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The representation of women in Athenian tragedy was performed exclusively by men and it is likely (although the evidence is not conclusive) that it was performed solely for men as well. [1] The question whether or not women were admitted at theatre is widely contested and tends to polarise fronts. [ 2 ]
The economic power of Athenian women was legally constrained. Historians have traditionally considered that ancient Greek women, particularly in Classical Athens, lacked economic influence. [146] Athenian women were forbidden from entering a contract worth more than a medimnos of barley, enough to feed an average family for six days. [147]
Kennedy is the author of two monographs. The first is 'Athena's Justice: Athena, Athens, and the Concept of Justice in Greek Tragedy'. [7] The second is 'Immigrant Women in Athens: Gender, Ethnicity, and Citizenship in the Classical City'. [8] [9] [10]
The divided city: on memory and forgetting in ancient Athens, New York, Zone Books, 2002 ISBN 1890951080; The mourning voice: an essay on Greek tragedy, Ithaca, N.Y., Cornell University Press, 2002 ISBN 0801438306. Born of the earth: myth and politics in Athens, Ithaca, N.Y., Cornell University Press, 2000 ISBN 080143419X
Froma I. Zeitlin (born 5 September 1933) is an American Classics scholar.She specializes in ancient Greek literature, with particular interests in epic, drama and prose fiction, along with work in gender criticism, and the relationship between art and text in the context of the visual culture of antiquity. [2]
Women, as represented by Calonice, are sly hedonists in need of firm guidance and direction. In contrast, Lysistrata is portrayed to be an extraordinary woman with a large sense of individual and social responsibility. She has convened a meeting of women from various Greek city-states that are at war with each other. Soon after she confides in ...
Greek tragedy (Ancient Greek: τραγῳδία, romanized: tragōidía) is one of the three principal theatrical genres from Ancient Greece and Greek-inhabited Anatolia, along with comedy and the satyr play. It reached its most significant form in Athens in the 5th century BC, the works of which are sometimes called Attic tragedy.
The play invents a scenario where the women of Athens assume control of the government and institute reforms that ban private wealth and enforce sexual equity for the old and unattractive. In addition to Aristophanes' political and social satire, Assemblywomen derives its comedy through sexual and scatological humor.