26 research outputs found
Sleep Apnea Diagnosis by DWT-Based Kurtosis, Radar and Histogram Analysis of Electrocardiogram
Comparison of different classification techniques for the discrimination of patients with pathologies of Parkinson
Recovering biblical narratives for positive psychology and suicide prevention in modern Israel
The taming of a tragic heroine: Electra in eighteenth-century art
The article explores two cases of the reception of the tragic heroine Electra in the visual culture of the eighteenth century. The British artist John Flaxman (1755-1826) created three drawings of the heroine, two based on Aeschylusâ Choephori (1795) and a third, unfinished one modelled on Sophoclesâ Electra. Angelika Kauffman (1741-1807), a Swiss artist, portrayed Electraâs meeting with her sister in her painting Electra giving her sister Chrysothemis her girdle and a lock of hair from Orestes for the grave of Agamemnon (circa 1778). Flaxmanâs drawings stress Electraâs devotion to her dead father Agamemnon and her love for her brother Orestes. Kauffmanâs more unusual painting emphasizes instead the collaboration of the two sisters. As a female painter Kauffman chose to portray Electra in a more active role drawing on Sophoclesâ source text in which she persuades her sister to replace her motherâs gifts with her own. Both receptions, however, chose to marginalise the more ambiguous aspects of Electraâs portrayal in Greek tragedy, especially her desire for revenge. Thus, in order for Electra to be acceptable to an eighteenth century audience she had to be âtamedâ and her passionate voice silenced