Article Per Year (5 Year)
p-Index From 2021 - 2026
0
P-Index
This Author published in this journals
All Journal k@ta
Jamshidian, Sahar
Unknown Affiliation
Languange, Linguistic, Communication & Media

Published : 1 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 1 Documents
Search

 1 
Modern Rape-Revenge Movies and Shelley’s The Cenci Jamshidian, Sahar; Amjad, Fazel Asadi
k@ta: A Biannual Publication on the Study of Language and Literature Vol. 22 No. 2 (2020): DECEMBER 2020
Publisher : The English Department, Faculty of Humanities & Creative Industries, Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (262.797 KB) | DOI: 10.9744/kata.22.2.70-78

Abstract

Viewing Shelley’s The Cenci from the political upheavals of the nineteenth century would limit one’s response to the play to the issues of that century. However, this play continues to be played in the twenty first century, which makes one wonder how a modern spectator with a feminist inclination might react to the theme of rape and revenge. The Cenci shares with a number of movies flourishing with the rise of the second wave feminism during the 1970s, the theme of a female victim transformed into a hero-avenger, who takes law into her own hands and avenges herself in the face of a dysfunctional legal state. As revisions of the archetypal narratives of violation-revenge-violation, these modern movies have been praised for depicting heroines who are no longer powerless, miserable and victimized, but strong enough to avenge themselves with impunity. Though The Cenci repeats the traditional pattern of violation-revenge-violation, it focuses on the corruption and irresponsibility of the patriarchal legal system as well as its reformation, which have been neglected by both mythical narratives and modern rape-revenge movies. By reading The Cenci along with William Blake’s “Visions of the Daughters of Albion” and Shelley’s “Prometheus Unbound,” we examine how The Cenci challenges the modern rape-revenge movies and how Beatrice could have used her agency and her anger in a more effective way to fight against tyranny.
Co-Authors Amjad, Fazel Asadi