Abstract
The subject of misogyny in Greek culture is widely recognized as of capital importance in understanding our attitude towards women as well as the general culture context within which that attitude is framed. Yet despite the obvious importance of this subject there has been little attention given to the way misogyny in fifth‐centry Athens was an integral part of its greatest art form, the tragic drama. Only when a model of tragedy is developed which accounts for the typological opposition between the male “tragic hero” and Dionysus will it be possible to understand how women function within this particular literary genre as the essential “other” of repressive male consciousness.
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