English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The patriarchal nature of Greek mythology, concretized in the Odyssey , among other instances, in the episode of the twelve hanged maids under Odysseus’ orders, has instigated Margaret Atwood to rewrite the story of Penelope and of her twelve maids, based on other mythic sources. By giving the telling of the story to Penelope and to her maids from their birth up to Odysseus’ return, and therefore as first- person narrators, in order to bring out unrevealed aspects in the Homeric texts, Atwood does so from an unusual point of view: the maids form a Chorus that sings, chants, and dances while it tells its true story. This account reveals their alterity as synonymous of an objectal condition and of lack of identity, which left them exposed to all types of violence, thus leading to their condemnation and execution. Nevertheless, through the device of different poetic genres and styles, the Chorus reconstructs not only its story but simultaneously creates its own language – polyphonic, parodical, accusatory – in this way also deconstructing the image of the Homeric hero. The maids’ redemption occurs as they take Odysseus not only to a trial in the twenty-first century, but mainly by assuring him that he will be eternally followed by the Furies. It is the account of this route from alterity to violence and redemption which this work will focus on.

Da Odisséia à Odisséia de Penélope: o Coro de escravas como porta-voz da alteridade, violência e redenção