no. 4 (November 2020): 332–43. http://dx.doi.org/10.1017/s0266464x20000676.

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This article analyzes Suzuki Tadashi’s version of Euripides’ The Trojan Women, staged multiple times during the past forty years. While this cross-cultural production carries specific socio-cultural signs and juxtaposes different traditional Japanese styles (Noh, Kabuki, and Shingeki), it aims to create a third object that does not belong specifically to any of these traditions but is composed of the sum of their specificities. It argues that The Trojan Women was created by Suzuki and his company as a response to the state of culture and society in Japan during the 1970s, breaking with old and new fashions in an effort to revitalize Japanese contemporary theatre. Offering a socio-cultural analysis and drawing on the writings of Michael Bakhtin and Pierre Bourdieu, it sheds light on Suzuki’s humanistic quest for a universalism pursued through the re-discovery and transformation of traditional styles together with an appropriation of Western texts. Lorenzo Montanini is a theatre director whose work investigates the boundaries of theatre and live performance in a multicultural context. He has taught for more than fifteen years in universities in Italy, including RomaTre, Università di Macerata, and Università l’Orientale di Napoli.

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Finkelberg, Margalit. "Ajax's Entry in the Hesiodic Catalogue of Women." Classical Quarterly 38, no. 1 (January 1988): 31–41. http://dx.doi.org/10.1017/s0009838800031232.

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The list of Helen's suitors in the Catalogue of Women, a late epic poem attributed to Hesiod, is directly related to the Catalogue of Ships in Iliad 2, in that it is in fact a list of future participants in the Trojan war. That the two catalogues treat the same traditional material is demonstrated above all by their agreement on minor personages: not only the protagonists of the Trojan saga, but also such obscure figures as Podarces of Phylace, Elephenor of Euboea, Thoas of Aetolia, or Menestheus of Athens feature in both Homer and Hesiod, and are characterized by basically the same traditional expressions. But, though the Hesiodic catalogue is sometimes used as evidence that a given Homeric personage belongs to the authentic tradition,3 it seems that the exegetic potential of this poem has not yet been exploited in full. As I hope to show, the Catalogue of Women throws light on one of the most controversial issues in Homeric scholarship, that of the representation of Athens and Salamis in the Catalogue of Ships.

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Signorelli-Pappas, Rita. "Euripides' Trojan Women: A Comic by Rosanna Bruno Anne Carson." World Literature Today 95, no. 4 (2021): 78. http://dx.doi.org/10.1353/wlt.2021.0244.

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Ziter, Edward Blaise. "The Syria Trojan Women: Rethinking the public with therapeutic theater." Communication and the Public 2, no. 2 (May 31, 2017): 177–90. http://dx.doi.org/10.1177/2057047317711956.

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Therapeutic theater projects with Syrian refugees in Jordan and Lebanon work at the intersection of the public and the private, facilitating individual healings while also promoting new group identities. The playing space becomes an open discursive field in which varied understandings of the self become platforms for new understandings of the nation. In the process, these artists/refugees trouble the boundaries between the private and the public, potentially creating a new public sphere that is not only revolutionary in its critique of entrenched political power but in its reformulation of the idea of the public itself. This article examines one such project, The Syria Trojan Woman, directed by Omar Abu Saada. The article places this work in the context of Abu Saada’s work in applied theater in Syria prior to the uprising and within the larger context of Syrian political theater. Applied theater, an umbrella term designating performance valued as efficacious as well as aesthetic, has had a brief and difficult history in Syria because of its capacity to undermine the regulation of speech. In the case of The Syria Trojan Woman, this speech has traveled beyond the countries hosting refugees through the efforts of non-governmental organizations that bring additional fundraising and consciousness-raising objectives to the endeavor. Through international tours and the use of new media, local performances become international phenomenon, further complicating the idea of a revolutionary public sphere.

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Sullivan, James Jan. "The Agency of the Herald Talthybius in Euripides' Trojan Women." Mnemosyne 60, no. 3 (2007): 472–77. http://dx.doi.org/10.1163/156852507x215472.

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Edwin, Shirin. "Islam's Trojan horse: battling perceptions of Muslim women inThe 99." Journal of Graphic Novels & Comics 3, no. 2 (December 2012): 171–99. http://dx.doi.org/10.1080/21504857.2011.602698.

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Eberwine, Paul. "‘Music for the Wretched’: Euripides’ Trojan women as refugee theatre." Classical Receptions Journal 11, no. 2 (April 1, 2019): 194–210. http://dx.doi.org/10.1093/crj/clz002.

