Papers by Nina Triaridou
Antigone Journal (https://antigonejournal.com/2022/03/lamia-sirens-keats-andersen/), 2022
----Cite this: Triaridou, Nina. “Lamia, Sirens, and Female Monsters: Feminist Reframings of Class... more ----Cite this: Triaridou, Nina. “Lamia, Sirens, and Female Monsters: Feminist Reframings of Classical Myth in 19th Century Literature.” Antigone Journal, 31 March 2022, https://antigonejournal.com/2022/03/lamia-sirens-keats-andersen/
----From Medusa and Lamia to Scylla and the Sirens, Ancient Greek mythology abounds with terrifying female monsters, marked by their bodily hybridity – part human, part not. But what were the gender politics that resulted in monstrosity being linked with human femininity? To tackle this question, I’d like to focus on the origins of two popular female monsters, Lamia and the Sirens, and explore how they became associated with monsters, in both antiquity and more modern literature. For me, their subsequent shift from antagonists to sympathetic female figures in the 19th century emerges is especially interesting: both John Keats’s poem “Lamia” (1819) and Hans Christian Andersen’s fairytale The Little Mermaid (1837) can be usefully explored from a feminist perspective, especially because both these works have exerted a positive influence on the representation of female monsters in contemporary culture, including Pre-Raphaelite painting and Disney's The Little Mermaid (Ariel).
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Antigone Journal (https://antigonejournal.com/2022/03/lamia-sirens-keats-andersen/), 2022
----Cite this: Triaridou, Nina. “Lamia, Sirens, and Female Monsters: Feminist Reframings of Class... more ----Cite this: Triaridou, Nina. “Lamia, Sirens, and Female Monsters: Feminist Reframings of Classical Myth in 19th Century Literature.” Antigone Journal, 31 March 2022, https://antigonejournal.com/2022/03/lamia-sirens-keats-andersen/
----From Medusa and Lamia to Scylla and the Sirens, Ancient Greek mythology abounds with terrifying female monsters, marked by their bodily hybridity – part human, part not. But what were the gender politics that resulted in monstrosity being linked with human femininity? To tackle this question, I’d like to focus on the origins of two popular female monsters, Lamia and the Sirens, and explore how they became associated with monsters, in both antiquity and more modern literature. For me, their subsequent shift from antagonists to sympathetic female figures in the 19th century emerges is especially interesting: both John Keats’s poem “Lamia” (1819) and Hans Christian Andersen’s fairytale The Little Mermaid (1837) can be usefully explored from a feminist perspective, especially because both these works have exerted a positive influence on the representation of female monsters in contemporary culture, including Pre-Raphaelite painting and Disney's The Little Mermaid (Ariel).
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Nina Triaridou. "From Elaine to Vivien: Arthurian Femininity in Idylls of the King and Pre-Raphae... more Nina Triaridou. "From Elaine to Vivien: Arthurian Femininity in Idylls of the King and Pre-Raphaelite Art." 2021.
Focusing on the depiction of the Arthurian women in Tennyson's Idylls of the King, this essay explores how Pre-Raphaelites’ visualization of the Arthurian legend reproduces Tennyson’s characterization of these female figures. Thus, it is argued that Elaine is visualized as the embodiment of the perfect Victorian woman, whereas Vivien’s portrayal as a dangerous seductress is sustained in Pre-Raphaelite art. Moreover, it is suggested that Tennyson’s ambivalent (and at times even sympathetic) portrayal of Guinevere is reflected in her variant Pre-Raphaelite representations that variously code her either as pure or evil.
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The advance of modernity, urbanization and financial prosperity in New York during the Roaring Tw... more The advance of modernity, urbanization and financial prosperity in New York during the Roaring Twenties is immortalized in Fitzgerald’s classic novel The Great Gatsby. Baz Luhrmann’s 2013 film adaptation of the novel maps the 1920s New York with a contemporary and postmodern take, taking advantage of cinematic techniques. This essay proposes that, in the film, Gatsby is associated with New York’s financial and technological progress as well as the city’s inclusiveness and modernity through visual links related to the urban setting, since both Gatsby and New York share the same dominant color: yellow/gold. However, as the film progresses and we move from the skyscrapers of New York to the interior of the city’s landmark Plaza Hotel, the ties between the city and Gatsby are severed, as evidenced by the shift in the film’s color palette from yellow/gold to blue.
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Protest and rebellion were two effects of the French Revolution that were long felt throughout Eu... more Protest and rebellion were two effects of the French Revolution that were long felt throughout Europe during the 19 th century, even after the Revolution had been put to rest. One of the most turbulent years of English history, 1819, became associated with the violent Peterloo Massacre, which saw the death of protesters in the hands of the army. Motivated by this perilous event, Percy Shelley further explored themes of protest and uprising in his polemical sonnet "England in 1819". This essay examines how the use of religious and supernatural imagery and how theories of the romantic sublime in Shelley's sonnet "England in 1819" work to highlight the speaker's revolutionary ideas. Moreover, the poem's emphasis on the sublime nature of a revolution adds to the polemical and radical tone of the sonnet, which further reflected in Shelley's revolutionary use of elements pertaining to Gothic literature and Christian doctrines of the Apocalypse.
