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Masterarbeit MASTERARBEIT Titel der Masterarbeit „Persephone and Hades Revisited: Modern Retellings of the Myth in Young Adult Literature“ verfasst von Olivia Zajkas, BA angestrebter akademischer Grad Master of Arts (MA) Wien, 2015 Studienkennzahl lt. Studienblatt: A 066 844 Studienrichtung lt. Studienblatt: Masterstudium Anglophone Literatures and Cultures Betreut von: Assoz. Prof. Mag. Dr. Susanne Reichl, Privatdoz. “The most common way people give up their power is by thinking they don't have any.” ― Alice Walker “If you’re gonna throw your life away, he’d better have a motorcycle.” ― Lorelai Gilmore Acknowledgements First, I would like to thank my family, my parents and siblings, for their unconditional support over the last few years. Without their help I wouldn’t have been able to achieve this. I would also like to express my sincere gratitude to my supervisor, Dr. Susanne Reichl, not only for her encouragement and feedback, but also for understanding my passion for this topic. I am also grateful to Dr. Waldemar Zacharasiewicz, who through his kind words strengthened my decision to apply for a Master’s degree in literature (although he most likely forgot about this). Moreover, I have to acknowledge my partner in crime, the Rory to my Lorelai (or vice versa), who has always been there for me on this journey, Steffi. Thank you for everything, where you lead I will follow. All of this would not have been possible without the vital input, encouragement, and support of my friends Peter, Nura, Tami, Connie, Denise, and Sandra. Last but certainly not least, I have to give credit to all the strong female fictional characters I have encountered so far. The (literary) world needs more of you! Table of contents 1. Introduction .............................................................................................................. 1 2. Literature review ....................................................................................................... 3 2.1 Intertextuality ..................................................................................................... 3 2.1.1. Origins .................................................................................................... 4 2.1.2. Approaches ............................................................................................. 8 2.1.3. Outside the ‘canon’ ................................................................................15 2.1.4. Intertextuality in Children’s and Young Adult Literature ..........................17 2.1.5. What is a retelling? .................................................................................19 2.1.6. Conclusion .............................................................................................20 2.2. Young Adult Literature .....................................................................................21 2.2.1 The need for discussion ..........................................................................21 2.2.2. Origins and history .................................................................................22 2.2.3. The problem of classification ..................................................................22 2.2.4. Development as an academic field .........................................................23 2.2.5. Fantasy fiction ........................................................................................24 2.2.6. Greek mythology in adolescent literature ...............................................26 2.3. Mythology, fantasy, and gender .......................................................................29 2.3.1. Women in fantasy literature ....................................................................30 2.3.2. Women in classical mythology ...............................................................32 2.4. (Female) Agency .............................................................................................35 3. The Persephone myth .............................................................................................36 3.1. Sources ...........................................................................................................36 3.2. The story: plot and key figures .........................................................................38 3.3. Roles of the god(esse)s ...................................................................................38 3.5. Interpretations of the classical text ...................................................................42 4. Retellings .................................................................................................................45 4.1. Not a girl, not yet a goddess: The Goddess Test .............................................45 4.1.1. Intertextual aspects ................................................................................46 4.1.1.1. Key aspects ......................................................................................47 Abduction ..................................................................................................47 Demeter’s grief and retribution ..................................................................49 Zeus’ interference .....................................................................................50 Mother-daughter reunion ...........................................................................51 Consumption of food .................................................................................52 Symbolic meaning of the pomegranate .....................................................53 Rape of Persephone .................................................................................54 Division of time between Underworld and Earth – seasonal cycle .............56 4.1.1.2. Key figures ........................................................................................57 The Council vs Theoi Olympioi ..................................................................58 Diana (Demeter) .......................................................................................60 Henry ........................................................................................................61 James the successor ................................................................................63 Ava – companion to the future Queen .......................................................65 Calliope - Hera ..........................................................................................65 Other deities..............................................................................................67 4.1.1.3. Further intertextual references ..........................................................67 Mystical numbers ......................................................................................67 The Seven Deadly Sins .............................................................................68 4.1.1.4. Paratext ............................................................................................68 4.1.2. Analysis based on concepts of Gender theory .......................................69 4.1.2.1. Agency ..............................................................................................69 Freedom of choice and willingness ...........................................................70 Would the real Persephone please stand up? ...........................................74 4.1.2.2. Of metanarratives and gods ..............................................................76 Gender systems and patriarchal hierarchy ................................................76 Distribution of power among the protagonists: who is in charge? ..............77 “I now pronounce you husband and (unwilling) wife...” ..............................78 4.1.2.3. Gender roles and stereotypical representations ................................79 4.2. “Check yourself before you wreck yourself”: Abandon by Meg Cabot ..............80 4.2.1. Intertextual aspects ................................................................................80 4.2.1.1. References to the original Persephone myth in Abandon ..................81 4.2.1.2. Cabot’s mythology ............................................................................82 The death deity of Isla Huesos ..................................................................82 The Furies .................................................................................................84 The Hope Diamond ...................................................................................85 4.2.1.3. Key aspects ......................................................................................86 4.2.1.4. Key roles ...........................................................................................88 4.2.1.5. “All hope abandon, ye who enter in!” – Dante’s Divine Comedy ........91 4.2.1.6. Paratext ............................................................................................97 4.2.2. Analysis based on concepts of Gender theory ..................................... 100 4.2.2.1. (Female) Agency............................................................................. 101 4.2.2.2. ‘Who’s the boss?’ – Not so Abandon(ed) metanarratives ................ 106 Gender system ........................................................................................ 106 Arranged marriage .................................................................................. 107 Distribution of power among the protagonists: who is in charge? ............ 108 4.2.2.3.
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