Delphi | Plays | Lisa Maurizio

Total Page:16

File Type:pdf, Size:1020Kb

Delphi | Plays | Lisa Maurizio THE MEMORY OF SALT by Lisa Maurizio Lewiston ME 04240 [email protected] The Memory of Salt borrows many of its elements, most notably a chorus, from ancient Greek tragedy and medieval Japanese Noh drama. In Greek tragedy, the chorus interacts with the main characters and has a distinct identity; for example, its members might be female servants of the king or town elders. In Noh drama, on the other hand, the chorus does not have an identity. The chorus sits, as it sings and sometimes speaks for the main characters who recite their adventures to the accompaniment several onstage musicians. The Noh chorus invokes an overall mood rather than acts. The Memory of Salt uses the chorus in both ways. The chorus here has a distinct identity. They are salt maidens, modeled on characters from a famous Noh drama called Matsukaze, and they speak with the main characters. Through dance, they invoke the mood and atmosphere of the play’s setting which is decidedly Greek. Memory is set at the fall of Troy, a legendary city from Greek mythology that was often the subject of Greek tragedy. Euripides wrote a play called Hecuba from which this play borrows its setting and two characters, namely Hecuba, the Queen of Troy, and Odysseus, one of the Greek warriors who fought at Troy. Lampros, the other main character in Memory, is loosely modeled on a historical Greek philosopher named Heraclitus, not on a mythical character. The Memory of Salt fuses both Greek and Japanese characters and choruses to tell the story of how human desire and sympathy survive in the aftermath of a war. As Hecuba tries to reconcile herself to her losses and Odysseus tries to serve his own interests, Lampros tries to protect himself from their potentially dangerous encounter. Copyrighted by Lisa Maurizio This script is available for performance and production on the condition that the author is acknowledged and notified. Changes to the script require the author’s permission. THE MEMORY OF SALT CHARACTERS Queen Hecuba of Troy old woman Lampros, Trojan Boatman old man Boy, son of Lampros young boy Odysseus man Helenus, Trojan priest young man Chorus of Salt maidens young women 2 Act I Salt maiden 1 Our bay lies below the city of Troy that stands high on the ridge. Here we live in thatched salt makers' huts and pull our cart day after day. Salt maiden 2 We listen to the plover's cry and the wind as it captures the sounds of Troy's daily life and deposits them as silt in our bay. Salt maiden 1 Lovers' whispers, prayers at altars, the market's barter, children's laughter, pledges, stammers, pronouncements in court, broken vowsÑ Salt maiden 2 We listen to Troy's voice blow down from the ridge as we pull our cart. Salt maiden 1 We make salt for the Trojans, and for the Greeks, who came to Troy ten summers ago. Salt maiden 2 In a parade of white linen sails they followed our prince Alexander whose ship carried Helen on its prow. Queen, mother, wife of Greek Menelaus, king of Sparta. Salt maiden 1 Was she prize, captive, goods exchanged abroad? Salt maiden 2 She was Alexander's new bride, the Greek ships her attendants. 3 Salt maiden 1 When her foot touched our shores she married all of Troy to Greece in ten years of war for her return. Salt maiden 2 In our bay below the ridge of Troy, gulls dip into marsh grasses, their greedy beaks crying out "I am hungry." Greek and Trojan alike collect the salt we make from seaweed, brine and fire. Salt maiden 1 For the Trojans at peace, and now for the Greeks at war, the wheels of our cart turn round as we haul our buckets of water to the kiln in the west. Salt maiden 2 Our sleeves grow damp and heavy. Glassy sand brush our feet as we walk in the wheels' ruts. The waves rub out our tracks Salt maiden 1 just as the Greeks rubbed out Troy last night when they pierced the city's thick walls. Salt maiden 2 At first you would think an evening's festival had begun. Sparks of light and shouts filled the skies. Salt maiden 1 But then you could hear that the edges of shouts were frayed with terror and that fire crackled as it raced across the roofs 4 of bedrooms where the young slept. The air became cloudy and filled lungs with smoke. Salt maiden 2 Did those sleepy children hear their mothers say, "Wrap yourself in my wet clothes. Flee this