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Borgohain, Indrani A. "Breaking the Silence of Homer’s Women in Pat Barker’s the Silence of The Girls." International Journal of English Language Studies 3, no. 2 (February 27, 2021): 10–16. http://dx.doi.org/10.32996/ijels.2021.3.2.2.

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Since time immemorial, women have been silenced by patriarchal societies in most, if not all, cultures. Women voices are ignored, belittled, mocked, interrupted or shouted down. The aim of this study examines how the contemporary writer Pat Barker breaks the silence of Homer’s women in her novel The Silence of The Girl (2018). A semantic interplay will be conducted with the themes in an attempt to show how Pat Barker’s novel fit into the Greek context of the Trojan War. The Trojan War begins with the conflict between the kingdoms of Troy and Mycenaean Greece. Homer’s The Iliad, a popular story in the mythological of ancient Greece, gives us the story from the perspective of the Greeks, whereas Pat Barker’s new novel gives us the story from the perspective of the queen- turned slave Briseis. Pat Barker’s, The Silence of the Girls, written in 2018, readdresses The Iliad to uncover the unvoiced tale of Achilles’ captive, who is none other than Briseis. In the Greek saga, Briseis is the wife of King Mynes of Lyrnessus, an ally of Troy. Pat Barker as a Postmodernist writer, readdresses the Trojan War in his novel through the representation of World War One, with dominant ideologies. The novel illustrates not only how Briseis’s has tolerated and survived her traumatic experiences, but also, how she has healed and composed her fragmented life together. Homer’s poem prognosticates the fall of Troy, whereas Barker’s novel begins with the fall Lyrnessus, Briseis’ home that was destroyed by Achilles and his men. Hence, Pat Barker uses intertextuality in her novel, engages both the tradition of the great epic and the brutality of the contemporary world. She revives the Trojan War with graphic pictorial vividness by fictionalizing World War in her novel. Through her novel, she gives Briseis a voice, illuminates the passiveness of women and exposes the negative traits of a patriarchal society.

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Mariscal, Lucía P. Romero. "Sappho F 44 Voigt and Euripides’ Troades." Mnemosyne 71, no. 6 (November 20, 2018): 920–37. http://dx.doi.org/10.1163/1568525x-12342423.

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AbstractIn this paper a new interpretation of the first stasimon of Euripides’Troadesis proposed, based on a plausible relationship with Sappho’s F 44 Voigt. Sappho’s version of the wedding of Hektor and Andromache seems to be poetically evoked by the women of the chorus right before Andromache’s arrival on stage in the second episode of the play. The lyric, recalling the welcoming of the Trojan Horse to the town and the ensuing communal revelry, conjures up the civic celebrations at the nuptial procession and reception of the happy couple. The striking contrast between the lyric past and the tragic present casts an even more somber light not only on the widow of Hektor but also on the Trojan women themselves who form the chorus of the play.

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Weintraub, Stanley. "SHAW'S TROY: HEARTBREAK HOUSE AND EURIPIDES' TROJAN WOMEN." Shaw 29 (January 1, 2009): 41–49. http://dx.doi.org/10.2307/40691858.

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Weintraub, Stanley. "SHAW'S TROY: HEARTBREAK HOUSE AND EURIPIDES' TROJAN WOMEN." Shaw 29 (January 1, 2009): 41–49. http://dx.doi.org/10.5325/shaw.29.2009.0041.

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Bryant-Bertail, Sarah. "The Trojan Women a Love Story: A Postmodern Semiotics of the Tragic." Theatre Research International 25, no. 1 (2000): 40–52. http://dx.doi.org/10.1017/s0307883300013948.

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Charles Mee, before turning to playwriting, authored several well-known political histories. To the last of these, from 1993, he gave the ironically portentous title of Playing God: Seven Fateful Moments When Great Men Met to Change the World. With this deconstructive final word after two decades as a historian, he did not in fact abandon history, but began to write it in the medium of theatre. In doing so Mee has come to share a view articulated by Roland Barthes, who was once a university student of theatre and actor in Greek tragedies: the view that theatre, and Greek tragedy in particular, can illuminate our history as a story unfolding before us, allowing us to connect critically past with present as our best hope for the future. The American director Tina Landau, a frequent collaborator with Charles Mee, likewise believes that the ancient Greek tragedies helped constitute, articulate, and today still codify the structural base in myth and history of Western civilization. Accordingly, Mee and Landau have created a number of what they call ‘site-specific pieces’ adapted from Greek drama, site-specific in that they are created out of the specific material space and time at hand. One of these is The Trojan Women a Love Story which was developed and premiered at the University of Washington in Seattle in the spring of 1996. The production was based on Euripides' play The Trojan Women and Hector Berlioz's 1859 opera Les Troyens, which in turn retells the story of Aeneas and Queen Dido of Carthage from Virgil's epic, The Aeneid.

