FEMALE REPRESENTATION IN ART AND MYTHOLOGY IN MARGARET ATWOOD'S THE PENELOPE ODYSSEY (2005)
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
For centuries, real and literary history has been told and composed, for the most part, according to a patriarchal canon. Women have often been assigned a subordinate role, stereotypically portrayed in narratives and visual arts as submissive, hostile, or auxiliary to men. Throughout history, references to women's participation in various spheres of society are less frequent than those of men. Methodologically, this text is exploratory and bibliographical, aiming to analyze Penelope's Odyssey (2005), by Canadian author Margaret Atwood, focusing on the representation of Penelope, to discuss the various ways in which women have been represented in the visual and literary arts by male artists. The work revisits the classic The Odyssey (1488), credited to Homer, from a new perspective on the character Penelope, whose self-representation and version of events made her famous, thus weaving her own narrative. Based on the polytheistic context of The Odyssey, we aim to discuss the roles female deities, such as Athena and Circe, play in guiding the characters and how they were portrayed. To construct the theoretical framework for this article, we drew on authors such as Atwood (2020), Chartier (2002), Garcia (2015), Federici (2023), Homer (2013), Perrot (2019), Pizan (2012), Rago (2002), as well as other researchers who address gender and literary issues. As a result of this study, we observed that in both fictional and real worlds, the female figure has been portrayed in narratives and visual arts according to patriarchal and discriminatory conceptions, thus placing her in a secondary position in relation to men, which often hinders the achievement of a democratic and equitable society.
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it