burning house, this burning city," and cry, " Child, I do not want you to die"? Salt maiden 1 By morning the wind howled less and began to lilt. Greek commands and congratulations blustered through the harbor all day. Salt maiden 2 Now twilight saddens our heart as we listen to the wind. Ash-filled, echoing with high-pitched dirges above the day's joyous baritones, the wind carries the voices of Trojan women. Salt maiden 1 The waves repeat their mournful tunes and tell us what we already know. Salt maiden 2 Troy has become a dream. Like foam on water, already it has disappeared. Salt maiden 1 One voice, louder and stronger than all the others, leads the chorus of women. Salt maiden 2 Queen Hecuba cries for her youngest son, Polydorus, who died far from Troy's fires and lies unburied. Salt maiden 1 Her voice rises and falls, indifferent to the world around it. As it approaches, my heart loses its own steady rhythym. 5 Hecuba enters. Hecuba My child, my son where are you? Did I let you fly from my nest? Was I so foolish as to give my last child to another king? We reasoned that under King Polymestor's protection in Thrace you would be safer than in Troy. Our gold would buy your safe return. But Troy’s defeat destroyed all hope of gold and threatened your short life Thrace. You became King Polymestor's way of showing that he harbors no secret reasons for the war-lusting Greeks to go north. Perhaps you can forgive a man for such calculations. Perhaps you can forgive a man for murder. But why did Polymestor not return you to me so that I can bury you, as I have all your brothers and sisters. First Mestor, then freckled Pammon, even Hector, the most brave, the most just, and small Isus, Nineteen sons! And last night my son Agathon. Grabbing handfuls of his hair as it spilled out of his helmet, I remembered that hair grows even after death and braided his shining black locks. Chorus joins together or individually Rocking and pulling and twisting and holding rocking and pulling and twisting and holding, forward and back and over, forward and back and over. Just this morning, I braided my daughter Polyxena's hair, as though she were still that young girl playing in my courtyard, 6 not a maiden just now slaughtered at the tomb of a lonely Greek soldier. And before her all the others, fair Kreousa, sweet Laodice, pregnant Iliona. Every child I have made, I have buried, What I have brought to light, I have carried to darkness. remembering always the scent of their hairÑ except one, except Polydorus. Alone and unburied, he lies north in Thrace. I hear him weeping for me in the wind. Mother, I am cold. The sun seems far away and I cannot warm my hands. My sweetest smallest child, Where have you gone? Did I drop you from my nest? It is evening. The moon casts its silvery glow. I dream of honeyed cheese and apples. Mother, I am hungry. Wherever you are, child, I will find you. I will feed you rose-water sweets. You will nestle in my breast. I cannot move my legs and leave this place. What is this sleep that lasts longer than night? Do I look for you only in dreams, mother? My little one, my child. Where have you gone? I will warm you in marsh grasses. I will build you a safe nest. 7 Boy tentatively approaches. Child? My child? Do the gods hear us when we weep? Come closer. Let me look at you and hold you so that I know you are real. Come! Come here to your mother. Boy Mother? I have only a father, Lampros, the ferryman. Can you really build a nest? Hecuba Lampros, the Trojan ferryman? Boy Yes. He's my father and we sleep there, in his boat. Hecuba Your father carries food to those Greek ships, doesn't he? Boy I help him. Maybe I can help you make a nest. I helped my father make this boat. It is just like the very first boat Kateki invented thousands of years ago when he saw a spider sitting on a leaf. To invent a boat was a very clever idea, my father says. Hecuba Very clever. What does your father say about the Greek boats in this bay? Boy Last night he said if the Greeks burned Troy and the whole world, everything would become smoke. Then noses would be kings and judges!i 8 Hecuba Does your father speak about things other than noses? Boy What is built up falls down and what falls down is built up.ii That's what he said this morning, when we heard the walls of Troy crash down. You look old and important. Hecuba I am old and important.
