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| 001 | BRILL9789047442769 | ||
| 003 | nllekb | ||
| 005 | 20260610104912.0 | ||
| 007 | cr un uuuua | ||
| 008 | 080522s2008 ne sb 001 0 eng | ||
| 010 | _a 2008022001 | ||
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_a014653089 _2Uk |
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| 020 |
_a9789047442769 _q(electronic book) |
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| 020 |
_z9789004168800 _q(print) |
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| 024 | 7 |
_a10.1163/ej.9789004168800.i-263 _2DOI |
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| 035 |
_a(OCoLC)230729543 _z(OCoLC)232713800 |
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| 040 |
_aNL-LeKB _cNL-LeKB _erda |
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| 050 | 4 |
_aPA3978 _b.C45 2008 |
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| 082 | 0 | 4 |
_a882/.01 _222 |
| 100 | 1 |
_aChong-Gossard, J. H. Kim On _q(James Harvey Kim On), _d1969- |
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| 245 | 1 | 0 |
_aGender and communication in Euripides' plays : _bbetween song and silence / _cby J.H. Kim On Chong-Gossard. |
| 264 | 1 |
_aBoston : _bBrill, _c2008. |
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| 300 | _a1 online resource. | ||
| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _2rdacarrier |
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| 490 | 0 | _aBrill eBook titles 2008 | |
| 504 | _aIncludes bibliographical references (p. [247]-254) and indexes. | ||
| 505 | 0 | 0 |
_tPreliminary Materials / _rJ.H.K.O. Chong-Gossard -- _tChapter One. Introduction: Gendered Space In Greek Tragedy As Communication / _rJ.H.K.O. Chong-Gossard -- _tChapter Two. Song As Knowledge: Recognition Duets / _rJ.H.K.O. Chong-Gossard -- _tChapter Three. Why Am I Singing? Resistance And Other Semantics Of Lyric / _rJ.H.K.O. Chong-Gossard -- _tChapter Four. Silence I: Gendered Categories / _rJ.H.K.O. Chong-Gossard -- _tChapter Five. Silence II: Solidarity And Complicity / _rJ.H.K.O. Chong-Gossard -- _tChapter Six. Women Out Of Place / _rJ.H.K.O. Chong-Gossard -- _tChapter Seven. Conclusions / _rJ.H.K.O. Chong-Gossard -- _tBibliography / _rJ.H.K.O. Chong-Gossard -- _tIndex Locorum / _rJ.H.K.O. Chong-Gossard -- _tIndex Nominum Et Rerum / _rJ.H.K.O. Chong-Gossard. |
| 506 | 1 | _aAvailable to subscribing member institutions only. | |
| 520 | _aThe prominent role of women in Greek drama has always fascinated readers. This book proposes that women in Euripides’ plays communicate in ways constructed by the tragic genre itself as ‘female.’ Yet these women’s words are surprisingly not uniformly dangerous or excessively emotional, as has traditionally been thought. Rather, Euripides’ women resort to ‘female’ ways of talking in order to enable others to understand them and their unique point-of-view. Aspects of women’s speech—song, silence and secret-keeping as female verbal genres, and the challenges of speaking out of place—contribute to Euripides’ portrayal of women as different from men. Originating in a culture where putting women under scrutiny was part of daily life, Euripides’ tragedies dramatise women’s constant struggle to control language. | ||
| 600 | 0 | 0 |
_aEuripides _xWomen. |
| 600 | 0 | 0 | _aEuripides. |
| 650 | 0 | _aGreek drama (Tragedy) | |
| 650 | 0 | _aWomen in literature. | |
| 776 | 0 |
_tGender and communication in Euripides' plays _z9789004168800 (hardback : alk. paper) _z900416880X (hardback : alk. paper) |
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| 830 | 0 |
_aMnemosyne, Supplements _v296. |
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| 830 | 0 | _aMnemosyne Supplements Online, Volumes 204-407, ISBN: 9789004322288. | |
| 856 | 4 |
_zDOI: _uhttp://dx.doi.org/10.1163/ej.9789004168800.i-263 |
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_c17196 _d17196 |
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