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Zieliński, Karol. "Motyw winy Heleny w tradycji epickiej i w dyskursie." Collectanea Philologica, no. 24 (December 28, 2021): 5–31. http://dx.doi.org/10.18778/1733-0319.24.01.

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The paper takes up the issue of Helen’s guilt for the outbreak of the Trojan war present in the Iliad and in the oral epic tradition. It puts forward a thesis that in order to blame others or to free themselves from blame epic heroes employ the typical in oral culture technique of conducting disputes. Like other characters in the Iliad, Helen, is also under constant social pressure which seeks to find her guilty and, in effect, to activate a mechanism of making a scapegoat of her. To defend herself, she risks self-accusations in order to make it impossible for other people to bring a charge against her. Helen cares about her good opinion in the Trojan society and particularly in the circle of women.

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Bain, David. "Trojan Women - N. T. Croally: Euripidean Polemic. The Trojan Women and the Function of Tragedy. (Cambridge Classical Studies.) Pp. xii + 315. Cambridge: Cambridge University Press, 1994. Cased, £37.50/$59.95." Classical Review 45, no. 2 (October 1995): 234–36. http://dx.doi.org/10.1017/s0009840x00293499.

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Sharp, Ingrid. "A peace play in wartime Germany? Pacifism in Franz Werfel’sThe Trojan Women, Berlin1916." Classical Receptions Journal 10, no. 4 (October 1, 2018): 476–95. http://dx.doi.org/10.1093/crj/cly018.

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Pereira Vinagre, Sandra. "The Syria Trojan Women from therapeutic theatre to a cry for action." Euphrosyne 47 (January 2019): 403–13. http://dx.doi.org/10.1484/j.euphr.5.125310.

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Slater. ""The Greatest Anti-War Poem Imaginable": Granville Barker's Trojan Women in America." Illinois Classical Studies 40, no. 2 (2015): 347. http://dx.doi.org/10.5406/illiclasstud.40.2.0347.

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Rozik‐Rosen, Eli. "Sisera's Mother and the Trojan Women: On universal aspects of the Jewish/Israeli theatre." Israel Affairs 4, no. 3-4 (March 1998): 159–74. http://dx.doi.org/10.1080/13537129808719486.

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ROSENBLOOM, DAVID. "EMPIRE AND ITS DISCONTENTS: TROJAN WOMEN, BIRDS, AND THE SYMBOLIC ECONOMY OF ATHENIAN IMPERIALISM." Bulletin of the Institute of Classical Studies 49, Supplement_87 (January 1, 2006): 245–71. http://dx.doi.org/10.1111/j.2041-5370.2006.tb02342.x.

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NNANNA, Ndubuisi. "The Demonization of Woman in Femi Osofisan’s Women of Owu." Nile Journal of English Studies 2, no. 2 (April 1, 2016): 57. http://dx.doi.org/10.20321/nilejes.v2i2.73.

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<p>Critical opinions on Femi Osofisan’s Women of Owu are largely stereotypical. They lament the plunder of Owu and compare it to that of Troy, drawing some parallels between Euripides’ The Trojan Women and Osofisan’s adaptation of it. There is a clear effort to assume some kind of historical and cultural affinity between the women of ancient Owu and Troy. But most of these assumptions are apparently contrived. It seems that there has been no attempt to consider Osofisan’s play in its own right. This study is an endeavor in that direction. It adopts the Reader-Response approach as a methodology to conduct a phenomenological analysis of Osofisan’s Women of Owu in order to discover the extent to which it truly reflects the picture of the Owu war of the 17th century and portrays the cultural identity of the women of Owu. It also compares Euripides’ play with Osofisan’s version in the context of their individual historical backgrounds to examine how each play captures the realities of its specific cultural milieu. The conclusion of this paper is that in an attempt to find parallels to the source of his play, Osofisan has inadvertently extrapolated the cultural essence of a society that had little regard for women into the cultural history of an African community, where women had a lot of respect, and in the process, has demonized womanhood and given impetus to some flawed assumptions and misinterpretations of history. The recommendation of this paper is, therefore, that African dramatists should be conscious of the peculiarities of cultures and the danger in attempting to find contrived affinities between African and Western cultures in an effort to lend some kind of credibility to their creative endeavors.<em> </em></p>

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Burt, Philippa. "From the Western Front to the East Coast: Barker's The Trojan Women in the USA." New Theatre Quarterly 34, no. 4 (October 8, 2018): 326–38. http://dx.doi.org/10.1017/s0266464x18000404.

