- Title Pages
- List of Figures
- List of Contributors
- 1 Questioning the Democratic, and Democratic Questioning
- 2 Against the ‘Democratic Turn’
- 3 The Divided Legacy of <i>Politikon</i>
- 4 A Democratic Turn in the Reception of the Roman–Dutch Law of Treason in South Africa?
- 5 Labour and the Classics
- 6 Appropriations of Cicero and Cato in the Making of American Civic Identity
- 7 Classics as a Weapon
- 8 Civilization and Savagery at the 1893 World’s Columbian Exposition
- 9 The Expansion of Tragedy as Critique<sup>1</sup>
- 10 Investigating American Women’s Engagements with Graeco-Roman Antiquity, and Expanding the Circle of Classicists
- 11 The Democratic Turn in (and through) Pedagogy
- 12 Classics in West African Education
- 13 Back to the <i>Demos</i>
- 14 Can ‘Democratic’ Modern Stagings of Ancient Drama be ‘Authentic’?
- 15 Demotic Power to the People
- 16 Aristophanic Performance as an All-inclusive Event
- 17 Constructing Bridges for Peace and Tolerance
- 18 <i>The Silence of Eurydice</i>
- 19 Ovidian Metamorphoses in the Fiction of A. S. Byatt
- 20 Catullus and Lesbia Translated in Women’s Historical Novels
- 21 Female Voices
- 22 Heroes or Villains
- 23 Democracy and Popular Media
- 24 Practising Classical Reception Studies ‘in the Round’
- 25 In Search of Ancient Myths
- 26 Truth, Justice, and the Spartan Way
- 27 A ‘Democratic Turn’ at the Ashmolean Museum
- 28 All Mod Cons? Power, Openness, and Text in the Digital Turn
The Democratic Turn in Ali Smith’s Classical Reception
- (p.287) 21 Female Voices
- Classics in the Modern World
- Oxford University Press
This chapter is a study of Girl Meets Boy, Ali Smith’s reworking of Ovid’s myth of Iphis and Ianthe. Smith democratizes the myth, as in her hands its protagonists are working-class Scottish girls. At the same time her network of allusions to A Midsummer Night’s Dream carefully roots her response to Ovid in the very literary tradition that has marginalized women and gay and lesbian writers. She is caught, then, in the same dilemma as that which Jeanette Winterson depicts in her autobiography Why Be Happy When You Could Be Normal? By taking Smith as a case study we examine the factors that continue to militate against women writers receiving the same recognition as men even in a post-feminist age, while analysing the devices she uses to help transform the literary landscape into a more democratic and enabling force.
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