Senecan Legacy Revisited: The Possibility of Debunking the Patriarchal Hegemony
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This research comparatively tries to analyze Seneca’s Medea and Shakespeare’s Titus Andronicus, in terms of debunking patriarchy, not to speak of the Senecan tradition of revenge tragedy. In the two revenge plays, the playwrights leave room for self-criticism on the patriarchal hegemony, in relation to colonial imagination, at once in gender and in race. Like Medea, Tamora the foreign other is doubly colonized, sexually and racially. Remarkably, in Western culture, the colonial imagination concerning foreigners and females is overlapping each other, with imperialism overlapping with patriarchal hegemony. Here’s a meaningful voice by Aaron: “O, why should wrath be mute, and fury dumb?” This shouting for the awareness and demystification of the other is debunkingly supposed to echo in the mind of the audience, with the imperialistic patriarchy put into challenge. The shouting can be the other’s angry voice. Through it, also, the muted and dumbed Lavinia must have her voice; honor killing of Lavinia is actually a pretext for subjugating the other, a pretext arising from the psychology of male anxiety toward the feminine other
Abstract
This research comparatively tries to analyze Seneca’s Medea and Shakespeare’s Titus Andronicus, in terms of debunking patriarchy, not to speak of the Senecan tradition of revenge tragedy. In the two revenge plays, the playwrights leave room for self-criticism on the patriarchal hegemony, in relation to colonial imagination, at once in gender and in race. Like Medea, Tamora the foreign other is doubly colonized, sexually and racially. Remarkably, in Western culture, the colonial imagination concerning foreigners and females is overlapping each other, with imperialism overlapping with patriarchal hegemony. Here’s a meaningful voice by Aaron: “O, why should wrath be mute, and fury dumb?” This shouting for the awareness and demystification of the other is debunkingly supposed to echo in the mind of the audience, with the imperialistic patriarchy put into challenge. The shouting can be the other’s angry voice. Through it, also, the muted and dumbed Lavinia must have her voice; honor killing of Lavinia is actually a pretext for subjugating the other, a pretext arising from the psychology of male anxiety toward the feminine other
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