Recommended publications
  • 'Heroes of the Dance Floor': the Missing Exemplary Male Dancer In
    ‘Heroes of the Dance Floor’: The Missing Exemplary Male Dancer in Ancient Sources ‘Why, after the reign of the dancing Sun King, was dance no longer an appropriate occupation for men?’ This is the question with which Ann Daly opened an influential intervention in the feminist debate on dance. She argued, with the support of revealing quotations from the Romantic dance critic Theophile Gautier, that in the Romantic era dance became 'less a moral paradigm and more a spectacle'; the ballerina became a reified object for scrutiny, she says, by the male gaze: Because the connotative passivity of such overt display was anathema to the virile, strong, action-oriented control of the masculine ideology, dance came to be identified as "effeminate"… She argues that men’s effective prohibition from engaging in this self-display during high Romanticism indicates, furthermore, 'an attempt to maintain the male's virile image-his dominance-untainted by the "feminine." ' 1 In a nutshell, ever since Louis XIV, dance has been seen as fundamentally effeminate; since we live under patriarchy, in which the female body is the principle bearer for society of erotic signification, the perceived effeminacy of dance inevitably results in it becoming conceptually sexualised and vulnerable to charges of moral depravity and aesthetic decline. These connotations add up to what we understand by ‘decadence’ in the widest sense of that term, incorporating also a sense of a lapsarian fall from Edenic innocence.2 To dance was and still is to run the risk of relinquishing autonomous control over the 1 meaning created by one's own body, and thus to relinquish all that is signified by masculinity in culture.
    [Show full text]
  • Missing Medea
    Missing Medea by William Bernard Dow M.A. (Liberal Studies), Simon Fraser University, 2008 B.A., Athabasca University, 2003 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy under Special Arrangements with Dean of Graduate Studies Department of Humanities Faculty of Arts and Social Sciences © William Bernard Dow SIMON FRASER UNIVERSITY Summer 2013 Approval Name: William Bernard Dow Degree: Doctor of Philosophy Title of Thesis: Missing Medea Examining Committee: Chair: Dean of Graduate Studies or designate David Mirhady Senior Supervisor Professor Don Kugler Supervisor Professor School of Contemporary Arts Paul Budra Supervisor Associate Professor Department of English Anne-Marie Feenberg-Dibon Supervisor Associate Professor Anthony Podlecki Internal Examiner Professor Emeritus Classical, Near Eastern, and Religious Studies University of British Columbia Geoff Proehl External Examiner Professor Theatre Arts Department University of Puget Sound Date Defended/Approved: August 19, 2013 ii Partial Copyright Licence iii Abstract The focus of this project is to (re)create a trilogy of plays that bring the unfamiliar and largely forgotten stories of the tragic heroine Medea of Greek mythology to the modern stage. In each case the selection of narrative detail and decisions regarding presentational style are part of the ongoing task of re-visualizing antiquity. The first play, Cupid’s Arrow, focuses on the beginning of Medea’s doomed and tragic love for Jason as it was engineered by the goddess of marriage Hera and it draws from fragments of Sophocles’ play, the Colchides (Women of Colchis). The second, The Daughters of Pelias, is recreated from fragments and the supposed narrative of a play (Peliades now lost) that was in Euripides’ first ever production at the City Dionysia in 455 B.C.
    [Show full text]
  • Greek Mythology / Apollodorus; Translated by Robin Hard
    Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard.
