Sirens: the Basics 2
Thomas Hardy’s Siren by Sarah A. Wray A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of English College of Arts and Sciences University of South Florida Major Professor: Nancy Jane Tyson, Ph.D. Pat Rogers, Ph.D. Marilyn Myerson, Ph.D. Date of Approval: April 4, 2007 Keywords: Jude the Obscure, feminist theory, mythology, barmaids, Victorian women, marriage © Copyright 2007, Sarah A. Wray Acknowledgements I would like to thank all of my professors, including: Frances, Marilyn, Dr. Rogers, Dr. Tyson, Pat Nickinson, Dr. Diomede, Kim G., Elizabeth Bell, and Dr. Baum. I would also like to thank my fellow graduate students, my family, and my friends. Table of Contents Abstract ii Chapter One 1 Introduction 1 Sirens: The Basics 2 Beasts 6 Chapter Two 17 Arabella: A Feminist? 17 Song 21 Truth 25 Chapter Three 30 Drowning 30 Conclusion 39 References 41 Bibliography 45 i Thomas Hardy’s Siren Sarah A. Wray ABSTRACT The Sirens episode in The Odyssey is comparably short, but it is one of the most memorable scenes in the epic. Sirens are trying to stop the male narrative, the male quest of Odysseus with their own female “narrative power” (Doherty 82). They are the quintessential marginalized, calling for a voice, a presence, an audience in the text of patriarchy. The knowledge they promise, though, comes with the price of death. They are covertly sexual in Classical antiquity, but since the rise of Christianity, a new Siren emerged from the depths of the sea; instead of the sexually ambiguous embodiment of knowledge, she became fleshy, bestial, and lustful (Lao 113).
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