Dominance And Resistance Of The Burial At Thebes And Hedda Gabler

1515 Words Dec 11th, 2016 7 Pages
Dominance and Resistance in The Burial at Thebes and Hedda Gabler
James C. Scott’s ‘Domination and the Arts of Resistance’ explores the discourse of domination and resistance, including the tension between the publicly exhibited dominant discourse, termed a “public transcript,” and the four types of political discourse prevalent among subordinate groups. The four types of discourse are self-image based discourse, the hidden transcript, in-between discourse, and ruptured discourse. For the purpose of this essay, focus is primarily restricted to subordinate groups comprised of women, particularly the cases of Antigone and Ismene in Seamus Heaney’s The Burial at Thebes and Hedda Gabler and Thea Elvsted in Henrik Ibsen’s Hedda Gabler in relation to the dominant figures of Creon and Brack, respectively. However, these are contextualised within larger subordinate groups and in the wider system of patriarchal domination.
Firstly, the “self-image” discourse occurs when the subordinate group engages with the dominant publicly through rhetorical concessions, appealing to the dominant’s self-image and their often stereotyped view of subordinates. In The Burial at Thebes, Ismene utilizes linguistic hedges when speaking with Creon and reframes her argument for Antigone’s exculpation in patriarchal terms. Unlike Antigone, Ismene only speaks when questioned by Creon, allowing the dominant to initiate and terminate conversation. When asked, she explains, “I helped her, yes, if I’m…

Related Documents