Casey Dué, The Captive Woman's Lament in Greek Tragedy
1. Men's Songs and Women's Songs
2. Identifying with the Enemy
3. Athenians and Trojans
4. The Captive Woman's Lament and Her Revenge in Euripides' Hecuba
5. A River Shouting with Tears
6. The Captive Woman in the House
Conclusion. The Tears of Pity
I have received a great deal of support during the writing of this book. A University of Houston New Faculty Research Grant and a summer grant from the University of Houston Women’s Studies Program allowed me to complete the bulk of the research and writing, and a Center for Hellenic Studies fellowship supported me in the final stages.
Portions of the book began as conference papers delivered at the University of Houston International Women’s Day panel entitled “Women and War” (sponsored by the Women’s Studies Program); the CAMWS annual meetings held in Austin, Texas, Lexington, Kentucky and St. Louis, Missouri; and “Ética y estética: De Grecia a la modernidad,” held at the Universidad Nacional de La Plata, Argentina. I would like to thank the audience members at each of these events for their questions and comments.
Several individuals have made invaluable contributions to my thinking and to the book that has resulted. I am grateful to Michael Anderson, Richard Armstrong, Francesca Behr, Mary Ebbott, Gloria Ferrari, Douglas Frame, Ryan Hackney, Leonard Muellner, Gregory Nagy, Kirk Ormand, and Dora Pozzi for reading and commenting on various portions and drafts of the book, as well as my readers for the University of Texas Press. Their close readings and insightful criticisms greatly improved the final product, though I am of course responsible for any remaining errors. My wonderful colleagues at the University of Houston, Richard Armstrong, Francesca Behr, and Dora Pozzi, deserve special thanks for their ongoing advice and support throughout the writing process.
I would also like to thank Jim Burr and Joanna Hitchcock of the University of Texas Press for initially soliciting the book and overseeing its writing, editing, and production.
Most especially I would like to express my gratitude and appreciation to two people without whom I could never have completed this project: my husband, Ryan, for his constant encouragement and brilliant editing; and my friend and colleague in all things, Mary Ebbott, whose thoughts on Greek tragedy and its presentation of marginal characters have been an inspiration throughout.