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Full download Women of Substance in Homeric Epic: Objects, Gender, Agency Lilah Grace Canevaro file pdf all chapter on 2024
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OUP CORRECTED PROOF – FINAL, 14/7/2018, SPi
Women of
Substance in
Homeric Epic
Objects, Gender, Agency
1
OUP CORRECTED PROOF – FINAL, 14/7/2018, SPi
3
Great Clarendon Street, Oxford, OX2 6DP,
United Kingdom
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. Oxford is a registered trade mark of
Oxford University Press in the UK and in certain other countries
© Lilah Grace Canevaro 2018
The moral rights of the author have been asserted
First Edition published in 2018
Impression: 1
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, by licence or under terms agreed with the appropriate reprographics
rights organization. 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 work in any other form
and you must impose this same condition on any acquirer
Published in the United States of America by Oxford University Press
198 Madison Avenue, New York, NY 10016, United States of America
British Library Cataloguing in Publication Data
Data available
Library of Congress Control Number: 2018932390
ISBN 978–0–19–882630–9
Printed and bound by
CPI Group (UK) Ltd, Croydon, CR0 4YY
Links to third party websites are provided by Oxford in good faith and
for information only. Oxford disclaims any responsibility for the materials
contained in any third party website referenced in this work.
OUP CORRECTED PROOF – FINAL, 14/7/2018, SPi
Preface
vi Preface
Attentiveness to things in Homeric epic has implications not only
for our reading of character and narrative, but also for our under-
standing of the role of women in Homeric society. The gender roles
and the human/object interactions explored have to mean something
to their audience, and in order for this to be the case the poet must be
reflecting, at least to some degree, cultural norms and social truths.
Combining anthropological and memory studies with gender studies,
this book reveals a nuanced awareness of the female role, codes, and
viewpoint on the part of Homer which is testament both to a poetic
sensitivity and to a social one. Gender Theory and New Materialisms
are brought together to reveal that Homeric women are not only
objectified but are also well-versed users of objects. This is something
that Homer portrays clearly, that Odysseus understands—but that
has often escaped many other men, from Odysseus’ alter ego Aethon
in Odyssey 19 to modern experts on Homeric epic.
OUP CORRECTED PROOF – FINAL, 14/7/2018, SPi
Acknowledgements
Contents
List of Illustrations xi
Abbreviations xiii
Bibliography 281
Index of Passages 299
Subject Index 307
OUP CORRECTED PROOF – FINAL, 14/7/2018, SPi
OUP CORRECTED PROOF – FINAL, 14/7/2018, SPi
List of Illustrations
2.1 and 2.2. Drinking cup (skyphos) with the departure and recovery
of Helen. Painter: Makron; potter: Hieron; place of
manufacture: Athens, c.490–480 BC. Museum of Fine
Arts, Boston, Francis Bartlett Donation of 1912,
13.186. 78
4.1. John William Waterhouse, Ulysses and the Sirens,
1891, oil on canvas 100.6 202.0 cm, National Gallery
of Victoria, Melbourne, Purchased 1891 (p. 396.3–1). 168
5.1. Red-figure neck amphora attributed to the Owl Pillar
Group, c.450–430 BC. Depicting (possibly) Zeus
and Pandora/Elpis. British Museum, F147. 258
OUP CORRECTED PROOF – FINAL, 14/7/2018, SPi
OUP CORRECTED PROOF – FINAL, 14/7/2018, SPi
Abbreviations
My Nana used to tell a story. The women were making their proggy
mats, exchanging scraps of textile and gossip both. That day, one of
the girls had rather a lot of fabric to use. ‘He’s gone off,’ she explained
succinctly. The fabric came from clothes that had been ‘his’—now
shredded, destined to be poked and progged, to festoon the floor and
be trodden down. The message was clear.
In this story, the objects say as much as do the women—if not
more. People and things communicate with and through each other.
There is a subtext to the textiles, encoded and decoded by the women.
In order fully to understand the story, we have to read object as well
as character; listen to what is not said but is expressed through a
material medium. We have to be attentive to things.
This is a story. But it is a true story, of real people and real objects.
It is also a story that takes place against a backdrop familiar to its
audience (there was probably a proggy mat on the floor when my
Nana was telling it). Interpretation is straightforward within its
context, minimal extrapolation required. What, then, happens when
we transfer our attention to things in a more complex and layered
narrative? What happens, first of all, when we do not have my Nana,
but rather a whole set of questions about authorship and tradition?
Second, what happens when the women and their objects are found
not in a living room in the north-east of England, but in a quasi-
mythical setting probably as unfamiliar to an original audience as to
subsequent ones? In taking my Nana’s story out of its cultural
context, we already run into difficulties of comprehension—how
many of this book’s readers actually know what a proggy mat is?1
1
A northern breed of rag rug, if you were wondering.
OUP CORRECTED PROOF – FINAL, 13/7/2018, SPi
Fig. 606
Fig. 610