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…(Iphigenia) is built around an obscenity of (a) death, the death(s) of Iphigenia, whose body, at first seemingly alive, then rendered a corpse (several times over), and later appearing as a revenant in humanimal form (human but horned), occupies center stage for the full length of the performance. The scene is all too familiar. It is multiply told and retold in Greek mythology and tragedy through a string of variations, and it recalls a further proliferation of violences done to women in our own time. With each telling, Iphigenia is murdered again and again.
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- Research Article
- Information
- Ramus , Volume 52 , Special Issue 1: Wayne Shorter and esperanza spalding's …(Iphigenia): Interdisciplinary Approaches , June 2023 , pp. 55 - 59
- Copyright
- Copyright © The Author(s), 2024. Published by Cambridge University Press
References
1. Tr. Walker in Griffith and Most (2013b).
2. This is one of the many marked differences that separate the binding of Iphigenia from that of Isaac, for all their haunting similarities.
3. See Telò and Griffith (this issue).
4. See Mackey (1997), 206–8, for the term.
5. She stands with her peers in solidarity, as Butler notes (this issue).
6. Loraux (1987), 32, tr. slightly modified; emphasis added. See ibid., 43f., for a deft study of the haunting echoes of Aeschylus in Euripides. Such echoes are the very stuff of tragedy in its metareflective states.
7. Loraux (1987), 38.
8. See Griffith (this issue).
9. Moten (2003), 14.