By Gail Holst-Warhaft

ISBN-10: 0415072492

ISBN-13: 9780415072496

In Dangerous Voices Holst-Warhaft investigates the facility and which means of the traditional lament, particularly women's mourning of the lifeless, and units out to find why laws was once brought to cut back those laments in antiquity. An research of laments starting from New Guinea to Greece means that this basically lady paintings shape gave ladies huge energy over the rituals of loss of life. The risk they posed to the Greek kingdom brought on them to be appropriated by means of male writers together with the tragedians. Holst-Warhaft argues that the lack of the normal lament in Greece and different international locations not just deprives ladies in their conventional keep watch over over the rituals of dying yet leaves all mourners impoverished.

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Additional info for Dangerous Voices: Women's Laments and Greek Literature

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While these paired oppositions frequently devalue emotion, emotion is positively ranged against estrangement or alienation as part of another series of paired concepts that include life/death, community/individualism, natural/cultural, authentic/contrived. This positive view of emotion, prominent during the Romantic period, has continued to influence our own popular culture, in which the stereotype of the alien who possesses superior intelligence but lacks emotion is not uncommon. The contradictions inherent in the concepts of emotion vs.

One reason why I have focused on the Maniot laments is because many of them are concerned not only with the pain of loss, but with revenge and 34 WOMEN’S LAMENTS FOR THE DEAD IN RURAL GREECE retribution. 11 In lengthy narrative laments, women whose male relatives had been killed by members of a rival family sang the dead man’s tale and called for the death of his murderers, often threatening to kill the guilty parties themselves. These are unusual laments for modern Greece, where blood feuding is not a common practice, but they may shed some light on why laments came into bad repute in the Athens of Solon’s day, during a period when blood feuds still existed, and why they occupy such an important place in tragedy.

Petros Liopoulos stood up saying ‘Welcome Ligorou welcome and good day to you Wench, if you go to Alika tell your brothers this: tell them if they behave themselves we’ll pay them for the nanny goat we killed either five or six groschen at a pinch we’ll give them nine. ’ Ligorou didn’t answer She went along the street lamenting and crying. When she arrived at Alika at Alika at Latoma she greeted no one. In the verses that follow, Ligorou’s brother-in-law, understanding from her strange behaviour that something is amiss, asks her for an explanation.

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Dangerous Voices: Women's Laments and Greek Literature by Gail Holst-Warhaft


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