    [Show full text]
  • Sing, Goddess, Sing of the Rage of Achilles, Son of Peleus—
    Homer, Iliad Excerpts 1 HOMER, ILIAD TRANSLATION BY IAN JOHNSTON Dr. D’s note: These are excerpts from the complete text of Johnston’s translation, available here. The full site shows original line numbers, and has some explanatory notes, and you should use it if you use this material for one of your written topics. Book I: The quarrel between Achilles and Agamemnon begins The Greeks have been waging war against Troy and its allies for 10 years, and in raids against smaller allies, have already won war prizes including women like Chryseis and Achilles’ girl, Briseis. Sing, Goddess, sing of the rage of Achilles, son of Peleus— that murderous anger which condemned Achaeans to countless agonies and threw many warrior souls deep into Hades, leaving their dead bodies carrion food for dogs and birds— all in fulfilment of the will of Zeus. Start at the point where Agamemnon, son of Atreus, that king of men, quarrelled with noble Achilles. Which of the gods incited these two men to fight? That god was Apollo, son of Zeus and Leto. Angry with Agamemnon, he cast plague down onto the troops—deadly infectious evil. For Agamemnon had dishonoured the god’s priest, Chryses, who’d come to the ships to find his daughter, Chryseis, bringing with him a huge ransom. In his hand he held up on a golden staff the scarf sacred to archer god Apollo. He begged Achaeans, above all the army’s leaders, the two sons of Atreus: “Menelaus, Agamemnon, sons of Atreus, all you well-armed Achaeans, may the gods on Olympus grant you wipe out Priam’s city, and then return home safe and sound.
    [Show full text]
  • The Fall of Troy by Quintus Smyrnaeus ("Quintus of Smyrna") Fl. 4Th Century A.D. INTRODUCTION Homer's "Iliad"
    The Fall of Troy by Quintus Smyrnaeus ("Quintus of Smyrna") Fl. 4th Century A.D. INTRODUCTION Homer's "Iliad" begins towards the close of the last of the ten years of the Trojan War: its incidents extend over some fifty days only, and it ends with the burial of Hector. The things which came before and after were told by other bards, who between them narrated the whole "cycle" of the events of the war, and so were called the Cyclic Poets. Of their works none have survived; but the story of what befell between Hector's funeral and the taking of Troy is told in detail, and well told, in a poem about half as long as the "Iliad". Some four hundred years after Christ there lived at Smyrna a poet of whom we know scarce anything, save that his first name was Quintus. He had saturated himself with the spirit of Homer, he had caught the ring of his music, and he perhaps had before him the works of those Cyclic Poets whose stars had paled before the sun. We have practically no external evidence as to the date or place of birth of Quintus of Smyrna, or for the sources whence he drew his materials. His date is approximately settled by two passages in the poem, viz. vi. 531 sqq., in which occurs an illustration drawn from the man-and-beast fights of the amphitheatre, which were suppressed by Theodosius I. (379-395 A.D.); and xiii. 335 sqq., which contains a prophecy, the special particularity of which, it is maintained by Koechly, limits its applicability to the middle of the fourth century A.D.
    [Show full text]
  • Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
    Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).
    [Show full text]
  • 800 BC the ILIAD Homer Translated by Samuel Butler
    800 BC THE ILIAD Homer translated by Samuel Butler Homer (~800 BC) - An Ionian Poet. Historians cannot agree where Homer was born, whether he was blind, whether he wrote both the “Iliad” and the “Odyssey”, or even if he actually existed. Whatever the case may be, the influence of the two enduring epics attributed to him is indisputable. The Iliad (800 BC) - An epic poem consisting of twenty-four books that deal with the last few days of the Trojan War. Here translated into prose by Samuel Butler. Table Of Contents BOOK I . 3 BOOK II . 12 BOOK III . 25 BOOK IV . 32 BOOK V . 40 BOOK VI . 53 BOOK VII . 61 BOOK VIII . 68 BOOK IX . 76 BOOK X . 87 BOOK XI . 96 BOOK XII . 109 BOOK XIII . 116 BOOK XIV . 129 BOOK XV . 137 BOOK XVI . 148 BOOK XVII . 162 BOOK XVIII . 173 BOOK XIX . 182 BOOK XX . 188 BOOK XXI . 196 BOOK XXII . 205 BOOK XXIII . 213 BOOK XXIV . 227 THE END . 238 BOOK I Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest.