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Presentations by Nina Triaridou
The advance of modernity, urbanization and financial prosperity in New York during the Roaring Tw... more The advance of modernity, urbanization and financial prosperity in New York during the Roaring Twenties is immortalized in Fitzgerald’s classic novel The Great Gatsby. Baz Luhrmann’s 2013 film adaptation of the novel maps the 1920s New York with a contemporary and postmodern take, taking advantage of cinematic techniques. This presentation investigates the symbolism of the urban setting and how New York is visualized in the film.
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Papers by Nina Triaridou
----From Medusa and Lamia to Scylla and the Sirens, Ancient Greek mythology abounds with terrifying female monsters, marked by their bodily hybridity – part human, part not. But what were the gender politics that resulted in monstrosity being linked with human femininity? To tackle this question, I’d like to focus on the origins of two popular female monsters, Lamia and the Sirens, and explore how they became associated with monsters, in both antiquity and more modern literature. For me, their subsequent shift from antagonists to sympathetic female figures in the 19th century emerges is especially interesting: both John Keats’s poem “Lamia” (1819) and Hans Christian Andersen’s fairytale The Little Mermaid (1837) can be usefully explored from a feminist perspective, especially because both these works have exerted a positive influence on the representation of female monsters in contemporary culture, including Pre-Raphaelite painting and Disney's The Little Mermaid (Ariel).
----From Medusa and Lamia to Scylla and the Sirens, Ancient Greek mythology abounds with terrifying female monsters, marked by their bodily hybridity – part human, part not. But what were the gender politics that resulted in monstrosity being linked with human femininity? To tackle this question, I’d like to focus on the origins of two popular female monsters, Lamia and the Sirens, and explore how they became associated with monsters, in both antiquity and more modern literature. For me, their subsequent shift from antagonists to sympathetic female figures in the 19th century emerges is especially interesting: both John Keats’s poem “Lamia” (1819) and Hans Christian Andersen’s fairytale The Little Mermaid (1837) can be usefully explored from a feminist perspective, especially because both these works have exerted a positive influence on the representation of female monsters in contemporary culture, including Pre-Raphaelite painting and Disney's The Little Mermaid (Ariel).
Focusing on the depiction of the Arthurian women in Tennyson's Idylls of the King, this essay explores how Pre-Raphaelites’ visualization of the Arthurian legend reproduces Tennyson’s characterization of these female figures. Thus, it is argued that Elaine is visualized as the embodiment of the perfect Victorian woman, whereas Vivien’s portrayal as a dangerous seductress is sustained in Pre-Raphaelite art. Moreover, it is suggested that Tennyson’s ambivalent (and at times even sympathetic) portrayal of Guinevere is reflected in her variant Pre-Raphaelite representations that variously code her either as pure or evil.
Presentations by Nina Triaridou
----From Medusa and Lamia to Scylla and the Sirens, Ancient Greek mythology abounds with terrifying female monsters, marked by their bodily hybridity – part human, part not. But what were the gender politics that resulted in monstrosity being linked with human femininity? To tackle this question, I’d like to focus on the origins of two popular female monsters, Lamia and the Sirens, and explore how they became associated with monsters, in both antiquity and more modern literature. For me, their subsequent shift from antagonists to sympathetic female figures in the 19th century emerges is especially interesting: both John Keats’s poem “Lamia” (1819) and Hans Christian Andersen’s fairytale The Little Mermaid (1837) can be usefully explored from a feminist perspective, especially because both these works have exerted a positive influence on the representation of female monsters in contemporary culture, including Pre-Raphaelite painting and Disney's The Little Mermaid (Ariel).
----From Medusa and Lamia to Scylla and the Sirens, Ancient Greek mythology abounds with terrifying female monsters, marked by their bodily hybridity – part human, part not. But what were the gender politics that resulted in monstrosity being linked with human femininity? To tackle this question, I’d like to focus on the origins of two popular female monsters, Lamia and the Sirens, and explore how they became associated with monsters, in both antiquity and more modern literature. For me, their subsequent shift from antagonists to sympathetic female figures in the 19th century emerges is especially interesting: both John Keats’s poem “Lamia” (1819) and Hans Christian Andersen’s fairytale The Little Mermaid (1837) can be usefully explored from a feminist perspective, especially because both these works have exerted a positive influence on the representation of female monsters in contemporary culture, including Pre-Raphaelite painting and Disney's The Little Mermaid (Ariel).
Focusing on the depiction of the Arthurian women in Tennyson's Idylls of the King, this essay explores how Pre-Raphaelites’ visualization of the Arthurian legend reproduces Tennyson’s characterization of these female figures. Thus, it is argued that Elaine is visualized as the embodiment of the perfect Victorian woman, whereas Vivien’s portrayal as a dangerous seductress is sustained in Pre-Raphaelite art. Moreover, it is suggested that Tennyson’s ambivalent (and at times even sympathetic) portrayal of Guinevere is reflected in her variant Pre-Raphaelite representations that variously code her either as pure or evil.