From Thesmophoriazousai to the Julie Thesmo Show :

Gamel, Mary‐Kay

doi:10.1353/ajp.2002.0033

Cited by 4 publications

(2 citation statements)

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“…Even though she operates in a primarily historicist interpretive framework, Ruffell seems to believe, like I do, that, casting Agathon, the biographical figure and the literary character, or other characters in the play as "transgender" carries the danger, inherent in every historical narrative, of drawing up linear, implicitly teleological, accounts that locate a point of origin, erasing ruptures and discontinuities: see Amin (2018). The term "transvestite, " which "many people now consider […] to be pejorative or pathologizing" (Stryker 2017, 39), is used of Agathon by various scholars: see, e.g., Zeitlin (1996, 382-86), Bobrick (1997), Gamel (2002), andCompton-Engle (2015, 94-102). Duncan (2006, 35-40) uses the term "transvestite" and, as an alternative, "drag queen" but, referring to the classic works of J.…”

Section: Trans-form: Women At the Thesmophoriamentioning

confidence: 99%

Resistant Form

Telò

2023

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Can attending to poetic form help us imagine a radical politics and bridge the gap between pressing contemporary political concerns and an ancient literature that often seems steeped in dynamics of oppression? The corpus of the fifth-century Athenian playwright Aristophanes includes some of the funniest yet most disturbing comedies of Western literature. His work’s anarchic experimentation with language invites a radically “oversensitive” hyperformalism, a formalistic overanalysis that disrupts, disables, or even abolishes a range of normativities (government, labor, reproduction, gender). Exceeding not just historicist contextualism, but also conventional notions of laughter and the logic of the joke, Resistant Form: Aristophanes and the Comedy of Crisis uses Aristophanes to fully embrace, in the practice of close or “too-close” reading, the etymological and conceptual nexus of crisis, critique, and literary criticism. These exuberant readings of Birds, Frogs, Lysistrata, and Women at the Thesmophoria, together with the first attempt ever to grapple with the comic style of critical theorists Gilles Deleuze, Achille Mbembe, and Jack Halberstam, connect Aristophanes with contemporary discourses of biopolitics, necrocitizenship, care, labor, and transness, and at the same time disclose a quasi- or para-Aristophanic mode in the written textures of critical theory. Here is a radically new approach to the literary criticism of the pre-modern – one that materializes the circuit of crisis and critique through a restless inhabitation of the becomings and unbecomings of comic form.

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Section: Trans-form: Women At the Thesmophoriamentioning

confidence: 99%

Resistant Form

Telò

2023

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“…30 Stănescu (2013: 31). 31 Mary-Kay Gamel also used the television chat-show formula to elicit the female-only sacred space of the Thesmophoria in her 2002 feminist production of Aristophanes' Thesmophoriazousai, The Julie Thesmo Show; see Gamel (2002).…”

Section: Classical Receptionsmentioning

confidence: 99%

Saviana Stănescu’s Barbarian women: the Empire Writes Back to Ovid

Ranger¹

2015

Classical Receptions Journal

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In this article I discuss the classical receptions of Romanian playwright Saviana Stănescu and particularly her continued engagement with the works of Ovid, tracking the feminist methodology which links her varied work. While Ovid's self-definition against the 'barbarian others' he encounters in Tomis is crucial to an understanding of the exile poetry, in a postcolonial world the ideologicallyloaded nature of the term barbarus must be recognized, and its use and replication in modern translations and receptions interrogated. With an astute critical awareness and a committed engagement with politics, Stănescu's classical receptions draw out the damaging real-world consequences for a people labelled 'barbarians'. Her work offers a defence of the reviled Black Sea inhabitants of Ovid's exilic poems by providing a critique of the colonial representations of the 'barbarians' therein, and exposing the power mechanisms of ancient and contemporary imperialism alike. ARTICLE I dreamt I was back in Rome […] We need to make our empire grow. We need to have everyone speak Latin. The language of culture and civilisation […] But Caesar, I whispered, I am not a soldier, I'm a poet. Nonsense […] The Barbarians must learnLatin. You are the only one who can teach them. We'll help you. The soldiers will be there with you to fight, to kill, to conquer, to extract the gold from those Barbarian lands, to get their riches as you will enrich their spirit. It's just a fair trade.1 My title is taken from The Empire Writes Back: Theory and practice in post-colonial literatures (Ashcroft, Griffiths and Tiffin: 1989), a title which references Salman Rushdie's 1982 article for The Times, 'The Empire Writes Back with a Vengeance', itself an allusion to George Lucas' 1980 film The Empire Strikes Back. I would like to thank Elena Theodorakopoulos for her help with the preparation of this article, and my two anonymous reviewers for their advice and suggestions.

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2019

The Encyclopedia of Greek Comedy

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From Thesmophoriazousai to the Julie Thesmo Show :

Cited by 4 publications

References 36 publications

Resistant Form

Resistant Form

Saviana Stănescu’s Barbarian women: the Empire Writes Back to Ovid

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