    [Show full text]
  • The TROJAN WAR
    The TROJAN WAR The Chronicles of Dictys of Crete Indiana University Greek and Latin Classics and Dares the Phrygian TRANSLATED WITH AN INTRODUCTION AND NOTES BY R. M. FRAZER, JR. Indiana University Press BLOOMINGTON & LONDON CONTENTS INTRODUCTION The Medieval Troy Story 3 The Anti-Homeric Tradition 5 Dictys 7 Dares 11 The Translation 15 A JOURNAL OF THE TROJAN WAR by Dictys of Crete Letter 19 Preface 20 Book One 23 Book Two 37 Book Three 70 Book Four 87 Book Five 103 Book Six 119 THE FALL OF TROY, A HISTORY by Dares the Phrygian [Letter] 133 Sections 1-44 133 ALL RIGHTS RESERVED Copyright © 1966 by Indiana University Press BIBLIOGRAPHY 169 Library of Congress catalog card number: 65-19709 NOTES 170 Manufactured in the United States of America INDEX OF PROPER NAMES 180 v THE TROJAN WAR The Chronicles Adcnowledgments of Dictys of Crete The present volume brings together for the first time in En­ and Dares the Phrygian glish translation the accounts of Dictys and Dares about the Trojan War. These works deserve our careful attention as the principal sources of the medieval Troy story and as examples of the anti-Homeric literature of late antiquity. In the introduction I have briefly described the influence of our authors on later European literature, and have tried to show how our Latin texts depend on Greek originals. For the latter purpose I have found the scholarship of Nathaniel Edward Griffin especially rewarding for Dictys and that of Otmar Schissel von Fleschenberg for Dares. I have used the notes to comment on matters of form (how our Latin texts probably differ from their Greek originals), to point out difficulties and incon­ sistencies, and to cite some of the sources and parallel versions of the stories that Dictys and Dares tell.
    [Show full text]
  • Kireet Joshi Archives
    General Editor KIREET JOSHI First Published 2004 Indian Council of Philosophical Research Published by: INDIAN COUNCIL OF PHILOSOPHICAL RESEARCH Darshan Bhawan 36, Tughlakabad Institutional Area Mehrauli Badarpur Road New Delhi 110062 © Indian Council of Philosophical Research (ICPR) ISBN 81-85636-88-5 The Siege of Troy Acknowledgements This monograph is part of a series on Value-oriented Education centered on three values: Illumination, Heroism. and Harmony. The research, preparation and publication of the monographs that form part of this series are the result of the cooperation of the fol­ lowing members of the research team of the Sri Aurobindo Inter­ national Institute of Educational Research, Auroville: Abha, Alain, Anne, Ashatit, Auralee, Bhavana, Christine, Claude, Deepti, Don, Frederick, Ganga, Jay Singh, Jean-Yves, Jossi, Jyoti Madhok, Kireet Joshi, Krishna, Lala, Lola, Maia, Martin, Mirajyoti, Namrita, Olivier, Pala, Pierre, Serge, Shailaja, Shan­ karan, Sharanam, Soham, Suzie, Varadharajan, Vladimir, Vigyan. General Editor: KIREET JosHI Author of this monograph: SUZIE ODELL We are grateful to many individuals in and outside Auroville who, besides the above mentioned researchers and general editor, have introduced us to various essays which are included in full or in parts in this experimental compilation. Design: Auroville Press Publishers The Indian Council of Philosophical Research (!CPR) acknowl­ edges with gratefulness the labor of research and editing of the team of researchers of the Sri Aurobindo International Institute of Educational Research, Auroville. Printed in Auroville Press, 2004 Illumination, Heroism and Harmony The Siege of Troy General Editor: KIREET JOSHI Illumination, Heroism and Harmony Preface The task of preparing teaching-learning material for value-ori­ ented education is enormous.
