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Dissertation Finalized2 GYNAIKOS LOGOS : FEMININE VOICE IN ARCHAIC GREEK POETRY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Aikaterini Ladianou, M.A * * * * * The Ohio State University 2009 Dissertation Committee: Professor William Batstone, Adviser Approved by Assistant Professor Thomas Hawkins Professor Bruce Heiden ________________________________ Adviser Greek and Latin Graduate Program ABSTRACT This dissertation argues that feminine voice can be found in Archaic Greek poetry. Attempting to answer this question, I tried to build a case for a feminine voice that is historically contextualized, since it is constructed within the context of archaic Greece. For this thesis, such a voice is not as a natural, physical voice but a constructed gendered voice. In the beginning, Sappho’s construction of feminine voice is considered as dialogic. Sappho re-reads, re-writes Homeric epic as a feminine epic: polyphonic, against dichotomies and hierarchies. In the case of Sappho, feminine voice is constructed as the voice of the persona loquens, be that Sappho or the female performer. In Homer, a similar feminine voice is constructed as the voice of Helen, a poetic female figure. Thus, Homer constructs a double, unfixed, polyphonic feminine voice that functions as an alternative poetic discourse within the Iliad . Finally, in Alcman the female voice of the chorus proves to be essentially masculine. Thus, emphasizing hierarchical models, or male models of desire, the chorus is reinforcing patriarchal structures. Building on French feminist theory and late Bakhtinian discussions, this thesis attempts to map down polyphony, multiplicity, fluidity and mutability as the main characteristics of a feminine voice. By demonstrating how both male and female authors are able to construct a feminine voice with the aforementioned characteristics essentialist arguments are avoided. Hence, both Sappho and Homer produce a feminine voice, a multiple, dialogic, unfixed ii voice. The use of such a feminine voice is an ideological choice with sociopolitical implications. My objective was to explore a feminine voice that is neither essentialist nor victimized: if Sappho’s feminine voice is not anchored on her gender, it is a position in language rather than a biologically defined position, then, an écriture feminine can be composed by male writers as well. Moreover, if Sappho is able to speak at the same time within and against the specific androcentric society, then, indeed, the subaltern woman, and her voice, does exist. iii To my family, ééénténtntnt¤¤¤¤dvrondvron iv ACKNOWLEDGMENTS My engagement with archaic poetry began long ago, when, as an undergraduate in the University of Crete, I found myself reading Sappho in a class taught by Natasa Peponi. I will always be grateful to her, not only for a passionate initiation, but also for limitless inspiration, illuminating teaching, support and encouragement when most needed. This dissertation project was born during a discussion with Victoria Wohl and took shape with her as my initial adviser. I thank her feedback, her patience, support, and inspiration. Most of all, I am grateful to both Victoria and Erik Gunderson for their thought- provoking teaching and the best introduction to gender and critical theory a student can hope for. What was going to be the first chapter of this dissertation began as a paper for a graduate seminar taught by Will Batstone in the Ohio State University. It came full circle when it was presented to him as a dissertation, with him as the director of my committee. He read many drafts, and enriched my readings with his challenging comments paired with confidence in the project. I am grateful to him for the astute insight he has offered, the clarity and the academic sincerity he has always insisted upon. I own a debt of gratitude to many more: to Tom Hawkins for reading drafts of my chapters with diligence and patience, for his generous comments and support and for giving me structure, both literally and metaphorically; to Bruce Heiden for constructive criticism; to v Fritz Graf for willingness to assist in so many matters; to inspiring teachers throughout my school years; to my professors in University of Crete for encouraging further studies; to my fellow graduate students in OSU and elsewhere for enduring my talks and offering feedback; to Ric Rader for reading the entire dissertation and for hours of discussion; to Rocki and Grant Wentzel for providing a home away from home; to Tonya Adams and my ABD group for keeping me sane; to my friends in Greece for long chat sessions and reminding me of my nostos . And last but not least, to my parents and my sister, for love and support, constant encouragement, long phone calls and teaching me how to be dedicated, hard working, honest and sincere. To them I dedicate this dissertation, a small gift for many received. vi VITA February 14, 1975……………………………………Born-Heraclion-Crete, Greece 1997…………………………………………………. B.A Philology, University of Crete 2001…………………………………………………..M.A. Classics, University of Crete 2006-7……………………………………………….. The American School of Classical Studies program 2002- Present………………………………………… Graduate Teaching Assistant, the Ohio State University PUBLICATION Ladianou Katerina, 2005. “The Poetics of Choreia : Imitation, Poetry, and Dance in the Anacreontea”. Quaderni Urbinati di Cultura Classica 2005.2, 47-58. FIELDS OF STUDY Major Field: Greek and Latin. Greek epic and Greek lyric poetry, Roman elegy, gender studies and literary theory. vii TABLE OF CONTENTS ABSTRACT.............................................................................................................................. ii ACKNOWLEDGMENTS ........................................................................................................ v VITA....................................................................................................................................... vii TABLE OF CONTENTS.......................................................................................................viii INTRODUCTION .................................................................................................................... 1 CHAPTER 1 ........................................................................................................................... 30 Performing Female Selves: the Polyphonic Voice of Sappho............................................ 30 i. Toward a dialogic lyric ............................................................................................ 30 ii. Remembering female selves: time, space, memory, and polyphony.................... 39 in Sappho fr 94................................................................................................................ 39 iii. Polyphony in “absentia”: Fr. 96 ........................................................................... 46 iv. Sappho’s Homer: performing feminine voice in an epic world ........................... 58 v. Sappho’s Helen: Fr.16 and 44 .............................................................................. 65 vi. Exchanging women: male vs. female discourse in Sappho and Alcaeus ............. 75 vii. Voices in and as fragments: Sappho 31 and Catullus 51. .................................... 85 CHAPTER 2 ........................................................................................................................... 92 Weaving the body: feminine voice and alterity in Homer’s Iliad....................................... 92 i. In the beginning was the (masculine) word ............................................................. 92 ii. Toward a possibility of feminine voice in the Homeric epics............................ 102 iii. Feminine voice and female poetics in the Iliad , or Why Helen? ....................... 111 iv. Weaving the double: Helen as a poet ................................................................. 118 v. Performing duplicity: Helen as a performer ....................................................... 128 vi. The language of Helen: memory, praise and blame. .......................................... 141 vii. In place of conclusion, or Helen’s doubles......................................................... 154 CHAPTER 3 ......................................................................................................................... 160 Performing the other: female choruses and (fe)male voice in Alcman ............................ 160 i. Introduction: problems and questions .................................................................... 160 ii. The fragment....................................................................................................... 163 iii. Recent scholarship.............................................................................................. 166 iv. Scholarship and methodology ............................................................................ 170 v. Singing the other: feminine voice in Alcman’s Partheneion 1 (1P, 3C)............ 173 vi. Being the other: social order, performance and female chorality in Alcman..... 192 vii. Mirroring the other: metaphors and specula....................................................... 198 viii. Performing the other: metaphor and performance in Partheneion 2 (2P, 26 C) 204 ix. Sapphic skies: Toward a possibility for female desire and language ................ 210 CONCLUSION: A Voice Of Her Own ..............................................................................
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