Abstract
Abstract It is not surprising that Christa Wolfs 1983 reinterpretation of the myth of Cassandra should have resonated with feminists the world over and reached the widest international audience of all her works until then. For in the tradition which began with Homer’s Iliad and Aeschylus’ Oresteia, Cassandra’s role as a prophetess whose fate was to speak the truth but not be believed made her, in the eyes of many, iconic of the position of women in patriarchal societies. Wolf sought, however, to defy the tradition and, via the strength of her Kassandra’s voice and the power of her witness, make herself heard.1 The work’s main message -that perverted structures of thought in western culture, which lead inevitably to war, must be changed-was recognizably urgent in the early 1980s because escalating tensions in the cold war were making war on European soil seem an imminent danger.
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