    [Show full text]
  • Experiencing Hektor: Character in The
    Kozak, Lynn. "Ends." Experiencing Hektor: Character in the . London: Bloomsbury Academic, 2017. 147–230. Bloomsbury Collections. Web. 26 Sep. 2021. <http:// dx.doi.org/10.5040/9781474245470.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 23:15 UTC. Copyright © Lynn Kozak 2017. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 3 E n d s Th e transition between Book 15 and Book 16 might not qualify for most as the beginning of the end of the Iliad , 1 but it is the beginning of the end for Hektor. Th e fi rst books of the Iliad build the storyworld and introduce most of its many characters. Th e middle books point towards major events, while keeping the narrative in balance. In exploiting and expanding its melodramatic alignment structure, the narrative spends this time deepening familiar characters and introducing new ones, building audience alignment and allegiance with many of them. Th ese fi nal books fi nally let the major events pointed to in earlier episodes happen to those characters whom the narrative has built audience allegiance with; this allegiance means that those events will have emotional consequences for the audience. Hektor has now reached the ships (15.704–46). Patroklos has run to fetch Achilles to battle (15.390–405). Th e wheels are in motion, rolling towards events that have already been spelled out. Sarpedon will die (15.66f.). Patroklos will die (15.65).
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title For Those Yet to Come: Gender and Kleos in the Iliad Permalink https://escholarship.org/uc/item/5d3140fs Author Warwick, Celsiana Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles For Those Yet to Come: Gender and Kleos in the Iliad A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Celsiana Michele Warwick 2018 © Copyright by Celsiana Michele Warwick 2018 ABSTRACT OF THE DISSERTATION For Those Yet to Come: Gender and Kleos in the Iliad by Celsiana Michele Warwick Doctor of Philosophy in Classics University of California, Los Angeles, 2018 Professor Alex C. Purves, Chair In this dissertation, I challenge the dominant narrative in Iliad scholarship that has tended either to disregard feminine voices or to dismiss their relevance to the poem’s overall evaluation of heroic society. My methodology is primarily literary-critical, but I also make use of anthropological and sociological theories of gender, such as R.W. Connell’s concept of hegemonic masculinity. I argue that feminine voices and perspectives are central to the Iliad ’s moral program, and that the epic uses them to critique the destruction that the traditional masculine values of Homeric warriors cause to community and family ties. The Iliad does not valorize the strict binary between masculinity and femininity that is upheld by certain characters in the epic, but instead suggests that some “feminine” qualities are intimately linked with a warrior’s identity and role as protector.
    [Show full text]
  • Hecuba and the Greek Theatre: Sight Without Knowledge Is Blind
    ML Lincoln’s documentary Wrenched reveals how Edward Abbey’s anarchistic spirit and riotous novels influenced and helped guide the 1970s and ‘80s nascent environmental movement. Through interviews, archival footage, and re-enactments, Lincoln captures the outrage of Abbey and his friends–the original eco-warriors. In defense of wilderness, these early activists pioneered “monkey-wrenching”– a radical blueprint for “wrenching the system” without causing harm to any human being. Abbey’s message lives on. Young activists carry the monkey-wrench- FALL 2014 NEWSLETTER ing torch, using his books as inspiration. Wrenched captures a new gen- eration as personified in Tim DeChristopher, who single-handedly stopped the sale of more than 100,000 acres of public trust lands in southeastern FILM: Utah, though later sentenced to federal prison for his actions. The fight continues to sustain the last bastion of the American frontier–the Wild West. And Wrenched, following in Abbey’s footsteps, asks the question, how far are we willing to go in defense of wilderness? Z-Arts is proud to bring Director ML Lincoln and this timely film to the Zion Canyon Community and our neighbors in southwestern Utah. Several notable Utahns appear in this documentary, including Terry Tempest Wil- liams, Robert Redford, Ken Sleight, and Kim Crumbo. Lincoln has been an activist since her late teens on the East Coast. She attended film school in LA, and worked on productions at the American Film Institute. In the late 1990s she worked at the University of Arizona’s Center for Creative Photography and founded the acclaimed “More Expo- sure Project” which taught photography to at-risk children.
    [Show full text]