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When Harley Granville Barker was invited to stage a theatre season in New York following the outbreak of the First World War, senior figures within British politics seized on it as an opportunity to promote the British war effort in the United States. It was, however, Barker's impromptu decision to extend his stay and tour Euripides’ The Trojan Women to major colleges on the East Coast that saw him come close to realizing this goal. Through an examination of the production, the discourse that surrounded it, and the changing diplomatic relations between Britain and the USA, Philippa Burt explores in this article the extent to which Barker used Euripides as a propaganda tool through which to engage and educate the largely isolationist North American public. At the same time, she argues that Barker challenged the propaganda machine by refusing to perpetuate the dominant nationalistic and xenophobic narratives and, instead, intended a condemnation of all war. Philippa Burt is a lecturer in the Department of Theatre and Performance at Goldsmiths, University of London. Her previous publications include numerous articles and a chapter on Barker's work with choruses in the forthcoming The Great European Stage Directors, Vol. 4: Reinhardt, Jessner, Barker (Bloomsbury Methuen).

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Zapkin, Phillip. "Charles de Gaulle Airport: The Camp as Neoliberal Containment Site in Two Trojan Women Adaptations." Comparative Drama 51, no. 1 (2017): 1–21. http://dx.doi.org/10.1353/cdr.2017.0000.

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Heavey, Katherine. "Aphra Behn's Oenone to Paris: Ovidian Paraphrase by Women Writers." Translation and Literature 23, no. 3 (November 2014): 303–20. http://dx.doi.org/10.3366/tal.2014.0161.

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This article examines Aphra Behn's translation of Ovid's Heroides 5, demonstrating how her version, a contribution to the Dryden/Tonson collection Ovid's Epistles (1680), augments and alters its original with two different but complementary intentions. Behn's departures from Ovid (and, more importantly, from the earlier English translations that she may have relied on) often reflect her support for James, Duke of York during the Exclusion Crisis, and her disapproval of the King's illegitimate son, James, Duke of Monmouth, who is figured as the faithless Trojan prince Paris. Simultaneously, Behn (the only female contributor to the collection) extends her poem, and particularly her descriptions of Oenone's distress, to cater to the Restoration taste for female complaint. Finally, the article suggests that as a female translator, and one who alters her Ovid with clearly political intent, Behn may pave the way for other women to translate and politicize Ovid.

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Spokes, Lucinda, Jennifer Koenig, Jan West, Jacki Mason, and Rachel Tobbell. "Girlfriends in high places: Mentoring for women in Science, Engineering and Technology." Biochemist 29, no. 3 (June 1, 2007): 20–22. http://dx.doi.org/10.1042/bio02903020.

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The concept of mentoring has been around for a very long time; the idea was first introduced in Homer's Odyssey in the 8th Century BC. When Odysseus went to fight in the Trojan War, he left his son in the care of his old friend Mentor who provided support and encouragement to the boy. As time has passed, the word mentor has become to mean someone who acts a guide and advisor. There are numerous modern definitions and descriptions of mentoring and one of the best known is by Eric Parsloe of the Oxford School of Coaching and Mentoring. He describes the purpose of mentoring “to support and encourage people to manage their own learning in order that they may maximise their potential, develop their skills, improve their performance and become the person they want to be”.

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Warwick, Celsiana. "To kalliston kleos: Cassandra’s Reformulation of Heroic Values in Euripides’ Trojan Women." Classical Philology 117, no. 2 (April 1, 2022): 343–63. http://dx.doi.org/10.1086/718676.

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Perris, Simon. ""The Kingdom of Heaven within Us": Inner (World) Peace in Gilbert Murray's Trojan Women." Comparative Drama 44, no. 4 (2010): 423–40. http://dx.doi.org/10.1353/cdr.2010.0013.

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Jordan, Beth, and Elisa S. Wells. "A 21st-century Trojan horse: the “abortion harms women” anti-choice argument disguises a harmful movement." Contraception 79, no. 3 (March 2009): 161–64. http://dx.doi.org/10.1016/j.contraception.2008.11.008.

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Burç İdem, DİNÇEL. "The Voyage of the Trojan Women: from Euripides to Sartre and from Sartre to Theatre Research Laboratory." Tiyatro Ara, no. 36 (2013): 21–60. http://dx.doi.org/10.1501/tad_0000000301.

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DESILVA, DAVID A. "The Perfection of ‘Love for Offspring’: Greek Representations of Maternal Affection and the Achievement of the Heroine of 4 Maccabees." New Testament Studies 52, no. 2 (April 2006): 251–68. http://dx.doi.org/10.1017/s0028688506000154.

