Callisto Myth from Ovid to Atwood: Initiation and Rape in Literature
Kathleen Wall traces the myth through fifteen works of English, American, and Canadian literature, providing a fresh, feminist reading of these narratives. Among the works analysed are selections by Margaret Atwood, Charlotte Bronte, Thomas Hardy, and George Elliot. The resulting text reveals many facets of the realities of women's experience from the Middle Ages to the twentieth century. And ultimately, Wall shows rape to be an expression of dominance rather than lust, giving increased support to the definition suggested by feminists.
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1 Classical Versions and Their Implications
2 Callisto in the Medieval and Renaissance Traditions
The Armour of Logos
Mysteries of the Forest
Even Plain Jane Can Be a Nymph
The Power of Societys Sacred Sanctions
The Maid Who Went to the Merry Green Wood
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Adam Bede Alec Arcas Archetypal Artemis aspect attitude Atwood's aware bear Bertha Callisto ﬁgure Callisto myth character chastity Chatterley Chatterley's Lover Clare Comus Connie Connie's criticism D. H. Lawrence deﬁned deﬁnition Diana Diana's band Dimmesdale Dinah disguise Durbeyﬁeld Eliot Emily Emily's exile experience fate feels female feminine feminist ﬁnally ﬁnd ﬁrst forest girl goddess Hardy Hardy's Hawthorne Hawthorne’s Hera heroine Hester Hester Prynne Hetty Hetty Sorrel hierogamy initiation Jane Eyre Jane's Jupiter Jupiter's Lady Lady Chatterley's Lover Lawrence Lawrence's logic Lycaon male marriage marry masculine masque Mellors Milton's Montoni moon moral mother motherhood Mysteries of Udolpho mythic narrator narrator's natural world novel nymph Ovid Ovid's passion passivity patriarchal psychological virginity qualities rape reﬂect Renaissance ritual Rochester Rochester's sacred Scarlet Letter seduction sense sexual signiﬁcance social society speciﬁcally St Aubert suggests symbolizes Tess Tess's Tess’s Thomas Hardy tion transformation Valancourt wasteland woman womanhood women Zeus