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A close comparison with Plutarch's De amore prolis and Aristotle's Nicomachean Ethics shows the author of 4 Maccabees to have used common topics from Greek ethical reflection on love for offspring as a means of commending Torah-observance as the means by which one is enabled to secure one's children's eternal well-being, fulfilling the natural goal of love for offspring more completely. The author shows how trust in God's future enables the mother to view even the death of her children as the fulfillment rather than the negation of her maternal investment, as in the laments of Euripides's heroines in Trojan Women and Hecuba, from which the author explicitly distances her, enabling her exemplary courage.

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POOLE, ADRIAN. "The Trojan Women: A New Version. By Brendan Kennelly. Pp. 80. Newcastle-upon-Tyne: Bloodaxe Books, 1993. Pb. £6.95." Translation and Literature 5, no. 1 (March 1996): 122–26. http://dx.doi.org/10.3366/tal.1996.5.1.122.

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POOLE, ADRIAN. "The Trojan Women: A New Version. By Brendan Kennelly. Pp. 80. Newcastle-upon-Tyne: Bloodaxe Books, 1993. Pb. £6.95." Translation and Literature 5, Part_1 (January 1996): 122–26. http://dx.doi.org/10.3366/tal.1996.5.part_1.122.

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Craik, E. M. "(N.T.) Croally Euripidean polemic: the Trojan Women and the function of tragedy. Cambridge UP, 1994. Pp. xii + 315. £37.50." Journal of Hellenic Studies 115 (November 1995): 193. http://dx.doi.org/10.2307/631670.

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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.

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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.

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Huys, Marc. "Some Reflections on the Controversial Identity of the πρεσβυς in Euripides' « Trojan Women » (v. 921) and his « Alexander » (fr. 43 col. Ill 12)." L'antiquité classique 54, no. 1 (1985): 240–53. http://dx.doi.org/10.3406/antiq.1985.2155.

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Macintosh, Fiona. "Anne Carson/Antiquity, edited by Laura Jansen; Euripides: The Trojan Women: A Comic, by Rosanna Bruno, text by Anne Carson." Translation and Literature 31, no. 2 (July 2022): 260–64. http://dx.doi.org/10.3366/tal.2022.0510.

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Lloyd, Michael, Euripides, and Brendan Kennelly. "Euripides' "The Trojan Women": A New Version by Brendan Kennelly. First Performed at the Peacock Theatre, the Abbey Theatre, Dublin, on 2 June 1993." Classics Ireland 1 (1994): 54. http://dx.doi.org/10.2307/25528265.

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Bach, Theodore. "Social Categories are Natural Kinds, not Objective Types (and Why it Matters Politically)." Journal of Social Ontology 2, no. 2 (August 1, 2016): 177–201. http://dx.doi.org/10.1515/jso-2015-0039.

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AbstractThere is growing support for the view that social categories like men and women refer to “objective types.” An objective type is a similarity class for which the axis of similarity is an objective rather than nominal or fictional property. Such types are independently real and causally relevant, yet their unity does not derive from an essential property. Given this tandem of features, it is not surprising why empirically-minded researchers interested in fighting oppression and marginalization have found this ontological category so attractive: objective types have the ontological credentials to secure the reality (and thus political representation) of social categories, and yet they do not impose exclusionary essences that also naturalize and legitimize social inequalities. This essay argues that, from the perspective of these political goals of fighting oppression and marginalization, the category of objective types is in fact a Trojan horse; it looks like a gift, but it ends up creating trouble. I argue that objective type classifications often lack empirical adequacy, and as a result they lack political adequacy. I also provide, and in reference to the normative goals described above, several arguments for preferring a social ontology of natural kinds with historical essences.

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Angel, Lucy. "Euripides: Trojan Women (B.) Goff Pp. 173. London: Bloomsbury Publishing Plc (Bristol Classical Press). 2012 (first published by Gerald Duckworth & Co. Ltd., 2009). Paper, £18.99. ISBN: 9780715635452." Journal of Classics Teaching 23, no. 45 (October 13, 2021): 88. http://dx.doi.org/10.1017/s205863102100060x.

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Weiberg, Erika L. "THE TROJAN WOMEN IN GREECE, ROME AND LATER PERIODS - (F.) Citti, (A.) Iannucci, (A.) Ziosi (edd.) Troiane classiche e contemporanee. (Spudasmata 173.) Pp. viii + 363, ills. Hildesheim: Georg Olms, 2017. Paper, €84. ISBN: 978-3-487-15373-5." Classical Review 69, no. 1 (September 21, 2018): 40–42. http://dx.doi.org/10.1017/s0009840x18001919.

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